what is composition in essay

What Is Composition? Definition, Types, and Examples

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

In the literary sense, a composition (from the Latin "to put together") is the way a writer assembles words and sentences to create a coherent and meaningful work. Composition can also mean the activity of writing, the nature of the subject of a piece of writing, the piece of writing itself, and the name of a college course assigned to a student. This essay focuses on practicing how people write.

Key Takeaways

In writing, composition refers to the way a writer structures a piece of writing.
The four modes of composition, which were codified in the late 19th century, are description, narration, exposition, and argumentation.
Good writing can include elements of multiple modes of composition.

Composition Definition

Just like a musician and an artist, a writer sets the tone of a composition to his or her purpose, making decisions about what that tone should be to form a structure. A writer might express anything from the point of view of cool logic to impassioned anger. A composition might use clean and simple prose, flowery, descriptive passages, or analytical nomenclature.

Since the 19th century, English writers and teachers have been grappling with ways to classify forms and modes of writing so beginner writers can have a place to start. After decades of struggle, rhetoricians ended up with four categories of writing that still make up the mainstream of Composition 101 college classes: Description, Narration , Exposition , and Argumentation .

Types of Composition Writing

The four classical types of composition (description, narration, exposition, and argumentation) are not categories, per se. They would almost never stand alone in a piece of writing, but rather are best-considered modes of writing, pieces of writing styles that can be combined and used to create a whole. That is to say, they can inform a piece of writing, and they are good starting points for understanding how to put a piece of writing together.

Examples for each of the following composition types are based on the American poet Gertrude Stein's famous quote from " Sacred Emily ," her 1913 poem: "A rose is a rose is a rose."

Description

A description, or descriptive writing, is a statement or account that describes something or someone, listing characteristic features and significant details to provide a reader with a portrayal in words. Descriptions are set in the concrete, in the reality, or solidity of an object as a representation of a person, place, or thing in time. They provide the look and feel of objects, a simultaneous whole, with as many details as you'd like.

A description of a rose might include the color of the petals, the aroma of its perfume, where it exists in your garden, whether it is in a plain terracotta pot or a hothouse in the city.

A description of "Sacred Emily" might talk about the length of the poem and the facts of when it was written and published. It might list the images that Stein uses or mention her use of repetition and alliteration.

A narration, or narrative writing, is a personal account , a story that the writer tells his or her reader. It can be an account of a series of facts or events, given in order and establishing connections between the steps. It can even be dramatic, in which case you can present each individual scene with actions and dialog. The chronology could be in strict order, or you could include flashbacks.

A narration about a rose might describe how you first came across it, how it came to be in your garden, or why you went to the greenhouse that day.

A narration about "Sacred Emily" might be about how you came across the poem, whether it was in a class or in a book lent by a friend, or if you were simply curious about where the phrase "a rose is a rose" came from and found it on the internet.

Exposition, or expository writing , is the act of expounding or explaining a person, place, thing, or event. Your purpose is not to just describe something, but to give it a reality, an interpretation, your ideas on what that thing means. In some respects, you are laying out a proposition to explain a general notion or abstract idea of your subject.

An exposition on a rose might include its taxonomy, what its scientific and common names are, who developed it, what the impact was when it was announced to the public, and/or how was it distributed.

An exposition on "Sacred Emily" could include the environment in which Stein wrote, where she was living, what her influences were, and what the impact was on reviewers.

Argumentation

Also called argumentative writing , an argumentation is basically an exercise in comparing and contrasting. It is the methodological presentation of both sides of an argument using logical or formal reasoning. The end result is formulated to persuade why thing A is better than thing B. What you mean by "better" makes up the content of your arguments.

Argumentation applied to a rose might be why one particular rose is better than another, why you prefer roses over daisies, or vice versa.

Argumentation over "Sacred Emily" could compare it to Stein's other poems or to another poem covering the same general topic.

The Value of Composition

A great deal of debate enlivened college theoretical rhetoric in the 1970s and 1980s, with scholars attempting to throw off what they saw were the confining strictures of these four writing styles. Despite that, they remain the mainstay of some college composition classes.

What these four classical modes do is provide beginner writers a way to purposefully direct their writings, a structure on which to form an idea. However, they can also be limiting. Use the traditional modes of composition as tools to gain practice and direction in your writing, but remember that they should be considered starting points rather than rigid requirements.

Bishop, Wendy. "Keywords in Creative Writing." David Starkey, Utah State University Press, University Press of Colorado, 2006.
Conners, Professor Robert J. "Composition-Rhetoric: Backgrounds, Theory, and Pedagogy." Pittsburgh Series in Composition, Literacy, and Culture, Hardcover, New ed. Edition, University of Pittsburgh Press, June 1, 1997.
D'Angelo, Frank. "Nineteenth-Century Forms/Modes of Discourse: A Critical Inquiry." Vol. 35, No. 1, National Council of Teachers of English, February 1984.
Hintikka, Jaakko. "Strategic Thinking in Argumentation and Argumentation Theory." Vol. 50, No. 196 (2), Revue Internationale de Philosophie, 1996.
Perron, Jack. "Composition and Cognition." English Education, The Writing Teacher: A New Professionalism, Vol. 10, No. 3, National Council of Teachers of English, February 1979.
Stein, Gertrude. "Sacred Emily." Geography and Plays, Letters of Note, 1922.
Examples of Great Introductory Paragraphs
How to Write a Good Descriptive Paragraph
Modes of Discourse (Composition)
Definition and Examples of Narratives in Writing
Models of Composition
What Is Expository Writing?
AP English Exam: 101 Key Terms
Coherence in Composition
Focusing in Composition
Current-Traditional Rhetoric
Narratio in Rhetoric
The Writer's Voice in Literature and Rhetoric
Paragraph Length in Compositions and Reports
Arrangement in Composition and Rhetoric
Topical Organization Essay
Character Sketch in Composition

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Academic Writing

How to Write a Composition

Last Updated: December 6, 2023 Fact Checked

This article was co-authored by Christopher Taylor, PhD . Christopher Taylor is an Adjunct Assistant Professor of English at Austin Community College in Texas. He received his PhD in English Literature and Medieval Studies from the University of Texas at Austin in 2014. There are 7 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 810,570 times.

You don't have to be a good writer to write well. Writing is a process. By learning to treat writing as a series of small steps instead of a big all-at-once magic trick you have to pull off will make writing a composition much easier and much more fun. You can learn to brainstorm main ideas before you start writing, organize a draft of those main ideas, and revise your composition into a polished essay. See Step 1 for more information.

Composition Template

Pre-Writing

What is the purpose of the composition?
What is the topic of the composition?
What are the length requirements?
What is the appropriate tone or voice for the composition?
Is research required? These questions are good for you to ask.
Pre-writing: gathering your thoughts or research, brainstorming, and planning the compositions
Writing: actively writing your composition
Editing: re-reading your paper, adding sentences, cutting unnecessary parts, and proofreading

Try a timed writing by keeping your pen moving for 10 minutes without stopping. Don't shy away from including your opinions about a particular topic, even if your teacher has warned you from including personal opinions in your paper. This isn't the final draft!

Step 4 Try a cluster or bubble exercise.

Write the topic in the center of the paper and draw a circle around it. Say your topic is "Romeo & Juliet" or "The Civil War". Write the phrase on your paper and circle it.
Around the center circle, write your main ideas or interests about the topic. You might be interested in "Juliet's death," "Mercutio's anger," or "family strife." Write as many main ideas as you're interested in.
Around each main idea, write more specific points or observations about each more specific topic. Start looking for connections. Are you repeating language or ideas?
Connect the bubbles with lines where you see related connections. A good composition is organized by main ideas, not organized chronologically or by plot. Use these connections to form your main ideas.
Don’t worry about coming up with a polished thesis statement or final argument now; that can come later in the process.

Your thesis statement needs to be debatable. In fact, many thesis statements are structured as the answer to a well-formulated question about the topic. "Romeo & Juliet is an interesting play written by Shakespeare in the 1500s" isn't a thesis statement, because that's not a debatable issue. We don't need you to prove that to us. "Romeo & Juliet features Shakespeare's most tragic character in Juliet" is a lot closer to a debatable point, and could be an answer to a question like, “Who is Shakespeare’s most tragic character?” [4] X Research source
Your thesis statement needs to be specific. "Romeo & Juliet is a play about making bad choices" isn't as strong a thesis statement as "Shakespeare makes the argument that the inexperience of teenage love is comic and tragic at the same time" is much stronger.
A good thesis guides the essay. In your thesis, you can sometimes preview the points you'll make in your paper, guiding yourself and the reader: "Shakespeare uses Juliet's death, Mercutio's rage, and the petty arguments of the two principal families to illustrate that the heart and the head are forever disconnected."

