what is a reading essay

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• Education and Communications

How to Write a Reader Response

Last Updated: March 19, 2024 Fact Checked

This article was co-authored by Diane Stubbs . Diane Stubbs is a Secondary English Teacher with over 22 years of experience teaching all high school grade levels and AP courses. She specializes in secondary education, classroom management, and educational technology. Diane earned a Bachelor of Arts in English from the University of Delaware and a Master of Education from Wesley College. There are 9 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 443,481 times.

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

Writing the Reader Response

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

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

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

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

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

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

Drafting the Reader Response

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

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

Reading the Text

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

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

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

Sample Reader Response

Community Q&A

You Might Also Like

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

About This Article

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

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• Importance Of Reading Essay

Importance of Reading Essay

500+ words essay on reading.

Reading is a key to learning. It’s a skill that everyone should develop in their life. The ability to read enables us to discover new facts and opens the door to a new world of ideas, stories and opportunities. We can gather ample information and use it in the right direction to perform various tasks in our life. The habit of reading also increases our knowledge and makes us more intellectual and sensible. With the help of this essay on the Importance of Reading, we will help you know the benefits of reading and its various advantages in our life. Students must go through this essay in detail, as it will help them to create their own essay based on this topic.

Importance of Reading

Reading is one of the best hobbies that one can have. It’s fun to read different types of books. By reading the books, we get to know the people of different areas around the world, different cultures, traditions and much more. There is so much to explore by reading different books. They are the abundance of knowledge and are best friends of human beings. We get to know about every field and area by reading books related to it. There are various types of books available in the market, such as science and technology books, fictitious books, cultural books, historical events and wars related books etc. Also, there are many magazines and novels which people can read anytime and anywhere while travelling to utilise their time effectively.

Benefits of Reading for Students

Reading plays an important role in academics and has an impactful influence on learning. Researchers have highlighted the value of developing reading skills and the benefits of reading to children at an early age. Children who cannot read well at the end of primary school are less likely to succeed in secondary school and, in adulthood, are likely to earn less than their peers. Therefore, the focus is given to encouraging students to develop reading habits.

Reading is an indispensable skill. It is fundamentally interrelated to the process of education and to students achieving educational success. Reading helps students to learn how to use language to make sense of words. It improves their vocabulary, information-processing skills and comprehension. Discussions generated by reading in the classroom can be used to encourage students to construct meanings and connect ideas and experiences across texts. They can use their knowledge to clear their doubts and understand the topic in a better way. The development of good reading habits and skills improves students’ ability to write.

In today’s world of the modern age and digital era, people can easily access resources online for reading. The online books and availability of ebooks in the form of pdf have made reading much easier. So, everyone should build this habit of reading and devote at least 30 minutes daily. If someone is a beginner, then they can start reading the books based on the area of their interest. By doing so, they will gradually build up a habit of reading and start enjoying it.

Frequently Asked Questions on the Importance of Reading Essay

What is the importance of reading.

1. Improves general knowledge 2. Expands attention span/vocabulary 3. Helps in focusing better 4. Enhances language proficiency

What is the power of reading?

1. Develop inference 2. Improves comprehension skills 3. Cohesive learning 4. Broadens knowledge of various topics

How can reading change a student’s life?

1. Empathy towards others 2. Acquisition of qualities like kindness, courtesy

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Counselling

Academic Reading Strategies

Completing reading assignments is one of the biggest challenges in academia. However, are you managing your reading efficiently? Consider this cooking analogy, noting the differences in process:

Taylor’s process was more efficient because his purpose was clear. Establishing why you are reading something will help you decide how to read it, which saves time and improves comprehension. This guide lists some purposes for reading as well as different strategies to try at different stages of the reading process.

Purposes for reading

People read different kinds of text (e.g., scholarly articles, textbooks, reviews) for different reasons. Some purposes for reading might be

• to scan for specific information
• to skim to get an overview of the text
• to relate new content to existing knowledge
• to write something (often depends on a prompt)
• to critique an argument
• to learn something
• for general comprehension

Strategies differ from reader to reader. The same reader may use different strategies for different contexts because their purpose for reading changes. Ask yourself “why am I reading?” and “what am I reading?” when deciding which strategies to try.

Before reading

• Establish your purpose for reading
• Speculate about the author’s purpose for writing
• Review what you already know and want to learn about the topic (see the guides below)
• Preview the text to get an overview of its structure, looking at headings, figures, tables, glossary, etc.
• Predict the contents of the text and pose questions about it. If the authors have provided discussion questions, read them and write them on a note-taking sheet.
• Note any discussion questions that have been provided (sometimes at the end of the text)
• Sample pre-reading guides – K-W-L guide
• Critical reading questionnaire

During reading

• Annotate and mark (sparingly) sections of the text to easily recall important or interesting ideas
• Check your predictions and find answers to posed questions
• Use headings and transition words to identify relationships in the text
• Create a vocabulary list of other unfamiliar words to define later
• Try to infer unfamiliar words’ meanings by identifying their relationship to the main idea
• Connect the text to what you already know about the topic
• Take breaks (split the text into segments if necessary)
• Sample annotated texts – Journal article · Book chapter excerpt

After reading

• Summarize the text in your own words (note what you learned, impressions, and reactions) in an outline, concept map, or matrix (for several texts)
• Talk to someone about the author’s ideas to check your comprehension
• Identify and reread difficult parts of the text
• Define words on your vocabulary list (try a learner’s dictionary ) and practice using them
• Sample graphic organizers – Concept map · Literature review matrix

Works consulted

Grabe, W., & Stoller, F. L. (2002). Teaching and researching reading. Harlow: Longman.

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

If you enjoy using our handouts, we appreciate contributions of acknowledgement.

2a. Critical Reading

An introduction to reading in college.

While the best way to develop your skills as a writer is to actually practice by writing, practicing critical reading skills is crucial to becoming a better college writer. Careful and skilled readers develop a stronger understanding of topics, learn to better anticipate the needs of the audience, and pick up sophisticated writing “maneuvers” and strategies from professional writing. A good reading practice requires reading text and context, which you’ll learn more about in the next section. Writing a successful academic essay also begins with critical reading as you explore ideas and consider how to make use of sources to provide support for your writing.

Questions to ask as you read

If you consider yourself a particularly strong reader or want to improve your reading comprehension skills, writing out notes about a text—even if it’s in shorthand—helps you to commit the answers to memory more easily. Even if you don’t write out all these notes, answering these basic questions about any text or reading you encounter in college will help you get the most out of the time you put into your reading. It will also give you more confidence to understand and question the text while you read.

• Is there  context  provided about the author and/or essay? If so, what stands out as important?

Context in this instance means things like dates of publication, where the piece was originally published, and any biographical information about the author. All of that information will be important for developing a critical reading of the piece, so track what’s available as you read.

• If you had to guess, who is the author’s intended  audience ? Describe them in as much detail as possible.

Sometimes the author will state who the audience is, but sometimes you have to figure it out by context clues, such as those you tracked above. For instance, the audience for a writer on  Buzzfeed  is very different from the audience for a writer for the  Wall Street Journal —and both writers know that, which means they’re more effective at reaching their readers. Learning how to identify your audience is a crucial writing skill for all genres of writing.

• In your own words, what is the  question  the author is trying to answer in this piece? What seems to have caused them to write in the first place?

In nonfiction writing of the kind we read in Writing 121, writers set out to answer a question. Their thesis/main argument is usually the answer to the question, so sometimes you can “reverse engineer” the question from that. Often, the question is asked in the title of the piece.

• In your own words, what’s the author’s  main   idea or argument ? If you had to distill it down to one or two sentences, what does the author want you, the reader, to agree with?

If you’ve ever had to write a paper for a class, you’re probably familiar with a thesis or main argument. Published writers also have a thesis (or else they don’t get published!), but sometimes it can be tricky to find in a more sophisticated piece of writing. Trying to put the main argument into your own words can help.

• How many  examples  and types of  evidence  did the author provide to support the main argument? Which examples/evidence stood out to you as persuasive?

It’s never enough to just make a claim and expect people to believe it—we have to support that claim with evidence. The types of evidence and examples that will be persuasive to readers depends on the audience, though, which is why it’s important to have some idea of your readers and their expectations.

• Did the author raise any  points of skepticism  (also known as counterarguments)? Can you identify exactly what page or paragraph where the author does this?

As we’ll see later when the writing process, respectfully engaging with points of skepticism and counterarguments builds trust with the reader because it shows that the writer has thought about the issue from multiple perspectives before arriving at the main argument. Raising a counterargument is not enough, though. Pay careful attention to how the writer responds to that counterargument—is it an effective and persuasive response?  If not, perhaps the counterargument has more merit for you than the author’s main argument.

• In your own words, how does the essay  conclude ? What does the author “want” from us, the readers?

A conclusion usually offers a brief summary of the main argument and some kind of “what’s next?” appeal from the writer to the audience. The “what’s next?” appeal can take many forms, but it’s usually a question for readers to ponder, actions the author thinks people should take, or areas related to the main topic that need more investigation or research. When you read the conclusion, ask yourself, “What does the author want from me now that I’ve read their essay?”

Reading Like Writers: Critical Reading

Reading as a creative act.

“The theory of books is noble. The scholar of the first age received into him the world around; brooded thereon; gave it the new arrangement of his own mind, and uttered it again. It came into him life; it went out from him truth. It came to him short-lived actions; it went out from him immortal thoughts. It came to him business; it went from him poetry. It was dead fact; now, it is quick thought. It can stand, and it can go. It now endures, it now flies, it now inspires. Precisely in proportion to the depth of mind from which it issued, so high does it soar, so long does it sing.” ~Ralph Waldo Emerson, “The American Scholar”

• Consider the  discourse community  when you read and write in your college classes
• Analyze any reading for  text and context
• Read like a writer so you can write for your readers

By the end of this lesson, you’ll be able to apply the concept of  discourse community  to honing your college-level critical reading skills.

Good writers are good readers, so let’s start there. When you can confidently identify the  audience, context, and purpose of a text —position it within its discourse community—you’ll be a stronger, savvier reader.

Strong, savvy readers are more effective writers because they consider their own audience, context, and purpose when they write and communicate, which makes their writing clearer and to the point.

So the goal of this lesson is to help you read like a writer!

The Savvy Reader

Good writers are good readers! And good readers. . .

• get to know the author
• get to know the author’s community + audience
• accurately summarize the author’s argument
• look up terms you don’t know
• “listen” respectfully to the author’s point of view
• have a sense of the larger conversation
• think about other issues related to the conversation
• put it in current context
• analyze and assess the author’s reasoning, evidence, and assumptions

Why read critically?  While the best way to develop your skills as a writer is to actually practice by writing, practicing critical reading skills is crucial to becoming a better writer. Careful and skilled readers develop a stronger understanding of topics, learn to better anticipate the needs of the audience, and pick up writing “maneuvers” and strategies from professional writing.

Reading Like Writers

How do you read like a writer?  When you read like a writer, you are practicing deeper reading comprehension. In order to understand a text, you are reading not just what’s  in  it but what’s  around  it, too: text and context.

Practice: Reading Like Writers

In-class discussion : Advertisements are helpful for practicing reading like writers because advertisers make deliberate choices with text and images based on audience (target consumer), context (where they are reaching them), and purpose (buy this product).

• But I’m not trying to sell a product! How can I use my newfound understanding of audience, context, and purpose to improve my writing?

It’s true! You aren’t selling a product. You aren’t (I hope) trying to manipulate your audience. You aren’t relying on discriminatory assumptions or stereotypes to appeal to your audience. But when you write, let’s say, an essay, you are asking readers to “buy into” your point of view. The goal doesn’t have to be for them to agree with you; it can be for your readers to respectfully consider, understand, or sympathize with your point of view or analysis of an issue.  The point is you’re thinking of your reader when you write, and that will make your writing process smoother and your writing clearer.

Writing for Your Readers

When you write for your readers, you. . .

• Learn from your reading and communication experience:  What makes texts work? How are ideas conveyed clearly?
• Analyze the writing situation:  What are the goals and purpose for a writing project? Who is your audience?
• Explore and play as you draft:  What are different ways to respond? Can you use a better word or phrase?
• Consider your audience:  What might a reader expect to see? What does your reader need to understand your point of view? What questions might a reader have?

Writing as a process of inquiry

Just as you want your readers to take you seriously, you want to approach texts with an open and curious mind. Whatever the topic, it was important enough for this person to want to write on it. While we don’t have to agree with the point someone is making, we can respect their opinion and appreciate reading a different perspective.

Approach reading and writing in college in a learning zone.  Be open, be curious, ask questions, seek answers. Share, stretch, experiment.

Guides and Worksheets

• Use this guide for any of your college reading!
• Learn a basic study skill–annotating or taking notes on your readings

Critical Reading Guide: Text + Context

Title of the text:                                                                                  Author:

Reading the text: Comprehension

Main idea . In one sentence, summarize the main point or argument of the text.

Claim . Identify one claim in the text.

Key points . Paraphrase a key point, example, or passage that interested you.

Evidence . In your own words, describe 1-2 compelling examples or pieces of evidence that support the point/argument of the text.

Conclusion . What is the ultimate takeaway the text gives us on the topic/issue?

Personal experience . What is your experience of the topic? Have you had problems related to it?

Vocabulary . What is a word or phrase in the text you didn’t know? Look it up. What does it mean?

Inquiry . What is one thing you need more information about? Or, what is one question you have about the content of the text?

Reading for context: Rhetorical analysis

The author . Do an internet search on the author. What did you find out?

Ethos . Do you trust the author on the topic/issue? Why or why not?

Container . When and where was the text first published? Who will read/see it?

Audience . How does the author address or appeal to their readers? What tone does the author use in the text?

Bias . What knowledge, values, or beliefs does the author assume the reader shares?

Types of evidence . What types of evidence does the author use? Types of evidence include facts, examples, statistics, statements by authorities (references to or quotes from other sources), interviews, observations, logical reasoning, and personal experience

Structure . How does the author organize the text?

Purpose . What question does the author seek to answer in the text? In other words, why do you think they wrote this piece?

Mark-up Assignment: The Savvy Reader Practice

The object is to fill the empty space of the margins with your thoughts and questions to the text. By reading sympathetically (reading to understand what the writer is saying) and critically (reading to analyze and critique what the writer is saying), you are reading mindfully and creatively. You are finding those passages that you are drawn to, asking questions that you have, and beginning to develop your reaction, response, and ideas about a topic or issue. It’s a useful tool in the “getting started” phase of the writing process. Learning how to read effectively will be an invaluable skill in your college career and beyond because it means engaging in a task actively rather than passively.

Choose 1-2 paragraphs from READING X to fully annotate. This passage should be one that interests you, i.e. seems important, confusing, and/or prompted agreement, disagreement, or questions for you.

• Circle any word you think is crucial for the passage, including ones you cannot easily define.
• Underline phrases or images you think crucial for the meaning of the passage/essay.
• Put a bracket around ideas or assertions you find puzzling or questionable.
• Then write notes around the margins of the passage defining these terms, identifying the important ideas, or raising questions with the bracketed phrases. For each item you have circled, underlined, or bracketed, there should be a margin note. For this assignment, your margin notes should be substantive: they should meaty statements and full questions.

Photocopy or clear, legible photograph of paragraphs with your annotations or type up the paragraphs and annotate.

Writing as Inquiry Copyright © 2021 by Kara Clevinger and Stephen Rust is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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• EXPLORE Random Article

How to Write a Close Reading Essay

Last Updated: May 2, 2023 References

This article was co-authored by Bryce Warwick, JD . Bryce Warwick is currently the President of Warwick Strategies, an organization based in the San Francisco Bay Area offering premium, personalized private tutoring for the GMAT, LSAT and GRE. Bryce has a JD from the George Washington University Law School. There are 7 references cited in this article, which can be found at the bottom of the page. This article has been viewed 8,851 times.

With a close-reading essay, you get to take a deep dive into a short passage from a larger text to study how the language, themes, and style create meaning. Writing one of these essays requires you to read the text slowly multiple times while paying attention to both what is being said and how the author is saying it. It’s a great way to hone your reading and analytical skills, and you’ll be surprised at how it can deepen your understanding of a particular book or text.

Reading and Analyzing the Passage

• Think of “close reading" as an opportunity to look underneath the surface. While you may understand a text’s main themes from a single read-through, any given text usually contains multiple complexities in language, character development, and hidden themes that only become clear through close observation.

Tip: Look up words that you aren’t familiar with. Sometimes you might figure out what something means by using context clues, but when in doubt, look it up.

• Alliteration
• Personification
• Onomatopoeia

• What themes are present in the text? Is the passage about, for example, love, or the triumph of good over evil, a character's coming-of-age, or a commentary on social issues?
• What imagery is being used? Which of the 5 senses does the passage involve?
• What is the author’s writing style? Is it descriptive, persuasive, or technical?
• What is the tone of the passage? What emotions do you feel as you read?
• What is the author trying to say? Are they successful?

Tip: Try reading the text out loud. Sometimes hearing the words rather than just seeing them can make a difference in how you understand the language.

• Word choice
• Punctuation

Drafting a Thesis and Outline

• Close-reading essays can get very detailed, and it often is helpful to come back to the “main thing.” This summary can help you focus your thesis in one direction so your essay doesn’t become too broad.

• For example, you could write something like, “The author uses repetition and word choice to create an emotional connection between the reader and the protagonist. This sample from the book exemplifies how the author uses vivid language and atypical syntax throughout the entire text to help put the reader inside of the protagonist’s mind.”

• For example, you may quote a sentence from the passage that uses atypical punctuation to emphasize how the author’s writing style creates a certain cadence.
• Or you may use the repetition of a color or word or theme to explain how the author continually reinforces the overall message.

• There are a lot of different ways to outline an essay. You could use a bullet-pointed list to organize the things you want to write about, or you could plan out, paragraph by paragraph, what you want to say.
• Many people cannot write fast because they do not spend enough time planning what they want to state.
• When you take a couple of extra minutes to plan an essay, it's a lot easier to write because you know how the points should flow together.
• It is also obvious to a reader whether you plan and write the essay or make it up as you write it.

Writing the Essay

• The last thing you want is to write an essay and later on realize that you were required to include an outside source or that your paper was 5 pages longer than it needed to be.

• Some people find it easier to write their introduction once the body of the essay is done.
• The introduction can be a good place to give historical, social, or geographical context.

• Make sure to reference why the proof you’re giving is relevant. It should directly tie back to the main theme of your essay.
• Evidence can be a direct quote from the passage, a summary of that information, or a reference from a secondary source.

• The conclusion isn’t the place to add in new evidence or arguments. Those should all be in the actual body of the essay.

• An impactful close-reading essay will weave together examples, interpretation, and commentary.

• Try reading your essay out loud. You may notice awkward phrases, incorrect grammar, or stilted language that you didn’t before.

Expert Q&A

• Sites like Typely, Grammarly, and ProofreadingTool offer free feedback and edits. Keep in mind that you’ll need to review proposed changes because they may not all be correct for your particular essay. Thanks Helpful 0 Not Helpful 0

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Expert Interview

Thanks for reading our article! If you’d like to learn more about completing school assignments, check out our in-depth interview with Bryce Warwick, JD .

• ↑ https://guides.lib.uoguelph.ca/c.php?g=130967&p=4938496
• ↑ https://writingcenter.fas.harvard.edu/pages/how-do-close-reading#
• ↑ https://blogs.umass.edu/honors291g-cdg/how-to-write-a-close-reading-essay/
• ↑ https://www.scribbr.com/academic-essay/introduction/
• ↑ https://www.scribbr.com/research-paper/paragraph-structure/
• ↑ https://www.scribbr.com/academic-essay/conclusion/
• ↑ https://www.scribbr.com/category/academic-essay/

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1.1 Reading and Writing in College

Learning objectives.

• Understand the expectations for reading and writing assignments in college courses.
• Understand and apply general strategies to complete college-level reading assignments efficiently and effectively.
• Recognize specific types of writing assignments frequently included in college courses.
• Understand and apply general strategies for managing college-level writing assignments.
• Determine specific reading and writing strategies that work best for you individually.

As you begin this chapter, you may be wondering why you need an introduction. After all, you have been writing and reading since elementary school. You completed numerous assessments of your reading and writing skills in high school and as part of your application process for college. You may write on the job, too. Why is a college writing course even necessary?

When you are eager to get started on the coursework in your major that will prepare you for your career, getting excited about an introductory college writing course can be difficult. However, regardless of your field of study, honing your writing skills—and your reading and critical-thinking skills—gives you a more solid academic foundation.

In college, academic expectations change from what you may have experienced in high school. The quantity of work you are expected to do is increased. When instructors expect you to read pages upon pages or study hours and hours for one particular course, managing your work load can be challenging. This chapter includes strategies for studying efficiently and managing your time.

The quality of the work you do also changes. It is not enough to understand course material and summarize it on an exam. You will also be expected to seriously engage with new ideas by reflecting on them, analyzing them, critiquing them, making connections, drawing conclusions, or finding new ways of thinking about a given subject. Educationally, you are moving into deeper waters. A good introductory writing course will help you swim.

Table 1.1 “High School versus College Assignments” summarizes some of the other major differences between high school and college assignments.

Table 1.1 High School versus College Assignments

This chapter covers the types of reading and writing assignments you will encounter as a college student. You will also learn a variety of strategies for mastering these new challenges—and becoming a more confident student and writer.

Throughout this chapter, you will follow a first-year student named Crystal. After several years of working as a saleswoman in a department store, Crystal has decided to pursue a degree in elementary education and become a teacher. She is continuing to work part-time, and occasionally she finds it challenging to balance the demands of work, school, and caring for her four-year-old son. As you read about Crystal, think about how you can use her experience to get the most out of your own college experience.

Review Table 1.1 “High School versus College Assignments” and think about how you have found your college experience to be different from high school so far. Respond to the following questions:

• In what ways do you think college will be more rewarding for you as a learner?
• What aspects of college do you expect to find most challenging?
• What changes do you think you might have to make in your life to ensure your success in college?

Reading Strategies

Your college courses will sharpen both your reading and your writing skills. Most of your writing assignments—from brief response papers to in-depth research projects—will depend on your understanding of course reading assignments or related readings you do on your own. And it is difficult, if not impossible, to write effectively about a text that you have not understood. Even when you do understand the reading, it can be hard to write about it if you do not feel personally engaged with the ideas discussed.

This section discusses strategies you can use to get the most out of your college reading assignments. These strategies fall into three broad categories:

• Planning strategies. To help you manage your reading assignments.
• Comprehension strategies. To help you understand the material.
• Active reading strategies. To take your understanding to a higher and deeper level.

Planning Your Reading

Have you ever stayed up all night cramming just before an exam? Or found yourself skimming a detailed memo from your boss five minutes before a crucial meeting? The first step in handling college reading successfully is planning. This involves both managing your time and setting a clear purpose for your reading.

Managing Your Reading Time

You will learn more detailed strategies for time management in Section 1.2 “Developing Study Skills” , but for now, focus on setting aside enough time for reading and breaking your assignments into manageable chunks. If you are assigned a seventy-page chapter to read for next week’s class, try not to wait until the night before to get started. Give yourself at least a few days and tackle one section at a time.

Your method for breaking up the assignment will depend on the type of reading. If the text is very dense and packed with unfamiliar terms and concepts, you may need to read no more than five or ten pages in one sitting so that you can truly understand and process the information. With more user-friendly texts, you will be able to handle longer sections—twenty to forty pages, for instance. And if you have a highly engaging reading assignment, such as a novel you cannot put down, you may be able to read lengthy passages in one sitting.

As the semester progresses, you will develop a better sense of how much time you need to allow for the reading assignments in different subjects. It also makes sense to preview each assignment well in advance to assess its difficulty level and to determine how much reading time to set aside.

College instructors often set aside reserve readings for a particular course. These consist of articles, book chapters, or other texts that are not part of the primary course textbook. Copies of reserve readings are available through the university library; in print; or, more often, online. When you are assigned a reserve reading, download it ahead of time (and let your instructor know if you have trouble accessing it). Skim through it to get a rough idea of how much time you will need to read the assignment in full.

Setting a Purpose

The other key component of planning is setting a purpose. Knowing what you want to get out of a reading assignment helps you determine how to approach it and how much time to spend on it. It also helps you stay focused during those occasional moments when it is late, you are tired, and relaxing in front of the television sounds far more appealing than curling up with a stack of journal articles.

Sometimes your purpose is simple. You might just need to understand the reading material well enough to discuss it intelligently in class the next day. However, your purpose will often go beyond that. For instance, you might also read to compare two texts, to formulate a personal response to a text, or to gather ideas for future research. Here are some questions to ask to help determine your purpose:

How did my instructor frame the assignment? Often your instructors will tell you what they expect you to get out of the reading:

• Read Chapter 2 and come to class prepared to discuss current teaching practices in elementary math.
• Read these two articles and compare Smith’s and Jones’s perspectives on the 2010 health care reform bill.
• Read Chapter 5 and think about how you could apply these guidelines to running your own business.
• How deeply do I need to understand the reading? If you are majoring in computer science and you are assigned to read Chapter 1, “Introduction to Computer Science,” it is safe to assume the chapter presents fundamental concepts that you will be expected to master. However, for some reading assignments, you may be expected to form a general understanding but not necessarily master the content. Again, pay attention to how your instructor presents the assignment.
• How does this assignment relate to other course readings or to concepts discussed in class? Your instructor may make some of these connections explicitly, but if not, try to draw connections on your own. (Needless to say, it helps to take detailed notes both when in class and when you read.)
• How might I use this text again in the future? If you are assigned to read about a topic that has always interested you, your reading assignment might help you develop ideas for a future research paper. Some reading assignments provide valuable tips or summaries worth bookmarking for future reference. Think about what you can take from the reading that will stay with you.

Improving Your Comprehension

You have blocked out time for your reading assignments and set a purpose for reading. Now comes the challenge: making sure you actually understand all the information you are expected to process. Some of your reading assignments will be fairly straightforward. Others, however, will be longer or more complex, so you will need a plan for how to handle them.

For any expository writing —that is, nonfiction, informational writing—your first comprehension goal is to identify the main points and relate any details to those main points. Because college-level texts can be challenging, you will also need to monitor your reading comprehension. That is, you will need to stop periodically and assess how well you understand what you are reading. Finally, you can improve comprehension by taking time to determine which strategies work best for you and putting those strategies into practice.

Identifying the Main Points

In college, you will read a wide variety of materials, including the following:

• Textbooks. These usually include summaries, glossaries, comprehension questions, and other study aids.
• Nonfiction trade books. These are less likely to include the study features found in textbooks.
• Popular magazine, newspaper, or web articles. These are usually written for a general audience.
• Scholarly books and journal articles. These are written for an audience of specialists in a given field.

Regardless of what type of expository text you are assigned to read, your primary comprehension goal is to identify the main point : the most important idea that the writer wants to communicate and often states early on. Finding the main point gives you a framework to organize the details presented in the reading and relate the reading to concepts you learned in class or through other reading assignments. After identifying the main point, you will find the supporting points , the details, facts, and explanations that develop and clarify the main point.

Some texts make that task relatively easy. Textbooks, for instance, include the aforementioned features as well as headings and subheadings intended to make it easier for students to identify core concepts. Graphic features, such as sidebars, diagrams, and charts, help students understand complex information and distinguish between essential and inessential points. When you are assigned to read from a textbook, be sure to use available comprehension aids to help you identify the main points.

Trade books and popular articles may not be written specifically for an educational purpose; nevertheless, they also include features that can help you identify the main ideas. These features include the following:

• Trade books. Many trade books include an introduction that presents the writer’s main ideas and purpose for writing. Reading chapter titles (and any subtitles within the chapter) will help you get a broad sense of what is covered. It also helps to read the beginning and ending paragraphs of a chapter closely. These paragraphs often sum up the main ideas presented.
• Popular articles. Reading the headings and introductory paragraphs carefully is crucial. In magazine articles, these features (along with the closing paragraphs) present the main concepts. Hard news articles in newspapers present the gist of the news story in the lead paragraph, while subsequent paragraphs present increasingly general details.

At the far end of the reading difficulty scale are scholarly books and journal articles. Because these texts are written for a specialized, highly educated audience, the authors presume their readers are already familiar with the topic. The language and writing style is sophisticated and sometimes dense.

When you read scholarly books and journal articles, try to apply the same strategies discussed earlier. The introduction usually presents the writer’s thesis , the idea or hypothesis the writer is trying to prove. Headings and subheadings can help you understand how the writer has organized support for his or her thesis. Additionally, academic journal articles often include a summary at the beginning, called an abstract, and electronic databases include summaries of articles, too.