Writing a Rough Draft

Introduction, in which the topic is described, the issue or problem is summarized, and your argument is presented
Main point paragraph 1, in which you make and support your first supporting argument
Main point paragraph 2, in which you make and support your second supporting argument
Main point paragraph 3, in which you make and support your final supporting argument
Conclusion paragraph, in which you summarize your argument

Step 2 Back up your main points with two kinds of evidence.

Proof includes specific quotes from the book you're writing about, or specific facts about the topic. If you want to talk about Mercutio's temperamental character, you'll need to quote from him, set the scene, and describe him in detail. This is proof that you'll also need to unpack with logic.
Logic refers to your rationale and your reasoning. Why is Mercutio like this? What are we supposed to notice about the way he talks? Explain your proof to the reader by using logic and you'll have a solid argument with strong evidence.

Step 3 Think of questions that need to be answered.

Ask how. How is Juliet's death presented to us? How do the other characters react? How is the reader supposed to feel?
Ask why. Why does Shakespeare kill her? Why not let her live? Why does she have to die? Why would the story not work without her death?

Step 4 Don't worry about "sounding smart."

Only use words and phrases that you have a good command over. Academic vocabulary might sound impressive, but if you don’t fully grasp its meaning, you might muddle the effect of your paper.

Step 1 Get some feedback on your rough draft.

Try writing a rough draft the weekend before it's due, and giving it to your teacher for comments several days before the due date. Take the feedback into consideration and make the necessary changes.

Step 2 Be willing to make big cuts and big changes.

Moving paragraphs around to get the best possible organization of points, the best "flow"
Delete whole sentences that are repetitive or that don't work
Removing any points that don't support your argument

Think of each main point you're making like a mountain in a mountain range that you're flying over in a helicopter. You can stay above them and fly over them quickly, pointing out their features from far away and giving us a quick flyover tour, or you can drop us down in between them and show us up close, so we see the mountain goats and the rocks and the waterfalls. Which would be a better tour?

Expert Q&A

Write a point, and expand 2 lines on that particular point. Thanks Helpful 9 Not Helpful 2
Open source software called Free Mind can help with the pre-writing process. Thanks Helpful 7 Not Helpful 2
You can always add more circles to your guiding diagram if you think the much you have is not sufficient. Thanks Helpful 5 Not Helpful 3

Tips from our Readers

Remember to always proofread your composition after you have finished! Small typos like a missed comma or a misspelled word are easy to miss the first time around.
If you want to outline your composition, try using a mini white board. This makes it easier to erase things and restructure your outline if you need to.
It's hard to write with distractions, so try to pick a quiet place where you won't be disturbed to work on your assignment.

↑ https://www.student.unsw.edu.au/writing-your-essay
↑ https://www.deakin.edu.au/students/studying/study-support/academic-skills/essay-writing
↑ https://owl.english.purdue.edu/owl/resource/544/01/
↑ https://owl.english.purdue.edu/owl/resource/685/05/
↑ https://libguides.newcastle.edu.au/how-to-write-an-essay/essay-structure
↑ https://www.citewrite.qut.edu.au/write/writing-well/essay.html
↑ https://writing.wisc.edu/handbook/grammarpunct/commonerrors/

About This Article

To write a composition, start with a brainstorming session to get your thoughts down on paper. You can create a formal outline during this time, or experiment with bubble exercises and free-writing. Next, create a clear thesis statement to base your composition around. Then, write an introduction, 3 main paragraphs, and a conclusion that summarizes your argument. Read through and revise your content, and don't forget to proofread thoroughly! To learn more about the "rule of 5" and how to back up your statements in a composition, read on! Did this summary help you? Yes No

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You, Writing! A Guide to College Composition

(26 reviews)

Alexandra Glynn, North Hennepin Community College

Kelli Hallsten-Erickson, Lake Superior College

Amy Jo Swing, Lake Superior College

Publisher: Alexandra Glynn

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Kole Matheson, Lecturer, Old Dominion University on 5/22/24

Comprehensiveness rating: 4 see less

The text covers areas and ideas relevant to Aristotle's rhetorical canon, which is to say it reflects a process-driven approach to communication. I find process to be essential to the composition classroom, but other outcomes are important too such as information literacy and rhetorical awareness. The final chapter on research allows a moment's focus on information literacy; chapter three's focus on audience similarly introduces rhetorical awareness at the introductory level.

Content Accuracy rating: 4

The content is accurate and error-free from the current-traditional perspective. Some scholars (Vershawn Ashanti Young, April Baker-Bell) may find that the overview on Standard American English forms as "fixing grammar" (p. 12) reveals a level of bias among academic and professional readerships.

Relevance/Longevity rating: 4

The content is relevant in a traditional sense. Aristotle is a permanent fixture in the academy, especially in terms of rhetoric and composition. As I suggested on the text's comprehensiveness, I would require some supplementation of materials to fully develop outcomes beyond process in an English Composition I course.

Clarity rating: 5

The text is written clearly enough for its intended audience, an English Composition I class.

Consistency rating: 5

The text is internally consistent with Aristotle's Rhetorical Canon. Considering the organization within each chapter, section headings do well to guide the reader through content.

Modularity rating: 4

Skimming through the text becomes a bit difficult, as chapters are not clearly offset from one another. It might be more easily divisible if some design strategies were employed across chapter breaks.

Organization/Structure/Flow rating: 5

The topics in the text are presented logically and in a clear, process-driven fashion.

Interface rating: 5

The interface is sound and presents the text somewhat like a thesis or dissertation.

Grammatical Errors rating: 4

The text is written grammatically, despite the oft neglected objective pronoun, "whom," which might have been more strategically deployed on page 17.

Cultural Relevance rating: 5

I did not find the text to be culturally insensitive or offensive.

I plan to utilize sections of the book in both my English Composition I classroom and its corequisite support course, Composition Studio. Thank you for making it available.

Reviewed by Tara Montague, Part-time instructor, Portland Community College on 3/6/22

The text is comprehensive; it covers all of the topics I would expect it to. It has a lengthy (10-page) glossary, but no index. I am undecided as to how useful the glossary is. read more

The text is comprehensive; it covers all of the topics I would expect it to. It has a lengthy (10-page) glossary, but no index. I am undecided as to how useful the glossary is.

Content Accuracy rating: 5

I have no concerns about the accuracy or bias of the content.

Relevance/Longevity rating: 5

For the most part, I feel like the content is up-to-date, though I believe the website and app litmus test (148) could be revisited. I believe any updates would be easy and straightforward to implement.

This text does a great job of speaking to students with accessible, conversational prose and of defining terms and concepts.

I don’t have any concerns with the consistency of the text in terms of terminology and framework.

Modularity rating: 5

I think the modularity is strong, which makes this text a great candidate for one of the online reading formats with hyperlinked contents. There are many subtopics within larger topics within larger sections. I will likely use this text by selecting sections to assign; the modularity makes this easy to do.

Organization/Structure/Flow rating: 4

The authors have used the “Basic Writing Process Chart” (page 12) to organize the chapters of the text. For the most part that makes sense as an organizational principle. If I were designing the organization, I think I’d have Exploration before Audience and Purpose, but I can also see that the authors’ arrangement makes sense. I also felt like the very long Modes of Writing section (pp. 56-79) was a little out of balance and out of pace with the rest of the text.

Interface rating: 3

The only available format for this text is PDF, and I don’t think it’s marked up or accessible. The 170-page text is a long, word-processed document. This creates navigation issues as the text is long and linear, with no hyperlinks from the table of contents. Word maps are used to add some color and graphic appeal, but the fonts are difficult to read. (Captions are, however, included.) The use of a few icons here and there is a little confusing. The interface is a big barrier to me because I believe it would create a barrier to learning for many of my students.

While I didn’t notice grammatical errors, I found some editing errors, including incomplete links, some typos, and a misspelling.

Cultural Relevance rating: 4

There is some diversity in examples. I didn’t notice anything exclusive or offensive. Many of the examples are related to life experiences that everyone would have. I am not sure that the “Anglo-Saxon” vs. “Latinate” distinction is helpful or relevant at this point..

This text is a solid choice for an introductory writing course. I found the editing and proofreading sections especially useful; they have impressively accessible and clear (and not over-long) discussions. I particularly like the breakdown of style. My biggest issue with this text is that the only format it’s available in is a continuous essay-style document converted to a PDF without hyperlinks. This makes it a bit difficult to work with and not the most accessible or appealing for students.

Reviewed by Lindsay Tigue, Assistant Professor, Eastern New Mexico University on 12/31/21

This book covers most of the topics I cover in my Composition courses and it includes a lot of helpful information on the topic of writing. read more

This book covers most of the topics I cover in my Composition courses and it includes a lot of helpful information on the topic of writing.

I did not notice any errors in my review of this textbook.

This book contains relevant examples, but overall the suggestions of writing, editing, and revision do not feel as if they will go out of date.

The text is written in accessible and readable language without talking down to students in any way.

I found the texts quality and terminology to be consistent throughout.

I could definitely see pulling relevant chapters and using them as stand-alone resources in a course as the text is designed to be used whole or in parts. I found several parts especially useful--like the chapter on thesis statements and titling the essay. I definitely see myself pulling specific chapters to use with students.

This text is well-organized and the table of contents lays out a clear organization for the text.

Interface rating: 4

The text is clean and easy to read and includes helpful images. It would be even more helpful if the table of contents sections were linkable to that part of the text.

Grammatical Errors rating: 5

I did not notice any grammatical errors in the text.

I found the text inclusive.

I appreciate the clear, helpful information on college writing in this text. I found the parts about thesis statements, introductions and conclusions, and titling especially helpful. I don't think I have ever seen a Composition textbook tackle titling an essay in such a clear, helpful way for students. I appreciate the visuals and how even handwritten examples of things like mind mapping are included to show students what that would really look like in their notes. The only thing I would like to see is the chapters linked in the table of contents to that part of the pdf. At least in the download I was looking at, there were no links. The text doesn't have a very designed look and could be more visually interesting. However, the information is useful and easy to read so that is fine. Overall, I found this text useful and I will definitely pull chapters of it for my Composition course.

Reviewed by Elizabeth Bidinger, Professor, Worcester State University on 7/7/21

This textbook provides excellent coverage of the fundamental topics that are covered in most FYW courses, and is especially well-suited for one that doesn't emphasize writing with sources and research. It is unusually thorough on the basics of the writing process, such as planning, drafting, organizing, and revising, which I find very helpful. Clearly written sections beautifully explain and illustrate skills like organizing paragraphs and writing introductions and conclusions. Especially useful is the chapter on revision, which includes a student essay with inserted suggestions for revision, followed by a revised draft. This text provides the most thorough and instructive discussion of audience of any FYW textbook that I can recall, which I find a perfect place to start. No index, but a comprehensive glossary defines virtually every composition and rhetoric term that might be used in a FYW course. While this book covers the basics in fluid, highly accessible prose, some of its discussions are perhaps too general and even elementary. The section on different modes of writing provides such superficial descriptions of different types of writing that it manages to make them all sound fairly uniform and lacking in the distinctiveness that should make them sound fun to write. It would be an ideal FYW textbook if there was an attempt to supplement the basics with some sophisticated and challenging discussions on critical thinking and cultural criticism, as well as a wider range of examples of writing in different modes. The troubling implication of a college text that covers basic writing skills in depth but totally omits intellectually and aesthetically engaging materials is that students who need to review essay and paragraph organization wouldn't be inspired by reading, or capable of producing, prose that is rich with irony, humor, nuance, or difficult truths. The student example of a report is titled, "What I Did on My Summer Vacation" (Chapter 7: Drafting), which I fear many college students would find offensively rudimentary. I would have also really liked some exercise prompts.

The information in the book is accurate, error-free, and completely responsible and sound.

The authors do a fine job of keeping the focus on the fairly timeless basics of how to craft effective prose, so very little would become outdated in the near future and the few timely cultural references to things like BLM are presented in a way that makes them relevant now and, I would guess, for many years.

One of the great strengths of this book is its clear, conversational, highly readable prose. The explanations are easy to follow and every potentially unfamiliar term is provided with adequate context.

This text is consistent in form, approach, structure, and authorial voice. It conveys professionalism and expertise.

The book's chapters are designed so that each provides a detailed discussion of a discrete skill set, so that it would be very easy to assign a single chapter within a module or unit. I'm giving it a 4 rating instead of a 5 in this area because I would have really liked self-contained chapters on a few different modes of writing that included planning strategies for each kind of essay described. A discussion of the process of finding a topic could be more illustrative and inspiring if it's geared towards a specific kind of writing, but also, it would be nice to have a self-contained chapter on writing a narrative essay that could be used by itself for a unit focused on that assignment.

The book is thoughtfully organized to follow the steps of the writing process, so for a first-semester, FYW course, the organization works very well. The single chapter on research being added at the end might seem a troubling suggestion, in the view of others, that research is completely separate from the writing process, but I personally find the approach of separating writing skills from research skills to be less intimidating to new college students.

I had no problems accessing or navigating any section or component of this text. I do think it could be presented in a more visually engaging and accessible way, with more highlighted text boxes that separate and emphasize key takeaways.

I found the text to be grammatically sound and effectively written.

There is certainly nothing insensitive or offensive in this book. However, a casual glance at the works cited in each chapter shows how overwhelmingly canonical and traditional the majority of the textual examples and references are: D. H. Lawrence, Steinbeck, Jefferson, Melville, R. L. Stevenson, Shakespeare, Oscar Wilde, Nietsche, Steven Pinker, and G. K. Chesterton. There's a brief excerpt from a children's book by James Baldwin, and a couple examples that refer, in fairly generic ways, to works by Angelou and Douglass. The text would be greatly enlivened, deepened, and culturally enriched by textual examples from a wider range of cultures, communities, literatures, and Englishes.

This is an exceptionally useful book for first-semester, first-year college students, because of its patient, in-depth, and generous explanations of basic writing skills for college writing. For this reason, it would be an excellent resource for a FYW course if it were supplemented with additional readings that helped students see how their own experience and perspective can be transformed into energetic and powerful prose.

Reviewed by Danielle Santos, Adjunct Professor, University of Massachusetts Lowell on 6/14/21

For an introductory Composition course, this text covers what I teach. I like the examples given, and many of the diagrams are helpful & similar to what I already use. However, I wouldn't have minded more prompts for practice exercises as I tend to gravitate towards texts that include those. I do think the text lends itself well to developmental instruction (which I also teach), so while accessible and easy to read for all students, I could see myself using it more for certain Composition courses than others.

I do think the material accurately covers the concepts presented. I am happy to see a short section on annotated bibliographies (because I typically require these when I assign research papers), but I noticed the example wasn't structured correctly in alphabetical order/presented in the appropriate way. A small detail, but something that I would still have to provide my own example for.

The concepts covered are certainly relevant to the times. It's possible that some examples will be outdated in a couple of years and more relevant examples could be substituted.

The conversational, friendly tone is definitely an asset of this text. The authors present the concepts in a straightforward manner with solid explanations, all the while avoiding excessive jargon. This is an accessible text for all levels of learners.

The text is consistently organized and presented, and the voice of the text carries through each chapter.

I think the information is sectioned out well and clearly presented. There are some chapters where the material is more dense; others seem rather short. Chapter 7 is particularly lengthy, but one could easily refer to only the information necessary (specific modes of writing, for example). Chapter 11 is also a long one, and it seemed to be especially text-heavy for the first half of it. I think that chapter would've benefitted from further visuals when discussing how to find sources, using keywords, etc.

"You, Writing!" takes a pretty traditional organization for a Composition text. It starts with the writing process and situation, progresses through topics, thesis statements, and organization, and rounds out with grammar and research. For courses that typically structure basic writing skills early in the semester followed by a research project, this organization works well; however, one could also assign the reading out of sequence and it would be fine.

The interface looks good. I appreciate the additional resources in the form of web links, but a few did not work (I feel this can be common for this type of resource).

There are a few errors in the text, but the writing is clear and consistent. Grammatical errors are minor (though I do believe they should be fixed for a textbook on writing!).

The text is culturally sensitive and inclusive. It includes examples, names, and current events that are culturally-attuned.

Overall, there are a lot of aspects of this text that I liked. I would most likely use it in my course, supplementing with readings and exercises. I appreciate the fact that it is comprehensive and easy to read.

Reviewed by David Beach, Associate Professor, Radford University on 5/21/21

Glynn's text serves as a comprehensive rhetoric to help first-year college students navigate the expectations of expository college writing. A good supplemental text for any FY expository writing course. read more

Comprehensiveness rating: 5 see less

Most information on rhetoric and composition are on the mark. I always struggle with the traditional way of teaching "thesis." In FYC, we interpret "thesis" as the controlling idea of an essay. However, the way it is often taught is to develop the controlling idea, then find supporting evidence to that idea. This is not how college students should approach research. Granted, a working thesis may help point students in a particular direction, but if we want our students to be good researchers and writers, then they need to grapple with ideas to come to some conclusion (thesis), and they do this by working from the inside out, not starting with a thesis.

Everything in Glynn's text is relevant...until MLA and APA publish new editions! However, the fundamental information on MLA and APA will be able to stand.

Clarity rating: 4

Glynn's text is overall lucid and accessible, with mostly clear explanations of jargon and technical terminology. By their nature, rhetoric, grammar, and mechanics are not native languages to most FY college students, and I think Glynn does a good job helping FY college students become proficient in the language of writing.