For more information about reading different types of texts, see Chapter 12 “Writing a Research Paper” .

Monitoring Your Comprehension

Finding the main idea and paying attention to text features as you read helps you figure out what you should know. Just as important, however, is being able to figure out what you do not know and developing a strategy to deal with it.

Textbooks often include comprehension questions in the margins or at the end of a section or chapter. As you read, stop occasionally to answer these questions on paper or in your head. Use them to identify sections you may need to reread, read more carefully, or ask your instructor about later.

Even when a text does not have built-in comprehension features, you can actively monitor your own comprehension. Try these strategies, adapting them as needed to suit different kinds of texts:

• Summarize. At the end of each section, pause to summarize the main points in a few sentences. If you have trouble doing so, revisit that section.
• Ask and answer questions. When you begin reading a section, try to identify two to three questions you should be able to answer after you finish it. Write down your questions and use them to test yourself on the reading. If you cannot answer a question, try to determine why. Is the answer buried in that section of reading but just not coming across to you? Or do you expect to find the answer in another part of the reading?
• Do not read in a vacuum. Look for opportunities to discuss the reading with your classmates. Many instructors set up online discussion forums or blogs specifically for that purpose. Participating in these discussions can help you determine whether your understanding of the main points is the same as your peers’.

These discussions can also serve as a reality check. If everyone in the class struggled with the reading, it may be exceptionally challenging. If it was a breeze for everyone but you, you may need to see your instructor for help.

As a working mother, Crystal found that the best time to get her reading done was in the evening, after she had put her four-year-old to bed. However, she occasionally had trouble concentrating at the end of a long day. She found that by actively working to summarize the reading and asking and answering questions, she focused better and retained more of what she read. She also found that evenings were a good time to check the class discussion forums that a few of her instructors had created.

Choose any text that that you have been assigned to read for one of your college courses. In your notes, complete the following tasks:

• Summarize the main points of the text in two to three sentences.
• Write down two to three questions about the text that you can bring up during class discussion.

Students are often reluctant to seek help. They feel like doing so marks them as slow, weak, or demanding. The truth is, every learner occasionally struggles. If you are sincerely trying to keep up with the course reading but feel like you are in over your head, seek out help. Speak up in class, schedule a meeting with your instructor, or visit your university learning center for assistance.

Deal with the problem as early in the semester as you can. Instructors respect students who are proactive about their own learning. Most instructors will work hard to help students who make the effort to help themselves.

Taking It to the Next Level: Active Reading

Now that you have acquainted (or reacquainted) yourself with useful planning and comprehension strategies, college reading assignments may feel more manageable. You know what you need to do to get your reading done and make sure you grasp the main points. However, the most successful students in college are not only competent readers but active, engaged readers.

Using the SQ3R Strategy

One strategy you can use to become a more active, engaged reader is the SQ3R strategy , a step-by-step process to follow before, during, and after reading. You may already use some variation of it. In essence, the process works like this:

• Survey the text in advance.
• Form questions before you start reading.
• Read the text.
• Recite and/or record important points during and after reading.
• Review and reflect on the text after you read.

Before you read, you survey, or preview, the text. As noted earlier, reading introductory paragraphs and headings can help you begin to figure out the author’s main point and identify what important topics will be covered. However, surveying does not stop there. Look over sidebars, photographs, and any other text or graphic features that catch your eye. Skim a few paragraphs. Preview any boldfaced or italicized vocabulary terms. This will help you form a first impression of the material.

Next, start brainstorming questions about the text. What do you expect to learn from the reading? You may find that some questions come to mind immediately based on your initial survey or based on previous readings and class discussions. If not, try using headings and subheadings in the text to formulate questions. For instance, if one heading in your textbook reads “Medicare and Medicaid,” you might ask yourself these questions:

• When was Medicare and Medicaid legislation enacted? Why?
• What are the major differences between these two programs?

Although some of your questions may be simple factual questions, try to come up with a few that are more open-ended. Asking in-depth questions will help you stay more engaged as you read.

The next step is simple: read. As you read, notice whether your first impressions of the text were correct. Are the author’s main points and overall approach about the same as what you predicted—or does the text contain a few surprises? Also, look for answers to your earlier questions and begin forming new questions. Continue to revise your impressions and questions as you read.

While you are reading, pause occasionally to recite or record important points. It is best to do this at the end of each section or when there is an obvious shift in the writer’s train of thought. Put the book aside for a moment and recite aloud the main points of the section or any important answers you found there. You might also record ideas by jotting down a few brief notes in addition to, or instead of, reciting aloud. Either way, the physical act of articulating information makes you more likely to remember it.

After you have completed the reading, take some time to review the material more thoroughly. If the textbook includes review questions or your instructor has provided a study guide, use these tools to guide your review. You will want to record information in a more detailed format than you used during reading, such as in an outline or a list.

As you review the material, reflect on what you learned. Did anything surprise you, upset you, or make you think? Did you find yourself strongly agreeing or disagreeing with any points in the text? What topics would you like to explore further? Jot down your reflections in your notes. (Instructors sometimes require students to write brief response papers or maintain a reading journal. Use these assignments to help you reflect on what you read.)

Choose another text that that you have been assigned to read for a class. Use the SQ3R process to complete the reading. (Keep in mind that you may need to spread the reading over more than one session, especially if the text is long.)

Be sure to complete all the steps involved. Then, reflect on how helpful you found this process. On a scale of one to ten, how useful did you find it? How does it compare with other study techniques you have used?

Using Other Active Reading Strategies

The SQ3R process encompasses a number of valuable active reading strategies: previewing a text, making predictions, asking and answering questions, and summarizing. You can use the following additional strategies to further deepen your understanding of what you read.

• Connect what you read to what you already know. Look for ways the reading supports, extends, or challenges concepts you have learned elsewhere.
• Relate the reading to your own life. What statements, people, or situations relate to your personal experiences?
• Visualize. For both fiction and nonfiction texts, try to picture what is described. Visualizing is especially helpful when you are reading a narrative text, such as a novel or a historical account, or when you read expository text that describes a process, such as how to perform cardiopulmonary resuscitation (CPR).
• Pay attention to graphics as well as text. Photographs, diagrams, flow charts, tables, and other graphics can help make abstract ideas more concrete and understandable.
• Understand the text in context. Understanding context means thinking about who wrote the text, when and where it was written, the author’s purpose for writing it, and what assumptions or agendas influenced the author’s ideas. For instance, two writers might both address the subject of health care reform, but if one article is an opinion piece and one is a news story, the context is different.
• Plan to talk or write about what you read. Jot down a few questions or comments in your notebook so you can bring them up in class. (This also gives you a source of topic ideas for papers and presentations later in the semester.) Discuss the reading on a class discussion board or blog about it.

As Crystal began her first semester of elementary education courses, she occasionally felt lost in a sea of new terms and theories about teaching and child development. She found that it helped to relate the reading to her personal observations of her son and other kids she knew.

Writing at Work

Many college courses require students to participate in interactive online components, such as a discussion forum, a page on a social networking site, or a class blog. These tools are a great way to reinforce learning. Do not be afraid to be the student who starts the discussion.

Remember that when you interact with other students and teachers online, you need to project a mature, professional image. You may be able to use an informal, conversational tone, but complaining about the work load, using off-color language, or “flaming” other participants is inappropriate.

Active reading can benefit you in ways that go beyond just earning good grades. By practicing these strategies, you will find yourself more interested in your courses and better able to relate your academic work to the rest of your life. Being an interested, engaged student also helps you form lasting connections with your instructors and with other students that can be personally and professionally valuable. In short, it helps you get the most out of your education.

Common Writing Assignments

College writing assignments serve a different purpose than the typical writing assignments you completed in high school. In high school, teachers generally focus on teaching you to write in a variety of modes and formats, including personal writing, expository writing, research papers, creative writing, and writing short answers and essays for exams. Over time, these assignments help you build a foundation of writing skills.

In college, many instructors will expect you to already have that foundation.

Your college composition courses will focus on writing for its own sake, helping you make the transition to college-level writing assignments. However, in most other college courses, writing assignments serve a different purpose. In those courses, you may use writing as one tool among many for learning how to think about a particular academic discipline.

Additionally, certain assignments teach you how to meet the expectations for professional writing in a given field. Depending on the class, you might be asked to write a lab report, a case study, a literary analysis, a business plan, or an account of a personal interview. You will need to learn and follow the standard conventions for those types of written products.

Finally, personal and creative writing assignments are less common in college than in high school. College courses emphasize expository writing, writing that explains or informs. Often expository writing assignments will incorporate outside research, too. Some classes will also require persuasive writing assignments in which you state and support your position on an issue. College instructors will hold you to a higher standard when it comes to supporting your ideas with reasons and evidence.

Table 1.2 “Common Types of College Writing Assignments” lists some of the most common types of college writing assignments. It includes minor, less formal assignments as well as major ones. Which specific assignments you encounter will depend on the courses you take and the learning objectives developed by your instructors.

Table 1.2 Common Types of College Writing Assignments

Part of managing your education is communicating well with others at your university. For instance, you might need to e-mail your instructor to request an office appointment or explain why you will need to miss a class. You might need to contact administrators with questions about your tuition or financial aid. Later, you might ask instructors to write recommendations on your behalf.

Treat these documents as professional communications. Address the recipient politely; state your question, problem, or request clearly; and use a formal, respectful tone. Doing so helps you make a positive impression and get a quicker response.

Key Takeaways

• College-level reading and writing assignments differ from high school assignments not only in quantity but also in quality.
• Managing college reading assignments successfully requires you to plan and manage your time, set a purpose for reading, practice effective comprehension strategies, and use active reading strategies to deepen your understanding of the text.
• College writing assignments place greater emphasis on learning to think critically about a particular discipline and less emphasis on personal and creative writing.

Writing for Success Copyright © 2015 by University of Minnesota is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

Essays About Reading: 5 Examples And Topic Ideas

As a writer, you love to read and talk to others about reading books. Check out some examples of essays about reading and topic ideas for your essay.

Many people fall in love with good books at an early age, as experiencing the joy of reading can help transport a child’s imagination to new places. Reading isn’t just for fun, of course—the importance of reading has been shown time and again in educational research studies.

If you love to sit down with a good book, you likely want to share your love of reading with others. Reading can offer a new perspective and transport readers to different worlds, whether you’re into autobiographies, books about positive thinking, or stories that share life lessons.

When explaining your love of reading to others, it’s important to let your passion shine through in your writing. Try not to take a negative view of people who don’t enjoy reading, as reading and writing skills are tougher for some people than others.

Talk about the positive effects of reading and how it’s positively benefitted your life. Offer helpful tips on how people can learn to enjoy reading, even if it’s something that they’ve struggled with for a long time. Remember, your goal when writing essays about reading is to make others interested in exploring the world of books as a source of knowledge and entertainment.

Now, let’s explore some popular essays on reading to help get you inspired and some topics that you can use as a starting point for your essay about how books have positively impacted your life.

For help with your essays, check out our round-up of the best essay checkers

Examples Of Essays About Reading

• 1. The Book That Changed My Life By The New York Times
• 2. I Read 150+ Books in 2 Years. Here’s How It Changed My Life By Anangsha Alammyan
• 3. How My Diagnosis Improved My College Experience By Blair Kenney

4. How ‘The Phantom Tollbooth’ Saved Me By Isaac Fitzgerald

5. catcher in the rye: that time a banned book changed my life by pat kelly, topic ideas for essays about reading, 1. how can a high school student improve their reading skills, 2. what’s the best piece of literature ever written, 3. how reading books from authors of varied backgrounds can provide a different perspective, 4. challenging your point of view: how reading essays you disagree with can provide a new perspective, 1.  the book that changed my life  by  the new york times.

“My error the first time around was to read “Middlemarch” as one would a typical novel. But “Middlemarch” isn’t really about plot and dialogue. It’s all about character, as mediated through the wise and compassionate (but sharply astute) voice of the omniscient narrator. The book shows us that we cannot live without other people and that we cannot live with other people unless we recognize their flaws and foibles in ourselves.”  The New York Times

In this collection of reader essays, people share the books that have shaped how they see the world and live their lives. Talking about a life-changing piece of literature can offer a new perspective to people who tend to shy away from reading and can encourage others to pick up your favorite book.

2.  I Read 150+ Books in 2 Years. Here’s How It Changed My Life  By Anangsha Alammyan

“Consistent reading helps you develop your  analytical thinking skills  over time. It stimulates your brain and allows you to think in new ways. When you are  actively engaged  in what you’re reading, you would be able to ask better questions, look at things from a different perspective, identify patterns and make connections.” Anangsha Alammyan

Alammyan shares how she got away from habits that weren’t serving her life (such as scrolling on social media) and instead turned her attention to focus on reading. She shares how she changed her schedule and time management processes to allow herself to devote more time to reading, and she also shares the many ways that she benefited from spending more time on her Kindle and less time on her phone.

3.  How My Diagnosis Improved My College Experience  By Blair Kenney

“When my learning specialist convinced me that I was an intelligent person with a reading disorder, I gradually stopped hiding from what I was most afraid of—the belief that I was a person of mediocre intelligence with overambitious goals for herself. As I slowly let go of this fear, I became much more aware of my learning issues. For the first time, I felt that I could dig below the surface of my unhappiness in school without being ashamed of what I might find.” Blair Kenney

Reading does not come easily to everyone, and dyslexia can make it especially difficult for a person to process words. In this essay, Kenney shares her experience of being diagnosed with dyslexia during her sophomore year of college at Yale. She gave herself more patience, grew in her confidence, and developed techniques that worked to improve her reading and processing skills.

“I took that book home to finish reading it. I’d sit somewhat uncomfortably in a tree or against a stone wall or, more often than not, in my sparsely decorated bedroom with the door closed as my mother had hushed arguments with my father on the phone. There were many things in the book that went over my head during my first time reading it. But a land left with neither Rhyme nor Reason, as I listened to my parents fight, that I understood.” Isaac Fitzgerald

Books can transport a reader to another world. In this essay, Fitzgerald explains how Norton Juster’s novel allowed him to escape a difficult time in his childhood through the magic of his imagination. Writing about a book that had a significant impact on your childhood can help you form an instant connection with your reader, as many people hold a childhood literature favorite near and dear to their hearts.