"You, Writing!" reinforces ideas throughout the text through scaffolding and by being consistent in terminology and framework.

Modularity rating: 3

While there are some good infographics throughout the text, there are meaningless graphics peppered throughout in an attempt to make the text visually appealing. As it is, the book is a bit text-heavy, despite it being a book about rhetoric and composition! Today's students are visually oriented, so more infographics definitely helps.

Clear, logical organization throughout the text, exploring how we come to writing, how we can write, and the tools and skills needed to write effectively.

As a PDF, the text is solid, with the ability to move to pages easily. It would be helpful to have a hyperlinked sidebar menu so the students can move to sections based on topic instead of page number.

The only grammatical errors are those that were intended to show as examples.

Glynn uses a diverse and wide variety of references throughout the text. Though not a fan of Stanley Fish, I understand using his points for the sake of argument!

I plan to use this text in my first-semester FY writing courses as it is a strong, open-source resource that students can use throughout their college careers and later.

Reviewed by Michele Ren, Associate Professor, Radford University on 5/4/21

The book is certainly comprehensive and provides a glossary; I wish I could give 4.5 because a clickable table of contents would be wonderful. read more

The book is certainly comprehensive and provides a glossary; I wish I could give 4.5 because a clickable table of contents would be wonderful.

Caught a typo pretty early on (page 12 "conclusionn"), but the content itself is accurate and unbiased. Re. accuracy, I especially appreciated that the list of "transition words" is specifically discussed as a way to make transitions within a paragraph rather than between paragraphs. Many texts simply list those words but do not discuss ways of using them and students inevitably will insert a "furthermore" when adding something that is neither further nor more.

Uses specific contemporary detail for writing examples in a way that makes the text relevant for students, but not in a way that it would seem outdated any time soon.

Easy to read, short sections, lots of spacing and bold and graphics to break up chunks of text in ways that are not distracting.

Chapters follow a similar format with subtitles, bulleted information, graphics, and spacing between paragraphs when larger chunks of text are needed to explain a concept. Fonts and font styles (bold, italics) and justification are used consistently from chapter to chapter.

Chapters are short and subdivided in ways that would make creation of handouts or assigning small passages/sections easy.

The placement of thesis and research in different places gives me pause, especially when research is used after an argument is created (I worry about confirmation bias rather than doing research and then formulating a topic), but, the book is set up in a way that sections could be assigned in different order, and the authors address the difficulty in defining one specific writing process in the graphics they provide on pages 12 and 13.

Again, a clickable table of contents would have been so lovely!

These are composition instructors, so errors are minimal. But, again, "conclusionn" page 12 did jump out at me. Also: "Black Lives Matters" should be "Black Lives Matter"

I appreciated the attention to diversity in examples (Black Lives Matter - in spite of the misspelling, Native American traditions), although maybe not college women trying to avoid the "freshman fifteen."

My university has an older OER composition handbook that I have been using for awhile; I am actually considering replacing it with this one because examples are newer and it may work for both freshman courses. I would love to see a clickable TOC, though!

Reviewed by Erica Braverman, Part-time instructor, Portland Community College on 1/12/21

This book is great for a writing class geared toward academic writing. It covers the basics of instructing a first-year student of how to go through the writing process and what they can expect while doing so. I especially liked the section on revision, which clearly laid out critical questions the student can ask themself when making decisions. I also liked the attention to different processes, giving students information about what they are and encouraging students to find the one that works for them.

This book has credible, clear information. The information is presented in a non-prescriptive way, giving agency to students to try things out and find what works for them. The authors also include sources for students to do further research on their own if they want.

The book includes cultural, historical and literary examples to explain concepts. The authors were shrewd in choosing cultural references that are relevant to students now but will also age well (e.g., Google). I also appreciated the attention to writing that has real-world relevancy for students, such as writing resumes or a letter or email to a manager. I thought some of the examples used, however, would not be as interesting to students who aren't as focused on academic studies or obtaining a four-year degree (Shakespeare; Moby Dick; latinate used in Abraham Lincoln's speech). I thought the authors missed an opportunity to engage students who might not make writing, research, or academia their career, but are still interested in learning to write and communicate better in real-world situations outside of the classroom.

The authors explain concepts well, but perhaps a bit too thoroughly. The chapters contain long blocks of text that might seem intimidating to beginner-level students. Again, the examples given tend toward "high-culture," and might not help students connect concepts to their lived experiences.

The book is consistent and easy to navigate.

Instructors can break up the information as they want with relative ease.

It's designed with the student in mind, taking them through the writing process step-by-step. The chapter on editing, though, consists of a lot of information on grammar, sentence structure, etc., which students might find overwhelming. I wanted the information to first be more succinct, before getting into the specifics and details.

The text is easy to read and navigate. I especially liked the way the authors explained how the steps of the writing process may not always be linear. They first listed out the steps, and then marked them up in a graphic to show how the order might be different.

The text is clean and clear of errors.

Cultural Relevance rating: 3

I personally would not use this textbook with my community college students because I don't think the examples would particularly interest them or pertain to them (mostly literary, historical, scholarly examples--very few cultural or real-world examples they could relate to their lived experience).

Reviewed by Matthew Chelf, Adjunct Instructor, Portland Community College on 12/9/20

You, Writing! wonderfully covers the whole of the writing process in 170 pages of approachable, audience-friendly language. Like many contemporary texts on first year college composition, You, Writing! stresses writing as a process, not a product. In addition to covering academic writing, the text also includes other modalities such as professional writing (emails, resumes) and social media postings. What unites the text is a consistent focus on writing as audience-focused.

The text participates in many of the themes you find in first-year college composition texts. With that said, I did not find anything inaccurate or that I would be uncomfortable sharing with students.

In the text’s introduction, the authors seem to anticipate a common criticism of writing, and the humanities in general: why is writing relevant to more lucrative and pursued careers that require a STEM degree? Given the relationship between writing and reading, I found this to be a relevant note to start on, and the authors answer the question “why write?” by demonstrating how many of the skills within writing (critical thinking, communication) transfer to real world applications and careers, like Google for instance. To get their point across, the text is organized in quick, pithy sections laden with different formats that will appeal to students coming of age in the digital era.

The language and sentences are clear and straightforward. There is nothing confusing or complicated. For example, the authors do a great job explicating thesis writing. Often, we teachers treat the components of thesis writing as cumbersome moving parts, but here the elements of a good thesis are three: interesting, limited, specific (32). Using the previous discussion of audience-centered writing, the authors demonstrate in three subsequent subsections how the three qualities of thesis writing play out in unique examples.

The tone, language, and format remains consistent yet dynamic throughout the text. One major theme in particular--audience-focused writing--reminds the reader of previous passages in the text, so as the reader moves forward they integrate new knowledge with previous information. This repetition is wonderful, and each chapter builds upon itself.

I enjoy the brief, concise chapter-and-subchapter format and find them student-friendly. Paragraphs are never more than several sentences. Examples, images, subheadings often follow paragraphs so there is rarely more than 3-4 paragraphs grouped at a time. The table of contents is very thorough, which makes it simple to pick what you want to assign and what you may want to skip. The text is holistic enough, though, that I could see myself assigning the text as a whole.

As I stated, I enjoy the brief, concise chapter-and-subchapter format and find them student-friendly. The chapters build upon each other in a logical fashion. At the end of chapters, there are resources for further reading.

The authors include graphics, charts, bulleted lists, and illustrations to accompany ideas, themes, and lessons in the text without cluttering the page or the meaning. I found the text easy on the eyes and presented in a very streamlined fashion.

I did not find grammar mistakes. In fact, there are even chapters later in the text about grammar.

Sprinkled with references to contemporary life like Twitter, Black Lives Matter, and the intricacies of identity like gender and socio-economic background, part of the success of You, Writing! is that it recontextualizes first year college composition to the current cultural landscape. Moreover, the organization of the text in its streamlined, modular fashion is well suited to the cultural reading style that young students seem to have owing to growing up with the Internet. In other words, I think this text is well suited, culturally, to digitally fluent students.

Reviewed by Charles Prescott, Professor of English, Berkshire Community College on 6/28/20

The text effectively and comprehensively covers the main topics and strategies included in an introductory composition course. I especially appreciate the Basic Writing Process Chart as a graphic introduction of the key steps of the writing process, immediately followed by hand-drawn arrows indicating how messy and recursive that process can be. There are also good examples of how to come up with ideas to write about, how to establish organization, and how to revise. The glossary of key terms, like the rest of the text, is both thorough and approachable to guide new college students through the writing process.

The book is accurate in dealing with the subject matter. I did not find any material I would consider inaccurate.

The strategies presented in the text for brainstorming, drafting, and revising are highly relevant and broad enough so that they should not need updating. The sections on research strategies and citation, especially in APA, may need more frequent updating. However, the less-is-more approach to the basics of citation, should make it relatively easy to update in the text. The text presents enough information so that the individual instructor can easily fill in any holes or mention updated strategies while teaching the course.

The clear, approachable writing style the authors use is by far the best feature of this text! Not only is the writing process presented in a clear, step-by-step manner, the text is actually fun and funny to read! Examples of how to brainstorm topics and how to compose drafts of specific types of essays are clear and approachable. I expect my students to get a lot out of this text, and to enjoy reading it as well!

The text uses the Basic Writing Process Chart to create consistency, explaining each of those steps thoroughly with examples. Visual cues like handwritten annotations also help to build a strong sense of consistency throughout the text. Some of the transitions between sections in the Drafting chapter are a bit clunky, but overall the presentation is consistent.

Modularity is a strength of this text. Smaller sections on brainstorming techniques and grammar could easily be inserted into discussion of other composition topics.

For the most part the organization of this text is fine, but including discussion of different rhetorical modes in the Drafting chapter is a bit odd. I would prefer to see discussion of different styles of writing (narrative, informative, persuasive) as separate chapters, rather than listed as part of Drafting. However, I acknowledge that’s more of a personal preference than a real critique.

I did not notice any interface problems.

I did not notice any distracting grammatical errors. The text is clean, clear, and approachable, making it an ideal model of what good writing can do in the context of an introductory composition course.

The text includes some discussion and examples of culturally relevant topics, such a Black Lives Matter. I did not specifically notice Cultural Relevance as a strength or weakness of the text.

I find You, Writing! to be a fun and flexible, unintimidating introduction to composition. Its combination of a playful tone, emphasis on process, and explanation that writing should not be too bound by that process strikes me as just the right mix. I anticipate that the students will find it a very helpful resource, and that I’ll enjoy teaching with it.

Reviewed by Caroline Stanley, Associate Professor, Bridgewater State University on 6/22/20

The text is comprehensive in covering the major topics pertaining to basic writing. It provides many useful tips about the writing process including proofreading, correcting run-on sentences, and overcoming writer’s block. Likewise, the glossary... read more

The content appears to be accurate and error-free.

The content is up-to-date and rife with examples that are relevant for the college population. Examples are not likely to become obsolete or else can be easily updated.

Readers will appreciate the fact that the paragraphs are short, and the writing is concise. There is little jargon or technical terminology used and new terms are defined very clearly. The authors provide interesting examples and the writing style is casual, relatable, and humorous.

Consistency rating: 4

The text is consistent in terms of its terminology and framework. Likewise, the writing style remains consistent across the chapters.

The text is modular in that each chapter “stands on its own” and can be assigned separately from the others. Each chapter is useful regardless of the order in which it is assigned and the length of each chapter is manageable.

The text is well-organized and the chapters are presented in a logical order.

Some of the “charts” (see page 45) presented are actually lists of words. These lists would be more effective if displayed in a table.

Grammatical Errors rating: 3

There are some grammatical errors, some pertaining to tense or subject-verb agreement (i.e., “psychologist Abraham Maslow describe,” pg. 19; “The most important section are,” pg. 19). Though these errors do not obscure meaning, they could (and should) be corrected.

The text is inclusive of a variety of races, ethnicities, and backgrounds. It may be of interest to some instructors that, when discussing how to write a strong thesis statement in chapter 5, the author briefly discusses the Black Lives Matters Movement. In doing so, the author provides content that may be especially relevant for those wishing to expose students to the concept of racial bias.

I find the language to be simple and easy to understand. Some may consider it too elementary for a college sample and more suitable for high school readers.

Reviewed by Colin Rafferty, Associate Professor, University of Mary Washington on 6/19/20

Covers the full spectrum of introductory writing studies, including big picture things like generating ideas and organizing them as well as more local issues like style and grammar. A glossary of commonly used terms is helpful, as the discussion of citations and research. It's a book that's clearly rooted in theory but avoids getting the reader bogged down in it--perfect for the general academic writing class.

Very little in the book is inaccurate; perhaps it might have addressed the emergence of the singular "they" in recent years, but beyond that, the book is almost entirely error-free.

Its focus on the writing process rather than the end product, while still emphasizing its importance, allows the book to stay fresh for generations of students. I was very pleased to see that the book notes the existence of multiple drafts between the first and final ones. Barring a seismic shift in the world of writing pedagogy, this book will remain useful for years to come.

Incredibly accessible to the general audience. The voice is familiar and welcoming without trying too hard to be on the level of the students. As I stated before, it's a book that has done the theoretical work so that the reader doesn't have to get caught up in jargon and esoterica.

The three authors have managed a consistent voice throughout the entire book, and nothing transitions jarringly or confusingly. They remain constant throughout in how they refer to the elements of writing, and at no point do they introduce new knowledge without explaining to the reader just what it means.

Even as I was reading the book, I was thinking about how I could use certain chapters and sections in my existing composition course. The book is easily adaptable to a variety of situations, and the authors are careful to make sure that the chapters, while informing each other, can stand alone, which allows for the professor to use as she sees fit.

Despite the book's potential for modularity, the best way to encounter it is to read it straight through. The ideas follow logically upon one another, and the authors build the sense of writing as a process through their own organization of the text.

Easily readable and clear throughout, even when graphics enter the text.

Nothing that obscures meaning.

Inclusive throughout, whether in the choices of examples--BLM shows up at one point, which is appropriate for my Fall 2020 classes--or in the names used in the text. A good book for all. (Now, about that singular "they"...)

A solid book for the composition classroom. I look forward to adopting it for my general writing seminar this fall.

Reviewed by Katie Durant, Adjunct Professor, Middlesex Community College on 6/17/20

This book covers all the major topics I teach in my class currently. It is written clearly with many interesting examples to help students understand the concepts. The index is very helpful and the glossary in the back defines many of the key... read more

This book is accurate in dealing with the subject matter. I covers much of what I have taught for years in a clear and comprehensive way. I found no bias or errors (besides one typo).

This book is relevant as it mentions only cultural happenings and figures that are significant like lasting political movements and figures as well as well-read authors. There is one mention of a writer who is referred to as living but is now deceased, but that does not affect the relevance of the text. Because the book focuses on basics, it is unlikely that it will need any content updates besides possibly the mention of the author.

The book demonstrates a relatable voice without using vocabulary and sentence complexity that is out of reach for a developmental or beginning-college level. It is easy to read and has a comfortable pacing. There is little jargon or technical terminology in this book, but where new terms are introduced, the definitions are provided in a comprehensive way.

The book retains its consistency throughout. From the beginning to the end the voice of the author is relatable, and the book's vocabulary is not overbearing.

Because each section of the book is self reliant, the book is modular and each chapter can be used alone or in conjunction with other chapters. The self-contained nature of this book makes it more useful in different classes.

The flow of topics in the text is logical and effective with one topic building onto the previous ones. The only exception is the section on basic grammar skills like making complete sentences. This information is found in the last chapter on proofreading. While proofreading does require these skills, It would be more logical to move this section to the beginning chapters and refer back to the basic grammar in the revising section.

The author was careful to create a simple interface without distracting of confusing diagrams and images. One can navigate it easily.

I only found one typo on the text. The rest of it retains the grammatical standards that it teaches.

This book used examples from real life when making points, and I found these to be culturally relevant, inclusive, and effective. The author mentions the Black Lives Matter movement and discusses the writings of Martin Luther King, Jr. to cite two examples of inclusivity and cultural relevance.

I will be picking up this book to teach a composition course and portions of it for a developmental writing course. Its clear and conversational tone as well as its modularity make it an ideal OER resource for my class.

Reviewed by Matthew Gilbert, Adjunct Instructor, East Tennessee State University on 4/16/20

This book provides a comprehensive approach for all levels of writers for a range of writing projects. The text works effectively in providing a breakdown of all major aspects of composition: how to determine the audience or purpose of the assignment, how to develop a thesis statement and supporting arguments, and how to write a draft and follow through development and revisions from start to finish. The text is targeted towards beginning college writers, though it is not limited to beginners. The text approaches a wide range of assignments/academic tasking, including but not limited to, professional email etiquette, argumentation, and critical analysis. While the book does demonstrate a wide representation of college writing expectations and skills, the generality of it requires instructors to supplement other materials to further develop student understanding beyond the basic levels. The table of contents provides precise detailing of the materials throughout and I found the glossary incredibly useful.

The book is surprisingly accurate and well-composed. The writers demonstrate a wide and thorough understanding of the writing process conventions of language, style, tone, etc., and they provide informative lessons on where to find current formatting instruction. The grammar section of the text is quite brief but effectively introduces students to many of the major areas of concern in academic writing; However, if a teacher wants to focus highly on grammar, supplemental information or a different text would be more beneficial.