“From the first paragraph my mind was blown wide open. It not only changed my whole perspective on what literature could be, it changed the way I looked at myself in relation to the world. This was heavy stuff. Of the countless books I had read up to this point, even the ones written in first person, none of them felt like they were speaking directly to me. Not really anyway.” Pat Kelly

Many readers have had the experience of feeling like a book was written specifically for them, and in this essay, Kelly shares that experience with J.D. Salinger’s classic American novel. Writing about a book that felt like it was written specifically for you can give you the chance to share what was happening in your life when you read the book and the lasting impact that the book had on you as a person.

There are several topic options to choose from when you’re writing about reading. You may want to write about how literature you love has changed your life or how others can develop their reading skills to derive similar pleasure from reading.

Middle and high school students who struggle with reading can feel discouraged when, despite their best efforts, their skills do not improve. Research the latest educational techniques for boosting reading skills in high school students (the research often changes) and offer concrete tips (such as using active reading skills) to help students grow.

It’s an excellent persuasive essay topic; it’s fun to write about the piece of literature you believe to be the greatest of all time. Of course, much of this topic is a matter of opinion, and it’s impossible to prove that one piece of literature is “better” than another. Write your essay about how the piece of literature you consider the best positive affected your life and discuss how it’s impacted the world of literature in general.

The world is full of many perspectives and points of view, and it can be hard to imagine the world through someone else’s eyes. Reading books by authors of different gender, race, or socioeconomic status can help open your eyes to the challenges and issues others face. Explain how reading books by authors with different backgrounds has changed your worldview in your essay.

It’s fun to read the information that reinforces viewpoints that you already have, but doing so doesn’t contribute to expanding your mind and helping you see the world from a different perspective. Explain how pushing oneself to see a different point of view can help you better understand your perspective and help open your eyes to ideas you may not have considered.

Tip: If writing an essay sounds like a lot of work, simplify it. Write a simple 5 paragraph essay instead.

If you’re stuck picking your next essay topic, check out our round-up of essay topics about education .

Amanda has an M.S.Ed degree from the University of Pennsylvania in School and Mental Health Counseling and is a National Academy of Sports Medicine Certified Personal Trainer. She has experience writing magazine articles, newspaper articles, SEO-friendly web copy, and blog posts.

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A Short Guide to Close Reading for Literary Analysis

Use the guidelines below to learn about the practice of close reading.

When your teachers or professors ask you to analyze a literary text, they often look for something frequently called close reading. Close reading is deep analysis of how a literary text works; it is both a reading process and something you include in a literary analysis paper, though in a refined form.

Fiction writers and poets build texts out of many central components, including subject, form, and specific word choices. Literary analysis involves examining these components, which allows us to find in small parts of the text clues to help us understand the whole. For example, if an author writes a novel in the form of a personal journal about a character’s daily life, but that journal reads like a series of lab reports, what do we learn about that character? What is the effect of picking a word like “tome” instead of “book”? In effect, you are putting the author’s choices under a microscope.

The process of close reading should produce a lot of questions. It is when you begin to answer these questions that you are ready to participate thoughtfully in class discussion or write a literary analysis paper that makes the most of your close reading work.

Close reading sometimes feels like over-analyzing, but don’t worry. Close reading is a process of finding as much information as you can in order to form as many questions as you can. When it is time to write your paper and formalize your close reading, you will sort through your work to figure out what is most convincing and helpful to the argument you hope to make and, conversely, what seems like a stretch. This guide imagines you are sitting down to read a text for the first time on your way to developing an argument about a text and writing a paper. To give one example of how to do this, we will read the poem “Design” by famous American poet Robert Frost and attend to four major components of literary texts: subject, form, word choice (diction), and theme.

If you want even more information about approaching poems specifically, take a look at our guide: How to Read a Poem .

As our guide to reading poetry suggests, have a pencil out when you read a text. Make notes in the margins, underline important words, place question marks where you are confused by something. Of course, if you are reading in a library book, you should keep all your notes on a separate piece of paper. If you are not making marks directly on, in, and beside the text, be sure to note line numbers or even quote portions of the text so you have enough context to remember what you found interesting.

Design I found a dimpled spider, fat and white, On a white heal-all, holding up a moth Like a white piece of rigid satin cloth— Assorted characters of death and blight Mixed ready to begin the morning right, Like the ingredients of a witches’ broth— A snow-drop spider, a flower like a froth, And dead wings carried like a paper kite. What had that flower to do with being white, The wayside blue and innocent heal-all? What brought the kindred spider to that height, Then steered the white moth thither in the night? What but design of darkness to appall?— If design govern in a thing so small.

The subject of a literary text is simply what the text is about. What is its plot? What is its most important topic? What image does it describe? It’s easy to think of novels and stories as having plots, but sometimes it helps to think of poetry as having a kind of plot as well. When you examine the subject of a text, you want to develop some preliminary ideas about the text and make sure you understand its major concerns before you dig deeper.

Observations

In “Design,” the speaker describes a scene: a white spider holding a moth on a white flower. The flower is a heal-all, the blooms of which are usually violet-blue. This heal-all is unusual. The speaker then poses a series of questions, asking why this heal-all is white instead of blue and how the spider and moth found this particular flower. How did this situation arise?

The speaker’s questions seem simple, but they are actually fairly nuanced. We can use them as a guide for our own as we go forward with our close reading.

• Furthering the speaker’s simple “how did this happen,” we might ask, is the scene in this poem a manufactured situation?
• The white moth and white spider each use the atypical white flower as camouflage in search of sanctuary and supper respectively. Did these flora and fauna come together for a purpose?
• Does the speaker have a stance about whether there is a purpose behind the scene? If so, what is it?
• How will other elements of the text relate to the unpleasantness and uncertainty in our first look at the poem’s subject?

After thinking about local questions, we have to zoom out. Ultimately, what is this text about?

Form is how a text is put together. When you look at a text, observe how the author has arranged it. If it is a novel, is it written in the first person? How is the novel divided? If it is a short story, why did the author choose to write short-form fiction instead of a novel or novella? Examining the form of a text can help you develop a starting set of questions in your reading, which then may guide further questions stemming from even closer attention to the specific words the author chooses. A little background research on form and what different forms can mean makes it easier to figure out why and how the author’s choices are important.

Most poems follow rules or principles of form; even free verse poems are marked by the author’s choices in line breaks, rhythm, and rhyme—even if none of these exists, which is a notable choice in itself. Here’s an example of thinking through these elements in “Design.”

In “Design,” Frost chooses an Italian (or Petrarchan) sonnet form: fourteen lines in iambic pentameter consisting of an octave (a stanza of eight lines) and a sestet (a stanza of six lines). We will focus on rhyme scheme and stanza structure rather than meter for the purposes of this guide. A typical Italian sonnet has a specific rhyme scheme for the octave:

a b b a a b b a

There’s more variation in the sestet rhymes, but one of the more common schemes is

c d e c d e

Conventionally, the octave introduces a problem or question which the sestet then resolves. The point at which the sonnet goes from the problem/question to the resolution is called the volta, or turn. (Note that we are speaking only in generalities here; there is a great deal of variation.)

Frost uses the usual octave scheme with “-ite”/”-ight” (a) and “oth” (b) sounds: “white,” “moth,” “cloth,” “blight,” “right,” “broth,” “froth,” “kite.” However, his sestet follows an unusual scheme with “-ite”/”-ight” and “all” sounds:

a c a a c c

Now, we have a few questions with which we can start:

• Why use an Italian sonnet?
• Why use an unusual scheme in the sestet?
• What problem/question and resolution (if any) does Frost offer?
• What is the volta in this poem?
• In other words, what is the point?

Italian sonnets have a long tradition; many careful readers recognize the form and know what to expect from his octave, volta, and sestet. Frost seems to do something fairly standard in the octave in presenting a situation; however, the turn Frost makes is not to resolution, but to questions and uncertainty. A white spider sitting on a white flower has killed a white moth.

• How did these elements come together?
• Was the moth’s death random or by design?
• Is one worse than the other?

We can guess right away that Frost’s disruption of the usual purpose of the sestet has something to do with his disruption of its rhyme scheme. Looking even more closely at the text will help us refine our observations and guesses.

Word Choice, or Diction

Looking at the word choice of a text helps us “dig in” ever more deeply. If you are reading something longer, are there certain words that come up again and again? Are there words that stand out? While you are going through this process, it is best for you to assume that every word is important—again, you can decide whether something is really important later.

Even when you read prose, our guide for reading poetry offers good advice: read with a pencil and make notes. Mark the words that stand out, and perhaps write the questions you have in the margins or on a separate piece of paper. If you have ideas that may possibly answer your questions, write those down, too.

Let’s take a look at the first line of “Design”:

I found a dimpled spider, fat and white

The poem starts with something unpleasant: a spider. Then, as we look more closely at the adjectives describing the spider, we may see connotations of something that sounds unhealthy or unnatural. When we imagine spiders, we do not generally picture them dimpled and white; it is an uncommon and decidedly creepy image. There is dissonance between the spider and its descriptors, i.e., what is wrong with this picture? Already we have a question: what is going on with this spider?

We should look for additional clues further on in the text. The next two lines develop the image of the unusual, unpleasant-sounding spider:

On a white heal-all, holding up a moth Like a white piece of rigid satin cloth—

Now we have a white flower (a heal-all, which usually has a violet-blue flower) and a white moth in addition to our white spider. Heal-alls have medicinal properties, as their name suggests, but this one seems to have a genetic mutation—perhaps like the spider? Does the mutation that changes the heal-all’s color also change its beneficial properties—could it be poisonous rather than curative? A white moth doesn’t seem remarkable, but it is “Like a white piece of rigid satin cloth,” or like manmade fabric that is artificially “rigid” rather than smooth and flowing like we imagine satin to be. We might think for a moment of a shroud or the lining of a coffin, but even that is awry, for neither should be stiff with death.

The first three lines of the poem’s octave introduce unpleasant natural images “of death and blight” (as the speaker puts it in line four). The flower and moth disrupt expectations: the heal-all is white instead of “blue and innocent,” and the moth is reduced to “rigid satin cloth” or “dead wings carried like a paper kite.” We might expect a spider to be unpleasant and deadly; the poem’s spider also has an unusual and unhealthy appearance.

• The focus on whiteness in these lines has more to do with death than purity—can we understand that whiteness as being corpse-like rather than virtuous?

Well before the volta, Frost makes a “turn” away from nature as a retreat and haven; instead, he unearths its inherent dangers, making nature menacing. From three lines alone, we have a number of questions:

• Will whiteness play a role in the rest of the poem?
• How does “design”—an arrangement of these circumstances—fit with a scene of death?
• What other juxtapositions might we encounter?

These disruptions and dissonances recollect Frost’s alteration to the standard Italian sonnet form: finding the ways and places in which form and word choice go together will help us begin to unravel some larger concepts the poem itself addresses.

Put simply, themes are major ideas in a text. Many texts, especially longer forms like novels and plays, have multiple themes. That’s good news when you are close reading because it means there are many different ways you can think through the questions you develop.

So far in our reading of “Design,” our questions revolve around disruption: disruption of form, disruption of expectations in the description of certain images. Discovering a concept or idea that links multiple questions or observations you have made is the beginning of a discovery of theme.

What is happening with disruption in “Design”? What point is Frost making? Observations about other elements in the text help you address the idea of disruption in more depth. Here is where we look back at the work we have already done: What is the text about? What is notable about the form, and how does it support or undermine what the words say? Does the specific language of the text highlight, or redirect, certain ideas?

In this example, we are looking to determine what kind(s) of disruption the poem contains or describes. Rather than “disruption,” we want to see what kind of disruption, or whether indeed Frost uses disruptions in form and language to communicate something opposite: design.

Sample Analysis

After you make notes, formulate questions, and set tentative hypotheses, you must analyze the subject of your close reading. Literary analysis is another process of reading (and writing!) that allows you to make a claim about the text. It is also the point at which you turn a critical eye to your earlier questions and observations to find the most compelling points, discarding the ones that are a “stretch.” By “stretch,” we mean that we must discard points that are fascinating but have no clear connection to the text as a whole. (We recommend a separate document for recording the brilliant ideas that don’t quite fit this time around.)

Here follows an excerpt from a brief analysis of “Design” based on the close reading above. This example focuses on some lines in great detail in order to unpack the meaning and significance of the poem’s language. By commenting on the different elements of close reading we have discussed, it takes the results of our close reading to offer one particular way into the text. (In case you were thinking about using this sample as your own, be warned: it has no thesis and it is easily discoverable on the web. Plus it doesn’t have a title.)

Frost’s speaker brews unlikely associations in the first stanza of the poem. The “Assorted characters of death and blight / Mixed ready to begin the morning right” make of the grotesque scene an equally grotesque mockery of a breakfast cereal (4–5). These lines are almost singsong in meter and it is easy to imagine them set to a radio jingle. A pun on “right”/”rite” slides the “characters of death and blight” into their expected concoction: a “witches’ broth” (6). These juxtapositions—a healthy breakfast that is also a potion for dark magic—are borne out when our “fat and white” spider becomes “a snow-drop”—an early spring flower associated with renewal—and the moth as “dead wings carried like a paper kite” (1, 7, 8). Like the mutant heal-all that hosts the moth’s death, the spider becomes a deadly flower; the harmless moth becomes a child’s toy, but as “dead wings,” more like a puppet made of a skull. The volta offers no resolution for our unsettled expectations. Having observed the scene and detailed its elements in all their unpleasantness, the speaker turns to questions rather than answers. How did “The wayside blue and innocent heal-all” end up white and bleached like a bone (10)? How did its “kindred spider” find the white flower, which was its perfect hiding place (11)? Was the moth, then, also searching for camouflage, only to meet its end? Using another question as a disguise, the speaker offers a hypothesis: “What but design of darkness to appall?” (13). This question sounds rhetorical, as though the only reason for such an unlikely combination of flora and fauna is some “design of darkness.” Some force, the speaker suggests, assembled the white spider, flower, and moth to snuff out the moth’s life. Such a design appalls, or horrifies. We might also consider the speaker asking what other force but dark design could use something as simple as appalling in its other sense (making pale or white) to effect death. However, the poem does not close with a question, but with a statement. The speaker’s “If design govern in a thing so small” establishes a condition for the octave’s questions after the fact (14). There is no point in considering the dark design that brought together “assorted characters of death and blight” if such an event is too minor, too physically small to be the work of some force unknown. Ending on an “if” clause has the effect of rendering the poem still more uncertain in its conclusions: not only are we faced with unanswered questions, we are now not even sure those questions are valid in the first place. Behind the speaker and the disturbing scene, we have Frost and his defiance of our expectations for a Petrarchan sonnet. Like whatever designer may have altered the flower and attracted the spider to kill the moth, the poet built his poem “wrong” with a purpose in mind. Design surely governs in a poem, however small; does Frost also have a dark design? Can we compare a scene in nature to a carefully constructed sonnet?