Majority of the information provided works universally and provides a strong foundation to students without experience in writing academically or professionally. The text provides a strong overview or how to brainstorm and develop ideas, how to organize and structure an essay around a claim, how to pitch your idea to an audience, how to properly use subordinating clauses, and how to write introductions and conclusions. The authors provide resources for further studies like Online Writing Labs, where students can find up-to-date APA formatting for example. The writing seems contemporary and addressed composition from current pedagogical approaches.

The writer does well to not only instruct students with their precise writing styles and examples but to showcase these lessons through the text writing itself. The writing is concise, concrete, and easy to read. As an example of the clear writing that sets this book apart from more commercial texts: “Some instructors will also call the clause, ‘As I walked down the store’ an introductory phrase that needs a comma after it. Whatever the instructor calls it, the comma needs to be there.” This passage not only provides clear instruction but highlights the authors’ understanding of diverse terminology that teachers may use in the classroom.

The book maintains its terminology and framework throughout the chapters. Each chapter addresses key steps in the writing process, which works comprehensively with previous chapters to build on developed knowledge.

Structurally the book works well in the order that the lessons and chapters are positioned, though I find that students learn better when they have positive examples to learn from. For this reason, I would recommend that proofreading skills are moved closer to the front, but this can easily be addressed with supplemental lessons and instruction. The text works well in order, but it can be adapted to suit the needs of the instructor and the classroom with a little foresight.

The writing process steps are quite organized in a manner that is easy to scaffold. As mentioned in the structure, I think that proofreading could be moved sooner in the text so that students can learn from seeing proper usage. I also feel that the research, plagiarism, and citation section could have been moved closer to the front; however, the text can be adapted to suit the classroom needs with a little planning. The authors make an excellent point that the writing process is not linear; therefore, the text can be taught out of order to a similar effect as teaching from start to finish of the text.

The text was quite legible so I had no difficulty reading lessons or examples. The images and charts are visually appealing and very contemporary. I think the overall approach to text construction works well to appeal to students regardless of their learning types.

The grammar is excellent and works well to instruct students by example!

The writing samples illustrate a diverse range of writers and backgrounds. This will work well to avoid intimidating students, especially beginner writers.

Overall, I find this text to be written with precision. It seems like an appropriate way to approach composition/ writing instruction for beginner writers and writers who need to broaden their range of writing approaches.

Reviewed by Susan Pesti-Strobel, Adjunct Instructor, Linn-Benton Community College on 1/12/20

_You, Writing!_ by Glynn et al. guides the student writer through successful moves of academic writing. This book would be a very useful companion for both students and instructors. It is clear that the writers have extensive experience with teaching college composition and, accordingly, they cover the writing process for a collection of generally assigned types of papers in early writing courses. They also provide a multi-modal, visually accessible format with plenty of white space to keep it from an overwhelming experience for student writers. The same student writers get a lot of encouragement to build on what they already know and have practiced during their career so far, but they also get plenty of friendly nudges toward taking it to the next level. The authors offer writing samples, ranging from phrases or sentences to paragraph-length samples to sample essays, each of which is a quite helpful teaching tool. Chapter 9 on revising, one of the tougher concepts in freshman composition classes, is a particularly welcome overview of helpful ways to tackle the final stages of the writing process. The relatively detailed section on style is an especially welcome discussion, again, a concept that often gets scant attention in comprehensive composition textbooks. A useful glossary completes the book. I would be tempted to adopt this textbook for my classes, but the one element that gives me pause is the rather belated discussion of research.

The textbook is readable, clear, and for the most part, error-free. It appears, though, that the promised discussion of comma splices, something I find myself addressing heavily in my classes, is missing (see p. 123 and on).

The content is absolutely relevant and reflects the current take on teaching college composition, but without the danger of becoming obsolete soon. It looks to me that it would be relatively easy to update and implement the text.

The text is indeed written in an accessible language that is easy to comprehend by its intended audience. The authors use technical terminology necessary to the content.

The text is internally consistent in terms of terminology. The visual framework could, however, be more consistent throughout. The style - color, format, etc. - of call-outs could be made more consistent for the whole text.

As with most of us teaching college composition, assigning units from a writing textbooks will usually follow the schedule of actual writing assignments. This text lends itself to short, select reading assignments to complement the curriculum.

Organization/Structure/Flow rating: 3

Overall, the topics are organized in a logical pattern. The one snag for me is the belated discussion of research - it is one of the last chapters. Consider the mantra of college writing across the curriculum: "Research everything!" With that thought in mind, I would prefer this chapter earlier in the book, especially because, and inevitably, the authors do reference the importance of research throughout.

The text is free of significant interface issues. I do suggest a more consistent usage of textboxes throughout, however.

The text is free of grammatical errors.

Even though the text refrains from addressing particularly sensitive social/cultural topics, it provides a good springboard for a variety of topics that can inspire student writers to branch out on their own.

I recommend this text for consideration in freshman composition courses. I am definitely putting it on my list of "promising titles."

Reviewed by Sheri Anderson, Composition Instructor, Colorado State University on 12/24/19

"You, Writing!" comprehensively addresses the basics of writing in a casual, easily-accessible way. It would be an extremely useful textbook in a freshman composition class. It covers a variety of writing genres, as well as some basics that we, as instructors, often assume that our students already know (yet they often don't), such as how to title your paper and how to annotate a text.

There are many writing samples throughout this textbook which make it a great reference for students. The examples of "high," "casual," and "low" writing styles, and rewrites to make famous excerpts a different writing style, are a smart way to demonstrate to students what academic writing is (and isn't). The lessons on grammar are framed rhetorically by being placed within a chapter about proofreading at the end of the (Ch. 10). I found this textbook to be clearly written and comprehensive in covering the basics of freshman composition.

The copy in this textbook is clean and error-free, which makes it easy to read and understand.

The information in this book is relevant and reliable for composition classes. It is clearly organized, making it easy to use and reference.

This text is particularly clear and easily to read and understand, without trying too hard to be hip and young. Students will appreciate the clear descriptions and examples within the text, as well as the inclusion of an appendix at the end of the textbook, which offers a glossary of terms which they might need to

This text uses a rhetorical framework for teaching writing, while simplifying the basics of tone and genre to make them more accessible for the student writer.

This textbook lends itself to smaller readings within a class curriculum very well. It could be used out of chapter order while still maintaining its integrity, and chapters can be easily broken into smaller, daily readings.

The chapters within this text are well-organized.

This book's text is easy to navigate, and its text and visuals are easy to read both online or as a pdf download.

The text within this textbook is clean and error-free.

This book is relevant across cultural boundaries and makes use of examples that cross a variety of backgrounds.

Reviewed by Kristin Macintyre, Instructor of Composition, Colorado State University on 12/21/19

This text appears in eleven chapters, and each chapter covers an important component in the writing process. The chapters cover basic (but important) steps such as defining audience and purpose (chapter 3), finding a topic (chapter 4), and writing a thesis statement (chapter 5). In addition, the text acknowledges writing in different modes (or genres), such as persuasive writing, informative writing, and professional writing. The text also covers brainstorming, drafting, editing, revising, and organizing, as well as citation and research strategies and gives plenty of specific tips on engaging with meaningful writing practices.

I didn't notice any glaring errors!

I think the items in this textbook are very relevant. The concepts are simple yet foundational. There are some links to additional resources that I can see changing over time, but I do appreciate the additional references and plan to use them! (Thinking here about the links to Purdue OWL slides/videos on page 23). Overall, I think the text is relevant, and where it makes outside reference, the text is easily able to be updated or modified.

I found this textbook very clear. The text does a nice job delivering its points in a concise manner, and it doesn't require the reader to infer meaning. Each chapter is complete with clear headings and digestible paragraphs, and the text makes frequent use of examples to illustrate its points. I think that this text would prove accessible for many students in the first-year composition classroom, regardless of their writing proficiencies.

I found this textbook very consistent. At no point did I feel that the quality of the text was compromised, and I do appreciate the consistent tone throughout. Overall, I think the text is wonderfully self-contained and does not require much modification or elaboration in any of its chapters.

I very much plan to borrow portions of this textbook. I think its ability to be divided and adapted to other lessons is a particular strength, since I am often looking to scaffold and grow my own lessons. I've already begun to mark impressive/clear examples, definitions, and explanations that I'm excited to invite into my classroom next semester.

Organization is another strength of this text. This, of course, goes hand-in-hand with the text's clarity. As I mentioned above, I'm impressed by the text's ability to divide writing into digestible, understandable components. Nothing here feels convoluted or unnecessarily complex. I enjoyed the logic of the book and think its chapters are clear and easily accessible. This also makes jumping around the book easy--a quality that lends itself to both teachers and students of writing.

The formatting of the textbook does feel a bit elementary or unthoughtful at times. There are just a few diagrams that are hand-drawn, which makes a few spots in the book feel a bit underdeveloped. Otherwise, the interface is very workable.