A Note on Organization

Your goal in a paper about literature is to communicate your best and most interesting ideas to your reader. Depending on the type of paper you have been assigned, your ideas may need to be organized in service of a thesis to which everything should link back. It is best to ask your instructor about the expectations for your paper.

Knowing how to organize these papers can be tricky, in part because there is no single right answer—only more and less effective answers. You may decide to organize your paper thematically, or by tackling each idea sequentially; you may choose to order your ideas by their importance to your argument or to the poem. If you are comparing and contrasting two texts, you might work thematically or by addressing first one text and then the other. One way to approach a text may be to start with the beginning of the novel, story, play, or poem, and work your way toward its end. For example, here is the rough structure of the example above: The author of the sample decided to use the poem itself as an organizational guide, at least for this part of the analysis.

• A paragraph about the octave.
• A paragraph about the volta.
• A paragraph about the penultimate line (13).
• A paragraph about the final line (14).
• A paragraph addressing form that suggests a transition to the next section of the paper.

You will have to decide for yourself the best way to communicate your ideas to your reader. Is it easier to follow your points when you write about each part of the text in detail before moving on? Or is your work clearer when you work through each big idea—the significance of whiteness, the effect of an altered sonnet form, and so on—sequentially?

We suggest you write your paper however is easiest for you then move things around during revision if you need to.

Further Reading

If you really want to master the practice of reading and writing about literature, we recommend Sylvan Barnet and William E. Cain’s wonderful book, A Short Guide to Writing about Literature . Barnet and Cain offer not only definitions and descriptions of processes, but examples of explications and analyses, as well as checklists for you, the author of the paper. The Short Guide is certainly not the only available reference for writing about literature, but it is an excellent guide and reminder for new writers and veterans alike.

Academic and Professional Writing

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Analysis Papers

Reading Poetry

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How to Do a Close Reading

Use the links below to jump directly to any section of this guide:

Close Reading Fundamentals

How to choose a passage to close-read, how to approach a close reading, how to annotate a passage, how to improve your close reading, how to practice close reading, how to incorporate close readings into an essay, how to teach close reading, additional resources for advanced students.

Close reading engages with the formal properties of a text—its literary devices, language, structure, and style. Popularized in the mid-twentieth century, this way of reading allows you to interpret a text without outside information such as historical context, author biography, philosophy, or political ideology. It also requires you to put aside your affective (that is, personal and emotional) response to the text, focusing instead on objective study. Why close-read a text? Doing so will increase your understanding of how a piece of writing works, as well as what it means. Perhaps most importantly, close reading can help you develop and support an essay argument. In this guide, you'll learn more about what close reading entails and find strategies for producing precise, creative close readings. We've included a section with resources for teachers, along with a final section with further reading for advanced students.

You might compare close reading to wringing out a wet towel, in which you twist the material repeatedly until you have extracted as much liquid as possible. When you close-read, you'll return to a short passage several times in order to note as many details about its form and content as possible. Use the links below to learn more about close reading's place in literary history and in the classroom.

"Close Reading" (Wikipedia)

Wikipedia's relatively short introduction to close reading contains sections on background, examples, and how to teach close reading. You can also click the links on this page to learn more about the literary critics who pioneered the method.

"Close Reading: A Brief Note" (Literariness.org)

This article provides a condensed discussion of what close reading is, how it works, and how it is different from other ways of reading a literary text.

"What Close Reading Actually Means" ( TeachThought )

In this article by an Ed.D., you'll learn what close reading "really means" in the classroom today—a meaning that has shifted significantly from its original place in 20th century literary criticism.

"Close Reading" (Univ. of Washington)

This hand-out from a college writing course defines close reading, suggests  why  we close-read, and offers tips for close reading successfully, including focusing on language, audience, and scope.

"Glossary Entry on New Criticism" (Poetry Foundation)

If you'd like to read a short introduction to the school of thought that gave rise to close reading, this is the place to go. Poetry Foundation's entry on New Criticism is concise and accessible.

"New Criticism" (Washington State Univ.)

This webpage from a college writing course offers another brief explanation of close reading in relation to New Criticism. It provides some key questions to help you think like a New Critic.

When choosing a passage to close-read, you'll want to look for relatively short bits of text that are rich in detail. The resources below offer more tips and tricks for selecting passages, along with links to pre-selected passages you can print for use at home or in the classroom.

"How to Choose the Perfect Passage for Close Reading" ( We Are Teachers )

This post from a former special education teacher describes six characteristics you might look for when selecting a close reading passage from a novel: beginnings, pivotal plot points, character changes, high-density passages, "Q&A" passages, and "aesthetic" passages. 

"Close Reading Passages" (Reading Sage)

Reading Sage provides links to close reading passages you can use as is; alternatively, you could also use them as models for selecting your own passages. The page is divided into sections geared toward elementary, middle school, and early high school students.

"Close Reading" (Univ. of Guelph)

The University of Guelph's guide to close reading contains a short section on how to "Select a Passage." The author suggests that you choose a brief passage. 

"Close Reading Advice" (Prezi)

This Prezi was created by an AP English teacher. The opening section on passage selection suggests choosing "thick paragraphs" filled with "figurative language and rich details or description."

Now that you know how to select a passage to analyze, you'll need to familiarize yourself with the textual qualities you should look for when reading. Whether you're approaching a poem, a novel, or a magazine article, details on the level of language (literary devices) and form (formal features) convey meaning. Understanding  how  a text communicates will help you understand  what  it is communicating. The links in this section will familiarize you with the tools you need to start a close reading.

Literary Devices

"Literary Devices and Terms" (LitCharts)

LitCharts' dedicated page covers 130+ literary devices. Also known as "rhetorical devices," "figures of speech," or "elements of style," these linguistic constructions are the building blocks of literature. Some of the most common include  simile , metaphor , alliteration , and onomatopoeia ; browse the links on LitCharts to learn about many more. 

"Rhetorical Device" (Wikipedia)

Wikipedia's page on rhetorical devices defines the term in relation to the ancient art of "rhetoric" or persuasive speaking. At the bottom of the page, you'll find links to several online handbooks and lists of rhetorical devices.

"15 Must Know Rhetorical Terms for AP English Literature" ( Albert )

The  Albert blog   offers this list of 15 rhetorical devices that high school English students should know how to define and spot in a literary text; though geared toward the Advanced Placement exam, its tips are widely applicable.

"The 55 AP Language and Composition Terms You Must Know" (PrepScholar)

This blog post lists 55 terms high school students should learn how to recognize and define for the Advanced Placement exam in English Literature.

Formal Features

In LitCharts' bank of literary devices and terms, you'll also find resources to describe a text's structure and overall character. Some of the most important of these are  rhyme , meter , and  tone ; browse the page to find more. 

"Rhythm" ( Encyclopedia Britannica )

This encyclopedia entry on rhythm and meter offers an in-depth definition of the two most fundamental aspects of poetry.

"How to Analyze Syntax for AP English Literature" ( Albert)

The Albert blog will help you understand what "syntax" is, making a case for why you should pay attention to sentence structure when analyzing a literary text.

"Grammar Basics: Sentence Parts and Sentence Structures" ( ThoughtCo )

This article provides a meticulous overview of the components of a sentence. It's useful if you need to review your parts of speech or if you need to be able to identify things like prepositional phrases.

"Style, Diction, Tone, and Voice" (Wheaton College)

Wheaton College's Writing Center offers this clear, concise discussion of several important formal features. Although it's designed to help essay writers, it will also help you understand and spot these stylistic features in others' work. 

Now that you know what rhetorical devices, formal features, and other details to look for, you're ready to find them in a text. For this purpose, it is crucial to annotate (write notes) as you read and re-read. Each time you return to the text, you'll likely notice something new; these observations will form the basis of your close reading. The resources in this section offer some concrete strategies for annotating literary texts.

"How to Annotate a Text" (LitCharts)

Begin by consulting our  How to Annotate a Text  guide. This collection of links and resources is helpful for short passages (that is, those for close reading) as well as longer works, like whole novels or poems.

"Annotation Guide" (Covington Catholic High School)

This hand-out from a high school teacher will help you understand why we annotate, and how to annotate a text successfully. You might choose to incorporate some of the interpretive notes and symbols suggested here.

"Annotating Literature" (New Canaan Public Schools)

This one-page, introductory resource provides a list of 10 items you should look for when reading a text, including attitude and theme.

"Purposeful Annotation" (Dave Stuart Jr.)

This article from a high school teacher's blog describes the author's top close reading strategy: purposeful annotation. In fact, this teacher more or less equates close reading with annotation.

Looking for ways to improve your close reading? The articles, guides, and videos in this section will expose you to various methods of close reading, as well as practice exercises. No two people read exactly the same way. Whatever your level of expertise, it can be useful to broaden your skill set by testing the techniques suggested by the resources below.

"How to Do a Close Reading" (Harvard College Writing Center)

This article, part of Harvard's comprehensive "Strategies for Essay Writing Guide," describes three steps to a successful close reading. You will want to return to this resource when incorporating your close reading into an essay.

"A Short Guide to Close Reading for Literary Analysis" (Univ. of Wisconsin-Madison Writing Center)

Working through this guide from another college writing center will help you move through the process of close reading a text. You'll find a sample analysis of Robert Frost's "Design" at the end.

"How to Do a Close Reading of a Text" (YouTube)

This four-minute video from the "Literacy and Math Ideas" channel offers a number of helpful tips for reading a text closely in accordance with Common Core standards.

"Poetry: Close Reading" (Purdue OWL)

Short, dense poems are a natural fit for the close reading approach. This page from the Purdue Online Writing Lab takes you step-by-step through an analysis of Shakespeare's Sonnet 116.

"Steps for Close Reading or Explication de Texte" ( The Literary Link )

This page, which mentions close reading's close relationship to the French formalist method of  "explication de texte," shares "12 Steps to Literary Awareness."

You can practice your close reading skills by reading, re-reading and annotating any brief passage of text. The resources below will get you started by offering pre-selected passages and questions to guide your reading. You'll find links to resources that are designed for students of all levels, from elementary school through college.

"Notes on Close Reading" (MIT Open Courseware)

This resource describes steps you can work through when close reading, providing a passage from Mary Shelley's  Frankenstein  for you to test your skills.

"Close Reading Practice Worksheets" (Gillian Duff's English Resources)

Here, you'll find 10 close reading-centered worksheets you can download and print. The "higher-close-reading-formula" link at the bottom of the page provides a chart with even more steps and strategies for close reading.

"Close Reading Activities" (Education World)

The four activities described on this page are best suited to elementary and middle school students. Under each heading is a link to handouts or detailed descriptions of the activity.

"Close Reading Practice Passages: High School" (Varsity Tutors)

This webpage from Varsity Tutors contains over a dozen links to close reading passages and exercises, including several resources that focus on close-reading satire.

"Benjamin Franklin's Satire of Witch Hunting" (America in Class)

This page contains both a "teacher's guide" and "student version" to interpreting Benjamin Franklin's satire of a witch trial. The thirteen close reading questions on the right side of the page will help you analyze the text thoroughly.

Whether you're writing a research paper or an essay, close reading can help you build an argument. Careful analysis of your primary texts allows you to draw out meanings you want to emphasize, thereby supporting your central claim. The resources in this section introduce you to strategies suited to various common writing assignments.

"How to Write a Research Paper" (LitCharts)

The resources in this guide will help you learn to formulate a thesis, organize evidence, write an outline, and draft a research paper, one of the two most common assignments in which you might incorporate close reading.

"How to Write an Essay" (LitCharts)

In this guide, you'll learn how to plan, draft, and revise an essay, whether for the classroom or as a take-home assignment. Close reading goes hand in hand with the brainstorming and drafting processes for essay writing.

"Guide to the Close Reading Essay" (Univ. of Warwick)

This guide was designed for undergraduates, and assumes prior knowledge of formal features and rhetorical devices one might find in a poem. High schoolers will find it useful after addressing the "elements of a close reading" section above.

"Beginning the Academic Essay" (Harvard College Writing Center)

Harvard's guide discusses the broader category of the "academic essay." Here, the author assumes that your essay's close readings will be accompanied by context and evidence from secondary sources. 

A Short Guide to Writing About Literature (Amazon)

Sylvan Barnet and William E. Cain emphasize that writing is a process. In their book, you'll find definitions of important literary terms, examples of successful explications of literary texts, and checklists for essay writers.

Due in part to the Common Core's emphasis on close reading skills, resources for teaching students how to close-read abound. Here, you'll find a wealth of information on how and why we teach students to close-read texts. The first section includes links to activities, exercises, and complete lesson plans. The second section offers background material on the method, along with strategies for implementing close reading in the classroom.

Lesson Plans and Activities

"Four Lessons for Introducing the Fundamental Steps of Close Reading" (Corwin)

Here, Corwin has made the second chapter of Nancy Akhavan's  The Nonfiction Now Lesson Bank, Grades 4 – 8 available online. You'll find four sample lessons to use in the elementary or middle school classroom

"Sonic Patterns: Exploring Poetic Techniques Through Close Reading" ( ReadWriteThink )

This lesson plan for high school students includes material for five 50-minute sessions on sonic patterns (including consonance, assonance, and alliteration). The literary text at hand is Robert Hayden's "Those Winter Sundays."

"Close Reading of a Short Text: Complete Lesson" (McGraw Hill via YouTube)

This eight-minute video describes a complete lesson in which a teacher models close reading of a short text and offers guiding questions.

"Close Reading Model Lessons" (Achieve the Core)

These three model lessons on close reading will help you determine what makes a text "appropriately complex" for the grade level you teach.

Close Reading Bundle (Teachers Pay Teachers)

This top-rated bundle of close reading resources was designed for the middle school classroom. It contains over 150 pages of worksheets, complete lesson plans, and literacy center ideas.

"10 Intriguing Photos to Teach Close Reading and Visual Thinking Skills" ( The New York Times )

The New York Times' s Learning Network has gathered 10 photos from the "What's Going on in This Picture" series that teachers can use to help students develop analytical and visual thinking skills.

"The Close Reading Essay" (Brandeis Univ.)

Brandeis University's writing program offers this detailed set of guidelines and goals you might use when assigning a close reading essay.

Close Reading Resources (Varsity Tutors)

Varsity Tutors has compiled a list of over twenty links to lesson plans, strategies, and activities for teaching elementary, middle school, and high school students to close read.

Background Material and Teaching Strategies

Falling in Love with Close Reading (Amazon)

Christopher Lehman and Kate Roberts aim to show how close reading can be "rigorous, meaningful, and joyous." It offers a three-step "close reading ritual" and engaging lesson plans.

Notice & Note: Strategies for Close Reading (Amazon)

Kylene Beers (a former Senior Reading Researcher at Yale) and Robert E. Probst (a Professor Emeritus of English Education) introduce six "signposts" readers can use to detect significant moments in a work of literature.

"How to Do a Close Reading" (YouTube)

TeachLikeThis offers this four-minute video on teaching students to close-read by looking at a text's language, narrative, syntax, and context.

"Strategy Guide: Close Reading of a Literary Text" ( ReadWriteThink )

This guide for middle school and high school teachers will help you choose texts that are appropriately complex for the grade level you teach, and offers strategies for planning engaging lessons.

"Close Reading Steps for Success" (Appletastic Learning)

Shelly Rees, a teacher with over 20 years of experience, introduces six helpful steps you can use to help your students engage with challenging reading passages. The article is geared toward elementary and middle school teachers.

"4 Steps to Boost Students' Close Reading Skills" ( Amplify )

Doug Fisher, a professor of educational leadership, suggests using these four steps to help students at any grade level learn how to close read. 

Like most tools of literary analysis, close reading has a complex history. It's not necessary to understand the theoretical underpinnings of close reading in order to use this tool. For advanced high school students and college students who ask "why close-read," though, the resources below will serve as useful starting points for discussion.

"Discipline and Parse: The Politics of Close Reading" ( Los Angeles Review of Books )

This book review by a well-known English professor at Columbia provides an engaging, anecdotal introduction to close reading's place in literary history. Robbins points to some of the method's shortcomings, but also elegantly defends it.

"Intentional Fallacy" ( Encyclopedia Britannica )

The literary critics who developed close reading cautioned against judging a text based on the author's intention. This encyclopedia entry offers an expanded definition of this way of reading, called the "intentional fallacy."

"Seven Types of Ambiguity" (Wikipedia)

This Wikipedia article will introduce you to William Empson's Seven Types of Ambiguity  (1930), one of the foundational texts of New Criticism, the school of thought that theorized close reading.

"What is Distant Reading" ( The New York Times)

This article makes it clear that "close reading" isn't the only way to analyze literary texts. It offers a brief introduction to the "distant reading" method of computational criticism pioneered by Franco Moretti in recent years.

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

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

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

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

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

2. Prepare to read with an open mind.

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

3. Consider the title.

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

4. Read slowly.

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

5. Use the dictionary and other appropriate reference works.

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

6. Make notes.

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

7. Keep a reading journal

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

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

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Teaching Comprehension Background Questions

What is reading comprehension and why is it important.

“Real reading has to do with thinking, learning, and expanding a reader’s knowledge and horizons. It has to do with building on past knowledge, mastering new information, and connecting with the minds of those you’ve never met.”

Zimmerman, S. and Hutchins, C. (2003) Seven keys to comprehension: How to help your kids read it and get it! New York: Three Rivers Press.

Reading comprehension is the ability to read text, process it and understand its meaning. It relies on two, interconnected abilities: word reading (being able to decode the symbols on the page) and language comprehension (being able to understand the meaning of the words and sentences).

When we make sense of a text, however, we don’t just remember the exact words and phrases we read. Rather, we form a mental model of what the text describes by integrating the sense of the words and sentences into a meaningful whole, like a film that plays in our head.

Good comprehension is vital if reading is to have a purpose, if a reader is to engage with and learn from a text and, ultimately, if a reader is to enjoy what they’re reading.

For more information about the nature of comprehension, an excellent introduction is provided by Understanding and Teaching Reading Comprehension: A handbook by Jane Oakhill, Kate Cain and Carsten Elbro (Routledge, 2014).

Related Background Questions

• How is word reading related to reading comprehension?
• What are some of the challenges to good reading comprehension?
• What are the factors associated with good comprehension?
• Why is vocabulary development important for comprehension?
• How can reading comprehension best be taught?
• Does the amount of time children spend reading have an impact on their comprehension skills?
• Is there a difference between reading on screen and reading on paper in terms of comprehension?
• What does the Curriculum for Wales say about comprehension?
• How do the national tests assess reading comprehension in Wales?

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About academic reading

Identify your purpose for reading, some reading techniques.

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Academic reading is an important yet sometimes difficult skill to learn; however, if you approach it strategically you will find it much easier to master!

When you get to university, you’ll find you need to get through a lot of readings either from your reading list, or for wider reading in preparation for an assignment. These may be journal articles, chapters in edited books or chapters in textbooks. Many of these academic texts will seem quite difficult, especially to begin with. Don’t despair! You may not have to read every article on your reading list. If you learn how to preview your readings first, you can select those readings or sections of a reading that are most relevant to your needs. There are a range of strategies that you can use to make the task less overwhelming.

Your Unit Handbook or Study Guide will have a reading list. This list will usually be divided into required readings and recommended readings. Always begin with the required readings. Ideally, these will be general texts that can give you an overview of the topic. Once you have a general idea of the course content, more specific or detailed texts will be easier to understand.

You will be required to read for a number of situations. For example, you may need to read for: (click to see hidden text)

To make the most of your reading, you need to be able to identify your purpose. In many cases, this purpose will be identified in questions included in the Unit Handbook or Study Guide. These questions will make it easier to understand what you are reading.

If there are no questions, you need to identify more specific purposes for reading because why you are reading will determine how you read. The way you read a novel, a newspaper, a telephone book and an academic article will be different because your purpose for reading will be different each time. There are three main types of reading that people do:

• Reading for quick reference – when you need to find particular information
• Reading for pleasure – to relax, for fun, because you like the writer’s style
• Critical reading – to understand/analyse ideas or concepts

Some reasons for reading might be:

• to locate names or numbers
• to find a description of an event
• to find details of an experiment
• to gain an overall impression
• to identify the main theme
• to identify the structure of an argument
• to identify main points
• to evaluate the style
• to evaluate the author’s point of view

How you read a text will depend on why you are reading the text. Drag the descriptions of how you will read into the correct cell to complete the table:

Because there is so much to read when you’re studying at university, you need to read selectively. The pre-reading stage is an important step in the reading process.

Pre-reading

Before you begin to read, preview the text. What is the title? Who is the author? When was it published? Who is the publisher?

When you need to find specific information such as a name or a date, you can scan the text. When you scan, you do not actually read the text; instead you search for a particular item. You can also scan a text to identify the sections that are important for you.

To gain an overall impression of a text, you can skim the text. The technique involves reading the title, the first paragraph, the first sentence of each of the body paragraphs and the last paragraph. Also look at any graphics in the text. By skimming a text you can decide if it’s relevant and you can prepare yourself for a more detailed reading of the text. Since you have already gained an overall impression, your detailed reading will be more meaningful.

Read the description and decide which reading technique will be best to use:

1. You’ve downloaded an article from a database but you are not sure whether it is relevant or not.

2. You are searching for possible answers to exam questions in your textbook.

3. You want to know the results of an experiment in a scientific report.

4. You want an overview of an experiment in a scientific report.

5. You have started a new unit and have just bought the textbook.

You are looking for the following information in the text. When you are ready, click on the icon. You will have 20 seconds to locate the information before the text disappears. Note that to do this exercise successfully, you cannot read the whole text, but must look only for the particular information. You can check your answers once you have read the text:

1. How much more slowly do people read a web page than a printed text? 2. What per cent of people read a web page word for word? 3. What per cent of people scan a web page?

Scan the table of contents and then answer the questions that follow. You will have 20 seconds before the text disappears. You can check your answers once you have read the text:

1. In which chapter(s) will you find information on reading? 2. In which section will you find information on referencing? 3. To which page should you turn to read about preparing for exams?

Effective reading

There is a range of strategies that you can use to ensure you get the most out of your reading.

Be active while you read. You can do this is by asking questions, making notes and keeping a vocabulary list.

Asking questions

These may be about the purpose:

• Why has the author written the text?
• What theoretical perspective does the author take?
• Are the purposes stated explicitly, or are there underlying biases?

Or about the content:

• What is the main idea/theme in the text?
• What evidence is used to support the main points?
• What are the main points to support it?
• Is the evidence convincing? Why / why not?

Making notes

When you read a text in detail, you should make notes. Many students indiscriminately highlight material as they read. If you do use a highlighter, use it only on key words and phrases, and always follow up with some sort of written note or summary. Making notes is much better than underlining and highlighting. You are not only summarising the text, but you will also be more likely to remember what you have read.

You don’t need to stick to writing words when you make your notes. Be creative. Draw diagrams and pictures if these help.

What to note:

• Key elements, such as the theme/thesis/argument, central ideas, major characters or crucial information.
• The author’s purposes and assumptions (explicit and implicit).
• Single phrases or sentences that encapsulate key elements or the author’s purpose and assumptions.
• Details or facts that appeal to you, such as a useful statistic or a vivid image.
• Items to follow up, such as a question, an idea that offers further possibilities, a puzzling comment, an unfamiliar word, an explanation you do not understand or an opinion you question.  

Keeping a vocabulary list

As you read, write down any new or difficult words. Look these up in a dictionary and try to use them in a sentence or explain what they mean in your own words. This will help you to remember the word. Compile a glossary of key terms and concepts in your discipline.

This means:

What is the main argument? What are the main points supporting the argument? What evidence is used to support the main points? Is the evidence convincing? If not, why not?

Overcoming reading difficulties

As a student, there are times when the reading you need to do makes little sense, even after you have applied various reading techniques. Here are additional ideas to help clear your head and put you back on the road to success.

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What I’ve Learned From My Students’ College Essays

The genre is often maligned for being formulaic and melodramatic, but it’s more important than you think.

By Nell Freudenberger

Most high school seniors approach the college essay with dread. Either their upbringing hasn’t supplied them with several hundred words of adversity, or worse, they’re afraid that packaging the genuine trauma they’ve experienced is the only way to secure their future. The college counselor at the Brooklyn high school where I’m a writing tutor advises against trauma porn. “Keep it brief , ” she says, “and show how you rose above it.”

I started volunteering in New York City schools in my 20s, before I had kids of my own. At the time, I liked hanging out with teenagers, whom I sometimes had more interesting conversations with than I did my peers. Often I worked with students who spoke English as a second language or who used slang in their writing, and at first I was hung up on grammar. Should I correct any deviation from “standard English” to appeal to some Wizard of Oz behind the curtains of a college admissions office? Or should I encourage students to write the way they speak, in pursuit of an authentic voice, that most elusive of literary qualities?

In fact, I was missing the point. One of many lessons the students have taught me is to let the story dictate the voice of the essay. A few years ago, I worked with a boy who claimed to have nothing to write about. His life had been ordinary, he said; nothing had happened to him. I asked if he wanted to try writing about a family member, his favorite school subject, a summer job? He glanced at his phone, his posture and expression suggesting that he’d rather be anywhere but in front of a computer with me. “Hobbies?” I suggested, without much hope. He gave me a shy glance. “I like to box,” he said.

I’ve had this experience with reluctant writers again and again — when a topic clicks with a student, an essay can unfurl spontaneously. Of course the primary goal of a college essay is to help its author get an education that leads to a career. Changes in testing policies and financial aid have made applying to college more confusing than ever, but essays have remained basically the same. I would argue that they’re much more than an onerous task or rote exercise, and that unlike standardized tests they are infinitely variable and sometimes beautiful. College essays also provide an opportunity to learn precision, clarity and the process of working toward the truth through multiple revisions.

When a topic clicks with a student, an essay can unfurl spontaneously.

Even if writing doesn’t end up being fundamental to their future professions, students learn to choose language carefully and to be suspicious of the first words that come to mind. Especially now, as college students shoulder so much of the country’s ethical responsibility for war with their protest movement, essay writing teaches prospective students an increasingly urgent lesson: that choosing their own words over ready-made phrases is the only reliable way to ensure they’re thinking for themselves.

Teenagers are ideal writers for several reasons. They’re usually free of preconceptions about writing, and they tend not to use self-consciously ‘‘literary’’ language. They’re allergic to hypocrisy and are generally unfiltered: They overshare, ask personal questions and call you out for microaggressions as well as less egregious (but still mortifying) verbal errors, such as referring to weed as ‘‘pot.’’ Most important, they have yet to put down their best stories in a finished form.

I can imagine an essay taking a risk and distinguishing itself formally — a poem or a one-act play — but most kids use a more straightforward model: a hook followed by a narrative built around “small moments” that lead to a concluding lesson or aspiration for the future. I never get tired of working with students on these essays because each one is different, and the short, rigid form sometimes makes an emotional story even more powerful. Before I read Javier Zamora’s wrenching “Solito,” I worked with a student who had been transported by a coyote into the U.S. and was reunited with his mother in the parking lot of a big-box store. I don’t remember whether this essay focused on specific skills or coping mechanisms that he gained from his ordeal. I remember only the bliss of the parent-and-child reunion in that uninspiring setting. If I were making a case to an admissions officer, I would suggest that simply being able to convey that experience demonstrates the kind of resilience that any college should admire.

The essays that have stayed with me over the years don’t follow a pattern. There are some narratives on very predictable topics — living up to the expectations of immigrant parents, or suffering from depression in 2020 — that are moving because of the attention with which the student describes the experience. One girl determined to become an engineer while watching her father build furniture from scraps after work; a boy, grieving for his mother during lockdown, began taking pictures of the sky.

If, as Lorrie Moore said, “a short story is a love affair; a novel is a marriage,” what is a college essay? Every once in a while I sit down next to a student and start reading, and I have to suppress my excitement, because there on the Google Doc in front of me is a real writer’s voice. One of the first students I ever worked with wrote about falling in love with another girl in dance class, the absolute magic of watching her move and the terror in the conflict between her feelings and the instruction of her religious middle school. She made me think that college essays are less like love than limerence: one-sided, obsessive, idiosyncratic but profound, the first draft of the most personal story their writers will ever tell.

Nell Freudenberger’s novel “The Limits” was published by Knopf last month. She volunteers through the PEN America Writers in the Schools program.

Reading is Good Habit for Students and Children

 500+ words essay on reading is good habit.