I didn't notice any grammatical missteps.

Though I'm not sure this book would be considered culturally inclusive, I certainly did not find it culturally exclusive. Its focus is primarily the writing process, and its examples do not venture into culturally offensive territory. I would feel very comfortable assigning this textbook on diverse campuses.

I really enjoyed this textbook and am planning to borrow lots of material from it! Thank you to the authors; I've struggled to find a book that feels adaptable to my courses. The information here feels relevant, consistent, and complete. I will be recommending the book to my colleagues!

Reviewed by Jessica Kane, Assistant Professor, Michigan State University on 11/14/19

The book covers the major steps for academic writing, and while it had some examples of non-academic sources, it seemed to focus pretty overwhelmingly on "essays" in various formats. That's exactly what some programs want, though a bit limited for... read more

I generally found the content to be accurate

The book steers away from examples that will quickly become obsolete, and uses writing from a variety of time periods to help illustrate its point.

The definitions of different terms at the beginning of the chapters is especially helpful.

Consistency rating: 3

I was surprised to find that the text devoted (for example) eight pages to audience and 40-something pages to specific grammar details. While the organization went from higher-order concerns to lower-order concerns, meaning that all the editing and grammar information came towards the end, it felt lopsided in that respect. The chapter about research/finding sources came at the very end, perhaps because the authors were trying to make the discussion of organization, argument, audience, etc. relevant for projects that don't involve research, but that also surprised me.

The different sections are well-contained and easily readable.

As with consistency, I found the amount of space given to different elements of writing to be strange. The text is set up to be chronological, to take the reader through the steps of writing, beginning with audience and ending with proofreading. The first eight chapters flowed logically from one to the next, the ninth and tenth chapters ("Editing" and "Proofreading") came at a chronologically logical time but just took up so much space, and the eleventh chapter ("Research Process") seemed strangely tacked on to the end

Text interface is clear

The book's grammar is sound

The text did a good job bringing in multiple voices

An overall strong text, particularly for classes or programs that are very focused on teaching students academic writing. It generally did a good job explaining why different elements of writing and the writing process matter, it used both professional and student writing examples, and it is written to be easy to read. My major critique is the overwhelming focus on academic writing, which is an important element of first-year writing courses but not (I believe) the only element. The "professional writing" section is limited and less helpful, I would generally point students to other resources when we discuss professional writing.

Reviewed by Megan Morris, Adjunct professor, Richard Bland College on 10/16/19

The textbook thoroughly covers the subject of writing, including differences between high school and college writing, generating ideas, developing a thesis, different modes of paragraph development, research and citation, and sentence skills. The amount of space devoted to these areas is not e even, however. While much detailed attention is given to the specific terminology of Greek logic, for example, the text might have benefited from more extensive concrete examples of critical reading and how it plays out in practice in student writing. While I really liked the sample annotations of the poems, many student writers in introductory English classes are working with prose rather than poetry. Furthermore, simply seeing the annotations would not necessarily help struggling students see how to write an essay or a paragraph that develops their critical reading of the text. Likewise, I would have liked to see more concrete examples of paraphrasing and introducing quotations later in the text; the section that discusses those issues seemed somewhat abbreviated, and those are typically major areas of student concern. All of that being said, however, the textbook's coverage of most areas of first-year writing was quite comprehensive, and the introduction of a few outside texts would easily remedy gaps such as the one I mentioned above.

I observed no problems with the text's accuracy, and I also noticed no bias in the way that it's written.

The text is up-to-date, including the most recent changes in MLA formatting, and --particularly as the conventions of English don't change very fast--I don't foresee any difficulty with updating this textbook as necessary. The social and cultural references I noticed in the textbook (such as Twitter and Steven Colbert) are up-to-date and seem likely to resonate well with students for some time to come.

The language of the textbook is generally very clear and easy to follow. I see numerous efforts throughout to make readings and examples relevant and accessible to students, and the authors also integrate a variety of useful charts and diagrams for students who prefer to think graphically.

In a few places, I did have a few concerns about clarity. In the chapter on argumentation, for instance, some of the distinctions made between different types of argument seemed to specific or arcane to be particularly useful to many English 100 and English 101 student. While distinguishing between inductive and deductive reasoning is very useful, for instance, distinguishing between "rhetorical argument" and "academic argument" seems a bit superfluous for the target audience. While that particular section is short, it distracts students a bit from the major issues at hand.

While the text generally lays out clear steps--the diagrams that outline writing processes are particularly nice--a few of the lists of steps seem somewhat cumbersome. In the Critical Reading chapter, for instance, the number of steps may be intimidating to many students.

The textbook is consistent throughout; I noticed no disparities in the use of terminology, for instance.

While the chapters themselves are long, they include useful divisions throughout, all of which are hyperlinked from the menu. It would be easy for an instructor to hyperlink only certain sections of the chapter for use in class. The sections seemed to stand quite well independently; it would be easy, for instance, to read the chapter on the writing process before the one on argumentation.

Generally, the book's organization is logical and in keeping with the typical flow of college composition textbooks. The only major exception was the chapter on the writing process. I'd at first thought that the editors had placed the chapter on argumentation first because it might cover issues like thesis and topic sentences, but that isn't the case;those topics appear most clearly--and, importantly, most accessibly for student writers--in the section on the writing process. I did feel that following the textbook in sequential order would result in students writing an essay before they'd been fully prepared to do so. I would be more inclined to place "The Writing Process" immediately after "Critical Reading," then assign the chapter on argumentation immediately before the discussion of the research process. That being said, however, it's easy to separate chapters into their component sections and assign them to fit smoothly within the broad structure of the course.

The text's interface looks really strong. I particularly liked the way that the text integrates links to a variety of media, including YouTube videos, to help student readers further explore concepts that they find either interesting or difficult.

I observed no major grammatical problems or typos.

The textbook appears to me to to be inclusive, and I didn't observe any issues with cultural sensitivity. Both issues are important to me because my college's student body is very diverse.

It's worth noting that I'd originally considered assigning this textbook for a developmental class, but I think that it's pitched too high. It would work better in the regular freshman English sequence.

Reviewed by Erica Heim, Graduate Employee / Composition Instructor, University of Oregon on 6/14/19

This text outlined all basic steps to the writing composition process, and then some. The entirety of the traditional writing process was outlined, from reading to brainstorming to organizing to drafting to revising and proofreading, but it acknowledged that these stages can change order or recur; it just depends on the student. It also provided a thorough look at citations in different formats.

Besides a few intentional incomplete sentences (I believe constructed as a colloquial mechanism to relate to the pedestrian reader), the book was accurate both in content and in style.

This text is absolutely relevant to our era, and looks ahead to where we are going. It makes explicit the significance of writing in many different spheres, including social media posts and cover letters for resumes. This ubiquitous applicability ensures that the student may readily connect lessons to his or her everyday life.

The clarity might be what I appreciated most about this book. Some texts leave the student to infer their meanings, but this one made lessons crystal clear. In its clarity this text is also widely accessible, which is significant for students whose first language is not English or for whom high school English classes did not provide them with an adequate introductory education. Overall the clarity of this book makes it ideal for teaching in first-year college composition courses.

This book was certainly consistent. There were no surprises in any chapters, and students can follow along easily where the book is taking them.

The modularity is another thing I really appreciated about this text. Having sections with subsections makes it easier as an instructor to reconfigure reading assignments and construct a lesson out of several different (but relevant) subsections. Also each section was a feasible length so that different lessons could be combined without the reading assignment being too time-consuming.

Organization can always be improved, but the way this text presented its ideas was logical and clear. Readers can follow along easily without getting lost or needing to reference back to other sections.

This text's interface was easily navigable.

As mentioned previously, the grammar and syntactical structure of this text was 'correct' for the most part. There were a few instances of incomplete sentences or colloquial expressions, but those were likely intentional as a way to underscore a point or relate to the student reading.

This book was not culturally offensive. I am hyper-aware of those kinds of instances wherein an implicit cultural bias is made, and I am always looking for those instances - whether consciously or not. This text did not raise any alarms.

Overall this text was both accessible for students and moldable for teachers. It covers the basics of writing composition in college and demonstrates not only that anyone is capable of writing, but also that everyone is already writing in some way in their lives. It was crystal clear in communicating the processes of reading and writing, and also covered the ever-important topic of citations quite thoroughly. With a plethora of examples, this text illustrated the different shapes writing can take, and the different mechanisms writers can choose to employ. Ultimately, this text is thorough in content, accessible in style, and organized in such a way that an instructor can make it her own.