Reading is a very good habit that one needs to develop in life. Good books can inform you, enlighten you and lead you in the right direction. There is no better companion than a good book. Reading is important because it is good for your overall well-being. Once you start reading, you experience a whole new world. When you start loving the habit of reading you eventually get addicted to it. Reading develops language skills and vocabulary. Reading books is also a way to relax and reduce stress. It is important to read a good book at least for a few minutes each day to stretch the brain muscles for healthy functioning.

Benefits of Reading

Books really are your best friends as you can rely on them when you are bored, upset, depressed, lonely or annoyed. They will accompany you anytime you want them and enhance your mood. They share with you information and knowledge any time you need. Good books always guide you to the correct path in life. Following are the benefits of reading –

Self Improvement: Reading helps you develop positive thinking. Reading is important because it develops your mind and gives you excessive knowledge and lessons of life. It helps you understand the world around you better. It keeps your mind active and enhances your creative ability.

Communication Skills: Reading improves your vocabulary and develops your communication skills. It helps you learn how to use your language creatively. Not only does it improve your communication but it also makes you a better writer. Good communication is important in every aspect of life.

Get the huge list of more than 500 Essay Topics and Ideas

Increases Knowledge: Books enable you to have a glimpse into cultures, traditions, arts, history, geography, health, psychology and several other subjects and aspects of life. You get an amazing amount of knowledge and information from books.

Reduces Stress: Reading a good book takes you in a new world and helps you relieve your day to day stress. It has several positive effects on your mind, body, and soul. It stimulates your brain muscles and keeps your brain healthy and strong.

Great Pleasure: When I read a book, I read it for pleasure. I just indulge myself in reading and experience a whole new world. Once I start reading a book I get so captivated I never want to leave it until I finish. It always gives a lot of pleasure to read a good book and cherish it for a lifetime.

Boosts your Imagination and Creativity: Reading takes you to the world of imagination and enhances your creativity. Reading helps you explore life from different perspectives. While you read books you are building new and creative thoughts, images and opinions in your mind. It makes you think creatively, fantasize and use your imagination.

Develops your Analytical Skills: By active reading, you explore several aspects of life. It involves questioning what you read. It helps you develop your thoughts and express your opinions. New ideas and thoughts pop up in your mind by active reading. It stimulates and develops your brain and gives you a new perspective.

Reduces Boredom: Journeys for long hours or a long vacation from work can be pretty boring in spite of all the social sites. Books come in handy and release you from boredom.

Read Different Stages of Reading here.

The habit of reading is one of the best qualities that a person can possess. Books are known to be your best friend for a reason. So it is very important to develop a good reading habit. We must all read on a daily basis for at least 30 minutes to enjoy the sweet fruits of reading. It is a great pleasure to sit in a quiet place and enjoy reading. Reading a good book is the most enjoyable experience one can have.

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• Reading to Engage and Evaluate
• Effective Critical Reading

Audience and Purpose

Analysis Checklist

• Reading for Evaluation

As an effective critical reader you must be able to identify the important elements of a text and their function.

To analyze means to break a text down into its parts to better understand it. When analyzing you notice both what the author is saying and how they are saying it. Looking deeply into a text beyond the explicit information can tell you the intended audience, the author's agenda or purpose, and the argument. Clues about these areas are often found in the language the author uses such as the word choice, phrasing, and tone. 

Look at this excerpt. Click each number button to learn more about evaluating this text:

How Is Asthma Treated? 

Take your medicine exactly as your doctor tells you and stay away from things that can trigger an attack to control your asthma.

Everyone with asthma does not take the same medicine. 

You can breathe in some medicines and take other medicines as a pill. Asthma medicines come in two types-quick-relief and long-term control. Quick-relief medicines control the symptoms of an asthma attack. If you need to use your quick-relief medicines more and more, visit your doctor to see if you need a different medicine. Long-term control medicines help you have fewer and milder attacks, but they don't help you while you are having an asthma attack. 

Asthma medicines can have side effects, but most side effects are mild and soon go away.  Ask your doctor about the side effects of your medicines. 

Remember -you can control your asthma. With your doctor's help, make your own asthma action plan. Decide who should have a copy of your plan and where he or she should keep it. Take your long-term control medicine even when you don't have symptoms. (Centers for Disease Control and Prevention [CDC), 2018).

Use of Second Person

The author uses the second person point of view, the "you" pronoun to address the reader. The use of second person point of view is informal and not often seen as scholarly writing.

Scholarly Voice

The author uses contractions like don't and avoids medical terminology and difficult vocabulary.

Talking Directly to Readers

The author seems to be talking directly to readers who are not in the medical profession, giving them advice on how to treat asthma and prevent attacks.

From this analysis we can interpret that the intended audience is individuals with asthma.

The tone, while informal, it is also authoritative and direct. Note and gentle, emotional, or anecdotal information that is included. The author does not highlight statistics about the high rate of asthma or the implications of leaving it untreated. In order to persuade, the writing is presented in an objective manner that supports awareness. From this analysis, we understand that the author's purpose is to inform in a very practical way.

Why does analyzing for audience and purpose matter?

The audience and purpose can tell you whether a source might be appropriate to use in your own research and writing.

For example, because this excerpt was written to inform the general public about asthma, it does not have the level of detail and evidence necessary for scholarly research. 

It is also helpful to know from what point of view the author is writing so you can consider that when evaluating for potential bias. Another benefit of analyzing in this way is that you can apply what you learn to your own writing. For example, when reading an academic essay you may identify that word choice and tone are really effective in communicating with the academic community. You can then try a similar voice and tone in your own writing.

If you find it helpful to follow checklists, consider using this one to practice your analysis skills as you are reading. 

Who is the intended audience?

What is the author's purpose?

How do the audience and purpose influence your reading?

Argument and Evidence

What is the thesis?

What are the main points that support that thesis, and how do those main points connect?

What evidence is used?

Language and Tone

What is the tone the author uses?

How does the author's use of language and tone support the audience, purpose, and argument?

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The families risking everything to keep Ukraine’s trains running – photo essay

Dutch photographer Jelle Krings has been documenting the workers of the Ukrainian railway since the war began. Here, he revisits the families that have kept a war-torn country moving, often to great personal sacrifice

• Words and pictures by Jelle Krings

I n the early hours of 24 February 2022, when Russian bombs and rockets struck Ukrainian cities and infrastructure throughout the country, railway workers boarded trains heading east. Determined to get as many people as possible to safety , they would end up evacuating millions to Ukraine’s borders in the west.

Ukraine’s new railway chief Yevhen Liashchenko was in the team that guided the network through the first stages of the war. He says his people acted not because they were instructed to but because “they didn’t know any other way”. There was no time for bureaucracy, “decisions were made by the people on the ground, and they love the railway, not as a business but as a family”.

It takes more than 230,000 people to keep the trains running in Ukraine.

The railway station in Lyman, Donbas, destroyed by shelling

Yevhen Liashchenko, chief executive of Ukrainian railways, has been leading Ukraine’s 230,000 railway workers through the war

Together they run a vast railway network of more than 15,000 miles (24,000km) of track, one that has been invaluable for Ukraine’s ability to withstand the invasion. Despite continual bombing, the network has largely remained operational. Damage to the tracks is swiftly repaired, and shell-hit critical infrastructure is promptly restored.

Over two years, we followed families and workers living by the tracks near the frontlines to find out how the war and the struggle to keep the trains running is shaping their lives.

The Neschcheryakovas

Nadiya Neschcheryakova works as an attendant at a railway crossing in Bucha, about 10 miles from Kyiv. She works in shifts, sharing her post with her mother and two other women. On the morning of the invasion, the sound of explosions pierced the sky above the thick pine forests surrounding her home. She went to work anyway. A few days later, her post at the railway crossing was occupied by Russian troops. Her home in the next village along the track was now at the frontline of the war.

Nadiya Neschcheryakova operates her railway crossing in Bucha, near Kyiv . A freight train passes transporting materials such as wood for possible use in Ukraine’s defensive efforts along the frontline

Remnants of the Neschcheryakovas’ family house, destroyed by shelling, lie in the yard at Spartak, Kyiv oblast

Nadiya Neschcheryakova with her husband, Yuriy, their daughter Kateryna and grandson Andriy. Yuriy built a new house after their home was destroyed by shelling early in the war

With her husband, daughter and grandson, Nadiya managed to flee to the west where they stayed for a month waiting for the Russian withdrawal from Kyiv. When they returned home, they found their home had been reduced to rubble.

The Petrovs

When the city of Kherson was liberated after nine months of Russian occupation in November 2022, Oleksandr Petrov was sent on a mission to repair the tracks leading to the city. When he set out in a van with a team of repairmen in the morning, he knew the risks: the fields along the tracks were heavily mined in an attempt to slow the Ukrainian advance.

Railway workers wash their wounds after driving over a mine in the Kherson region, 13 November 2022. They were carrying out repair works just days after Kherson was liberated. Oleksandr Petrov lost a leg in the incident

Oleksandr shows his prosthetic leg to workers in a railway repair team in Voznesensk, Mykolaiv oblast. Since his injury, Oleksandr has been given a desk job

Oleksandr Petrov at his parents’ house in Voznesensk. Family members spend a day at the cemetery to maintain their relatives’ graves and pay their respects

Russian troops were expected to start shelling the city once they’d had a chance to regroup on the other side of the Dnipro River. The civilians left in the city would have to be evacuated by train, so Oleksandr went anyway. Later that day, Oleksandr lost his leg after they drove over a Russian anti-vehicle mine.

The Lyman community

When Ukrainian troops recaptured the railway hub of Lyman from Russian troops in November 2022, it had been under Russian occupation for six months. Since then, it has been on the frontline of the war in Ukraine’s Donbas region. Yet, a small community of railway families continues to live in the basements of their battered apartment buildings on the outskirts of the city.

The Rosokha family mourn the death of Nina Rosokha, who was killed by a Russian artillery strike on Lyman. Nina had worked in a railway service department, her husband was a train driver for 36 years. During the funeral, sounds of fighting could be heard in the nearby Kreminna forest

A forest on the outskirts of Lyman smoulders after shelling. Firefighters do not go into the forests for fear of mines

Fedya, 13, plays his accordion outside the apartment building where he lives with his mother and grandmother, both of whom work for the railway. Evelyna, 12, with one of her cats

The families in the community stay underground most of the time. The frontline is too close for the air raid alert system to be effective, and artillery and missiles can strike at any moment. The community have paid a heavy price in the war . Railway worker Nina Rosokha was killed on her way to the post office in a Russian artillery strike on a market. During another attack, Lyubov Surzhan’s top-floor apartment was obliterated. A piece of shrapnel skimmed Fedya’s head during a strike on a nearby railway depot. Yet the railway is their home and, despite the danger, they don’t want to leave.

The Mykolaychuks

The Mykolaychuk brothers live in an apartment building in the centre of Podilsk. Both are fifth generation locomotive drivers. Before the invasion, their jobs were mostly local, transporting grain from the region to the port of Odesa. Now, they go farther east towards the frontlines of the war, driving evacuation trains and weapons transports.

Alla Valeriyivna Mykolaychuk in Podilsk with her daughter and niece, both aged one

They don’t get paid if they don’t work, and jobs have become less frequent since the war. With money hard to come by, they have had to sell their family car to make ends meet.

The Tereshchenkos

Olha Tereshchenko survived a Russian attack on a convoy of civilians fleeing the then occupied city of Kupiansk. Her husband and five-year-old son were killed. Consumed with grief, she now works at a railway office in Kharkiv and gets support from her fellow workers there. Urns containing the ashes of her husband and son still sit on a shelf in a nearby crematorium. She hopes to bury them near their home in Kupiansk one day, when the frontline is further away.

Olha Tereshchenko in Saltivka, the area of Kharkiv where she now lives

Olha’s husband and son, photographed as a baby, were killed in a Russian attack on a civilian convoy. Olha is overcome when she visits their remains in a nearby crematorium: she hopes one day to bury her husband and son near their home in Kupiansk

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The Historic Trump Court Cases That We Cannot See

By Neal Katyal

Over the past month, in two courtrooms some two hundred and fifty miles apart, the government was hearing arguments in two of the most consequential court cases in American history. In New York, at the Manhattan Criminal Courthouse, a judge was presiding over the first criminal trial of a former U.S. President. Meanwhile, in Washington D.C., at the United States Supreme Court, the nine Justices were mulling over a grave question of constitutional law—whether a former President is immune from criminal prosecution.

The two courtrooms could hardly be more different, with the polished white marble of the U.S. Supreme Court contrasting with the more ramshackle wooden court furnishings in Manhattan. And yet both rooms are similarly opaque, with most Americans unable to see what’s happening inside of either one. Cameras are prohibited, and so the only way to observe the proceedings is to wait in line outside, in hopes of snagging one of the few seats reserved for members of the public. (The Supreme Court saves room for fifty public spectators; the Manhattan Criminal Courthouse has been able to accommodate around ten.) This is despite the fact that the American people pay for these courtrooms with their tax dollars, and the fact that prosecutions are brought in their name. The New York case is called the People v. Donald J. Trump.

Like grownups who abstain from tequila because of a bad experience with it in high school, the bans on cameras are the lingering effects of some early issues with courtroom photography. In 1935, Bruno Hauptmann was put on trial in New Jersey for kidnapping and murdering the nearly two-year-old son of the aviator Charles Lindbergh. At that trial, cameras were allowed under certain conditions: they could film during trial recesses but not while witnesses were testifying. And yet camera footage of the trial testimony leaked, and Hauptmann’s trial became a media circus. This defiance of court restrictions, paired with the bright flashes in the courtroom and the general mayhem caused by the cameramen, ultimately led the trial judge to ban photography for the rest of the proceedings. Many states followed suit.

Once television became ubiquitous, in the nineteen-fifties, the prohibitions on cameras began to seem antiquated. Some states rolled back their anti-camera legislation, and, today, most permit some form of audiovisual coverage in court, whether it be still photography during testimony, audio recordings, or live broadcasts on television. Federal appellate courts, too, permit live broadcasts, as does the International Criminal Court. But not so New York. In 1952, the state adopted a statute still in place today, banning all cameras in the courtroom—a law so broad that one court-reform organization, the Fund for Modern Courts, has called it “an extreme outlier among the states.” The U.S. Supreme Court, for its part, prohibits cameras but makes live audio of oral arguments available. That puts the Court in better audiovisual stead than New York, and yet there’s a lot that happens in court that cannot be captured by either audio or transcript.

As a member of the Supreme Court bar, I was able to sit at the front of the courtroom for the arguments in Trump v. United States, the Presidential-immunity case. I could see Justice Amy Coney Barrett’s face twist into an expression of utter incredulity as Trump’s lawyer D. John Sauer claimed that a President sending a Navy SEAL team to assassinate a political rival was not an indictable crime. I was able to watch Michael Dreeben, the lawyer for the special counsel Jack Smith, painstakingly describe the counts in one of the federal indictments against Trump, relating to his abuse of the Justice Department. Dreeben outlined how Trump tried to pressure top Justice Department officials into sending letters to state legislatures expressing doubt about the election counts, and how Trump threatened to fire those officials if they didn’t comply. After Dreeben relayed this information, almost two hours into the proceedings, I could see the Court dynamics shift. The Justices began to listen far more closely to him, sitting up in their chairs.

I’ve personally seen more than four hundred oral arguments at the Supreme Court. Why bother trudging all the way to One First Street when I could just listen to audio recordings or read a transcript? Because neither is any sort of substitute for watching the way in which these arguments are delivered, and for observing the dynamics on display in the courtroom. The Court itself isn’t satisfied with just reading a bunch of written words in briefs; it insists on seeing advocates deliver their arguments in person. More than fifty Americans should get that same basic opportunity.

The judiciary is the least democratic of the three branches of the government. Supreme Court Justices, who have lifetime tenure, are appointed, not elected. And so they are required to justify their decisions in ways that elected officials are not. President Joe Biden can sign an executive order without explaining his reasoning behind it. (It might cause a P.R. crisis, but it’s certainly within his power to do this.) By contrast, when the Justices overturn a longtime legal precedent, or when they create a new one, whether major or minor, they must issue written opinions explaining their decision-making process. This process might be as significant as the opinion itself. Oral arguments are, undoubtedly, a major part of that process, and yet most Americans are barely even aware that oral arguments are happening—let alone what arguments are being made—creating a situation in which the public receives a pile of controversial opinions, every June, with little context. One can imagine that if oral arguments were televised, Americans might spend the year doing what the Justices do: thinking through a bunch of complicated, nuanced questions before ultimately reaching their own conclusions.

The Court today is relying far too much on the idea that Americans are going to seek out audio feeds of oral arguments. This is unrealistic in an age of TV and Instagram. It’s not 1936, and Americans aren’t huddled around a radio in the family room. Without the visual component, it is unlikely that they are going to pay attention to the arguments in a Supreme Court case, even if the decision that’s eventually rendered may directly affect their lives. It would serve the Court well for Americans to be confronted with the same questions that are raised during oral arguments. It would also serve Americans well to see how the Court, which is increasingly seen as a politically motivated entity, is genuinely grappling with questions about governance, such as how to draw the line between an official Presidential act (like appointing a Cabinet member), and a private one (like taking a bribe from said Cabinet member).

The public is missing even more when it comes to Trump’s criminal trial in Manhattan, which, ironically, is all about whether Trump committed crimes in his efforts to keep information from the American people, in the run-up to the 2016 Presidential election. Last week, the adult-film actor Stormy Daniels went on the stand and told the full story of her relationship with Trump, from their initial sexual encounter, in 2006, to the hush-money agreement that she negotiated with Trump and his former lawyer Michael Cohen some ten years later. We were unable to watch her tell it, or to watch how she handled being cross-examined, in the same way that we were unable to watch Hope Hicks, a witness called by the government, tearfully testify about her old boss, or the former tabloid C.E.O. David Pecker speak to the dozens of stories that the National Enquirer has killed about Trump and other politicians over the years. We can read quotes published online, but it is much harder, from behind our computer screens, to read between the lines. Did Hope Hicks start crying because she felt bad about turning on Trump, or because she was overwhelmed by the trial, or because of something else? Different reporters have had different takes, but we’ve been denied the opportunity to watch her testimony and decide for ourselves. And, of course, we’ve been unable to observe the behavior of the defendant, Donald Trump: how he comports himself in the room, how he reacts to the testimony of witnesses, how he carries himself, and so much more. (Just imagine how different the O. J. Simpson “gloves don’t fit” testimony would have been, had it been reduced to a transcript—or even a highly descriptive newspaper article.) Journalists have done their best to describe what’s happening in the room, and yet even the most faithful retellings can be subjective, skewed by something as simple as where the writer was sitting in the courtroom, and what kind of view they may have had. Some reports, for example, say that Trump keeps falling asleep during the trial; others disagree.

On Monday, Cohen is on the stand—more important testimony that we will not see. There’s also a chance, albeit a small one, that Trump himself will eventually testify in the New York trial. If he does, the American people will not be able to witness some of the most significant trial testimony given in our lifetimes. And if he does not testify, cameras would be the only way for us to see Trump’s true reaction to the case being presented against him. Instead, the lack of cameras has catalyzed a lopsided spin cycle outside the courtroom. Trump leaves the courtroom each day, where the reporters waiting outside for him do have cameras, and he characterizes the proceedings in a gravely slanted way, which then gets broadcast on cable news. The lawyers for the prosecution cannot publicly grandstand like this; rules of prosecutorial ethics require them to make their arguments inside the courtroom, not outside of it. The result is a structural asymmetry, which isn’t just confined to the two sides of the court case. The characters appearing on the witness stand, from Daniels to Cohen, are all subject to innuendo and character attacks, with the public unable to fact-check how these individuals are portrayed by the media. The same goes for the Supreme Court. Don’t believe what I said about Justice Barrett’s facial expression during oral arguments? Tough luck, you can’t go back and check the video, because there isn’t one.

Even if one accepts these rules for a normal trial, you’d think that there’d be an exception for ones that are so clearly in the public interest. Trump is not just a former President but a candidate for President, and twenty-four per cent of Republicans say they would not vote for him if he were convicted of a felony by a jury. The immunity case, too, is of grave concern to the public, as the Justices are essentially deciding whether Trump’s other trials should move forward. The risk is of a double darkness—that a Supreme Court the American public cannot see will render a decision preventing Americans from even hearing the rest of evidence against Trump, by stopping his trials from taking place altogether.

What possible rationale can there be for having a courtroom placed out of view of the people who paid for it? To be sure, confidentiality is sometimes required, from the Constitutional Convention of 1787 to the modern-day jury room. But courtroom proceedings are, by their nature, meant to be transparent, centered on a fact-gathering and argumentation process. Expecting cameras in the courtroom is not unlike expecting body cameras to be worn by police officers, who, like judges, are sworn to uphold the rule of law.

Some fear that courtroom cameras will prompt witnesses to be intimidated and scared. I understand this concern; indeed, I once shared it. From 2020 to 2023, I was privileged to serve as special prosecutor in one of the most high-profile trials in modern history, the trial of Derek Chauvin for the murder of George Floyd . Up until this case, Minnesota had never televised a criminal trial. As prosecutors in the case, and in accordance with Minnesota law and practice, we requested that cameras be forbidden. We feared, in particular, for the safety and comfort of a seventeen-year-old witness, who had taken the video of Floyd’s murder.

The judge, fortunately, overruled us. Americans were able to see, with their own eyes, what happened in that courtroom. They could see the evidence that both sides were able to muster, examine Chauvin’s demeanor in court, and assess the credibility of the on-the-scene witnesses and medical experts. The result was public confidence in the outcome of the trial. When Chauvin was ultimately convicted, there were no mass riots or protests, despite speculation beforehand that either outcome would result in unrest. The trial underscored the importance of courtroom cameras, just as the initial video of Floyd’s murder, recorded by that young witness, was critical in drawing public attention to the incident in the first place.

There have been concerns, too, that televised legal proceedings create perverse incentives for lawyers and judges, who may be tempted to play for the public, and distort the truth-seeking function of the court. That is a possibility, although the democratic benefits strongly outweigh that risk, just as they do for Congress (televised) and the President (extensively televised). And the reverse is more likely, as courtroom participants are incentivized to act with greater care when their actions will be viewable by millions. In 2017, I argued against President Trump’s Muslim ban in the federal appeals court in Seattle, and the oral argument was covered on live television. If anything, the cameras induced us attorneys to be even more conscious of keeping the proceedings solemn. Ultimately, cameras would allow Americans to see what I get to see when I am in court: a bunch of judges who are trying their hardest to resolve difficult cases in a straightforward and honest way. Judge Juan Merchan, who is presiding over Trump’s criminal trial in Manhattan, is a perfect example. Those in the courtroom describe an even-keeled and balanced judge, but Trump goes out every day blasting him as a biased accomplice of President Biden. Televised proceedings would empower Americans to make these judgments for themselves.

The mechanism to fix all of this is not difficult to implement. Changing the rules in New York would likely require the state legislature to lift its ban on cameras, although it is conceivable that a court may try to do so on its own, as Minnesota did in the Chauvin case. Televising Supreme Court arguments would not even require legislation; it could be done by mere Court rule. And, should the Court not act, legislation has been introduced by Senators Chuck Grassley and Dick Durbin to force them to do so. The bill, known as the Cameras in the Courtroom Act, would require the Supreme Court to permit television coverage of oral arguments and other open sessions. It’s accompanied by another bill, the Sunshine in the Courtroom Act, which extends to all open federal court proceedings. Both bills are pieces of bipartisan legislation; Grassley and Durbin don’t agree on much, but they agree on this. Even the Justices themselves have, in other contexts, recognized the importance of governmental transparency in a democracy. The person who famously said that sunlight is the best disinfectant was none other than Justice Louis Brandeis. ♦

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By Jeannie Suk Gersen

By Susan B. Glasser

By Eric Lach

What lies beneath Gaza’s rubble and ruin

The hysteria over campus protests in the United States has shifted American attention away from the depth of the ongoing calamity in Gaza.

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In a fit of ideological pique last week, far-right Rep. Lauren Boebert (R-Colo.) scoffed at protesters agitating against pro-Israel policies on campuses across the United States . “I get a strange inkling that all these Columbia and UCLA students running around yelling ‘Free Palestine’ would not be jumping at the opportunity to do a semester abroad in Gaza,” she wrote on social media , before later journeying to a protest encampment at George Washington University and almost sparring with students when trying to pull down a Palestinian flag.

Boebert’s scorn is shared even by some of her opponents in the Washington establishment, many of whom have cast the student demonstrations as, at best, unproductive far-left agitprop or, more darkly, dangerous antisemitic behavior that must be expunged from the academy. Hundreds of campus protesters have been arrested in recent days in police crackdowns from California to New York.

Boebert’s comment, though, drew derision on two counts: First, that protesters angry about alleged Israeli war crimes in Gaza would need to go to the besieged territory itself to justify their anger. And, second, that students could even do “a semester abroad” in Gaza, where Israel has spent the past half year systematically destroying most of its educational institutions, including all of its universities .

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For months, Palestinian civil society activists have drawn attention to the steady eradication of Gaza’s cultural patrimony. Israel’s punishing campaign against militant group Hamas has seen much of the territory reduced to ruin. In the process, many libraries, museums and colleges have been ransacked and razed — in some instances, by deliberate Israeli demolition. Thousands of artifacts in various collections, including Roman coins and other materials from Gaza’s pre-Islamic past, have been potentially lost during the war .

The hysteria over campus protests in the United States has shifted American attention away from the depth of the ongoing calamity in Gaza. U.N. officials and aid agencies are still grappling with the scale of the destruction in the territory, where dozens are still dying every day. Since Hamas launched its Oct. 7 terrorist strike on southern Israel, more than 34,500 Palestinians in the territory — many of them women and children — have been killed. Some 5 percent of Gaza’s overall population has been killed or injured, according to a U.N. report that cites local data.

That figure doesn’t include the more than at least 10,000 people that the U.N. estimates are still missing beneath the rubble, citing the Palestinian Civil Defense (PCD). The challenge of finding the missing is growing more dire, given the widespread destruction of heavy machinery and equipment needed to dig through the debris.

“Rising temperatures can accelerate the decomposition of bodies and the spread of disease,” the U.N. humanitarian affairs office said in a statement , adding that the PCD was appealing to “all relevant stakeholders to urgently intervene to allow the entry of needed equipment, including bulldozers and excavators, to avert a public health catastrophe, facilitate dignified burials, and save the lives of injured people.”

Sifting through Gaza’s wreckage will be no simple task. Israel has dumped a huge amount of ordnance on the territory. Mungo Birch, head of the U.N. Mine Action Program in Palestinian territory, said last week that the amount of unexploded missiles and bombs lying in the rubble is “unprecedented” since World War II. He said tiny Gaza is a site of some 37 million tons of rubble — more than what’s been generated across all of Ukraine during Russia’s war — and 800,000 tons of asbestos and other contaminants. He said his agency has only a fraction of the funding it needs to begin clearing operations whenever the war ends.

Over the weekend, U.S. and Egyptian officials attempted to facilitate a last-ditch effort to broker a truce between Israel and Hamas . A delegation from the Palestinian militant group was in Cairo and expressed optimism that a breakthrough could be found. Israeli Prime Minister Benjamin Netanyahu, who faced mass protests at home against his continued tenure in office, seemed more wary of the arrangement and remains bent on carrying out a full offensive against the southern Gazan city of Rafah, where more than a million Palestinians already displaced in the territory have taken shelter.

Top U.N. officials say famine has already gripped parts of Gaza. Beyond the desperately insufficient trickle of humanitarian aid into the territory, the war has also “severely hampered” Gaza’s “ability to produce food and clean water,” according to my colleagues . “Israeli airstrikes and bulldozers have razed farms and orchards. Crops abandoned by farmers seeking safety in southern Gaza have withered, and cattle have been left to die.”

The fear surrounding Rafah and the uncertainty over a potential cease-fire sit against the looming reality of how difficult it will be for Gaza to recover. More than 70 percent of all housing in the territory has been destroyed. A report by the U.N. Development Program (UNDP) found that the war has reversed 40 years of development and improvement in social indicators such as life expectancy, health and educational attainment in Gaza.

The agency estimated that reconstruction, at this point, would cost some $40 billion to $50 billion. And if it follows the pace observed after previous conflicts, UNDP estimates that it will take “approximately 80 years to restore all the fully destroyed housing units” in Gaza.

“My very big concern — in addition to the numbers — is the breaking down of communities and families in Gaza,” UNDP regional director Abdallah al-Dardari told The Washington Post . “If you know 60 people in your family have been killed — like our colleague Issam al-Mughrabi who was killed with 60 people in his family during one raid — you will go numb,” Dardari said. “The consequences of this war will stay with us far beyond the end of the war.”