Reviewed by Margaret LaFleur, Instructor, Minnesota State on 5/29/19

This was quite comprehensive for a general overview of Composition. The authors don't get too deep into any given style of essay, which is helpful for instructors designing their own courses as it would allow them to build off of the general... read more

The authors took obvious care to write an accurate guide. There are a few instances that are accurate, if brief. The grammar chapters, for instance, are helpful but not overly detailed. This makes it helpful as a reference or starting point, but may not address all of student concerns. However, this would just require instructors to supplement, as all the information is accurate.

Good writing is somewhat timeless, even as language and styles evolve. There is a lot of discussion of process, which is the timeless aspect of good writing. Students need to be encouraged to work through the act of writing, not get hung up on a perfect finished process. In this sense the book is very relevant and helpful.

The authors make an evident effort to be clear and direct in the writing. It is definitely accessible to a wide range of readers. Additionally the authors take time to define words and ideas for students. For example, when discussing style they take time to explain "denotation" and "connotation" which are great concepts (and vocabulary!) words for students to learn as they are also learning to write.

Very consistent! In addition to a similar tone and framework the book also includes many familiar listing techniques and terminology that is common to other Composition books out there.

Like many Composition books this textbook follows the general outline of a Composition course. It starts at the beginning of the writing process, discusses drafting, then editing, and includes the Research Essay at the end of the book. These are broken up into smaller sections which would be easy to break down and assign. Generally the breakdown makes the most sense along the chapter breaks, as the chapters are clearly designed to be read in whole.

As noted above it follows an organizational pattern very familiar to Composition guides. Nothing ground breaking, but that's for the best.

I had no trouble navigating this book, and appreciated the use of simple and relevant images when they were included. The glossary and index help with the navigation as well.

Luckily the grammar is great, or it couldn't serve as a resource for those still learning grammar!

Because the language is straight forward and clear there are no accidental insensitive or offensive comments included. There are modern or current references, so it doesn't feel like students are reading dated work.

This is an excellent overview of Composition. It would require supplemental material and examples, I believe, but gives an instructor a very comprehensive basis to build off of.

Reviewed by Rebecca Owen, Adjunct Instructor , Chemeketa Community College on 5/6/19

This text is an excellent and conversational approach to college writing. It covers all the necessary topics, from styles of writing to grammar. The examples it uses are interesting and current, which makes it easy to read and follow. The glossary in particular is quite effective! I also thought the explanations on logos, ethos, and pathos were well-defined for this level of writing student.

Nothing concerning in terms of accuracy and bias. This text could be adapted to suit any number of college composition courses.

Subject-wise, this book could be timeless. Some of the examples used (like in the grammar explanation chapters) were references to current pop culture events and figures. This could be something edited and shaped in future editions.

Very clear, very straightforward writing. It felt accessible, and it was written in such a way that might make a student nervous about writing feel more comfortable. The conversational style was a strength of this text.

Terminology and framework were acceptable. Some chapters might have benefited from explanations or activities to help boost students' understanding (especially in sentence types in the grammar sections).

Short, specific chapters that were easy to follow. I would definitely consider assigning portions of this text as supplementary reading for an online class, for instance.

The entire book is presented in an easy to read and follow fashion. The graphics are a nice touch that give it a bit of fun and personality, too.

I read this text on my iPad, and I had no trouble navigating through its entirety. Clear, streamlined writing that looked nice on the page.

I didn't see anything alarming in terms of grammatical errors.

Yes, this is definitely true--one example made mention of Trayvon Martin and Black Lives Matter in sample paragraphs. Others used songs or celebrities as subjects of sample essays and paragraphs. It felt relevant to this current era, and I think students would be comforted by how relevant it is.

I really liked how accessible and friendly this textbook seemed to me as the reader. Clear, specific explanations go a long way to make the writing process less of a mystery and more engaging and fun.

Reviewed by Tiffany Duet, Instructor, Nicholls State University on 4/29/19

Comprehensiveness rating: 3 see less

The text includes pertinent content regarding writing processes and modes of writing. While it does an adequate job of explaining concepts regarding argumentation, the text neglects to provide logical fallacies (specifically ad populum) in explaining methods of persuasion. Furthermore, some example essays in Chapter 7 lack the sophistication which is required in college-level assignments. Commentary on more challenging modes such as rhetorical and literary analysis, as well as research-based persuasion, seems underdeveloped. The text lacks an index but does include an extensive and informative glossary.

Overall, content concerning rhetorical strategies and writing style is accurate and informative. However, citations in examples of annotated bibliographies do not follow current APA or MLA guidelines, and the text includes other errors in MLA citation format.

Overall, the content is contemporary. A few examples which do pertain to the targeted age group may become obsolete within a few years. Yet, these examples should be relatively easy to update as they are isolated.

The authors avoid using advanced academic jargon. Terminology concerning the writing process is easily accessible to beginning composition students. Writing style is straight-forward and even conversational at times.

While the use of quoted material is not consistently formatted throughout the text, authors do use terminology consistently. Authors effectively use a “basic writing process chart” as both a visual aid and an organizational framework for content.

The text is divided into readable sections with appropriate heads and subheads.

The text is organized clearly around its “basic writing process” concept. Using running heads with chapter titles might help readers better comprehend the text’s organization.

The text includes helpful links to online resources. However, the “back button” returns the user to the table of contents instead of the pages containing the hyperlinks. This problem would be remedied if hyperlinks opened supplementary material in new windows. In addition, I discovered at least one invalid URL. Usability could also be improved by linking chapters on the table of contents to their corresponding pages.

While the text includes a few spelling/typographical errors, it is grammatically sound, overall.

The authors make a clear effort to include examples which are culturally inclusive. No offensive or insensitive material was detected.

The textbook does a very good job of showing the real processes of writing, messiness and all. This content should make those who struggle with the process comfortable in their own efforts to acquire or hone writing skills. Its readability will also prove helpful for the beginning composition student.

Reviewed by Jennifer Wilde, Adjunct instructor, Columbia Gorge Community College on 12/14/18

This book covers all the stages of a writing project, from determining the audience and purpose of a writing assignment, to developing a thesis statement and proofreading the final revision. It is geared to the beginning college writer and includes how to approach various assignments/academic tasks: emailing a professor about a missed quiz, constructing a literary argument, arguing a political position. Because it is so comprehensive and is generalist in its approach, there is not much time to dive deeply into any particular approach or assignment; however, because it is concisely written, the authors manage to give advice about just about everything an undergraduate may be asked to write, with a few exceptions. These include the general analytic essay, and the case report. The former assignment is useful for college writers because unlike the narrative or persuasive essays, it forces them to write with a specifically academic tone and to rely on data and logic. The book has an incredibly useful glossary, and the tablet of contents is extremely detailed.

The book is highly accurate. The writers are knowledgeable about the writing process, conventions of English, style, and where to locate up-to-date MLA and APA formatting information. The section on run-ons and sentence fragments is brief but informative. The list of subordinating conjunctions is not comprehensive. I find the phrase "dependent word" to be easier to use with writing students, but that's just a preference. The word "however" is listed as a conjunctive adverb, which it is, but not as a subordinating conjunction, which it also is (as in the sentence "However you look at it, English grammar is confusing". ) I think this whole grammar section is rather brief, trying to teach sentence skills in a few dozen pages; however, if it is meant as a review of the material for students who presumably have already learned it in a lower level class, it may be sufficient. (That "however" functions as a conjunctive adverb.) The passage of high versus low style is interesting, and not something I've seen before in writing texts. As opposed to the section on grammar, this part of the style section seems to go on too long.

Most of the material is timeless: how to generate ideas, how to organize an argument, how to pitch your writing to the audience and purpose, how to use semi-colons, how to approach introductions and conclusions, to name a few important sections. The authors helpfully provide resources such as the Online Writing Labs for students to locate and use as needed for information that is likely to change, such as the latest APA formatting rules. The writing samples feel very contemporary and not dated. (Well, except for the Gettysburg address, but that's a classic.)

The authors really lead by example here. The writing is unfussy, crystal-clear, highly specific and easy to read. Here is an example of the fine writing that sets this book apart from the oodles of writing books: "The technical way we use the word “argument” in writing simply means offering a written text into an ongoing debate with the hope of securing agreement among people of good will who currently disagree with you or hold a different view. This is the nature of deliberative democracy..." This passage exemplifies the way the authors define their terms as they go along; nothing feels like jargon because they explain their word choices.

The book is consistent in its terminology and the way the chapters are framed. Each chapter pertains to a step in the writing process. I have a small quibble with this because all the grammar and sentence skills are lumped into the chapter on proofreading, which seems too late.

It makes sense to read this book in order for the most part. I would recommend reading the section on proofreading earlier, so that writers can look at good sentences before they generate their own (that may just be me.) However, it is definitely possible to assign one chapter at a time and it is not strictly necessary to read them in order. Some students will not need to read about high and low style, while others may want to skip the section on ethos, logos and pathos (they shouldn't skip it, but if they aren't dealing with rhetoric it may not be necessary.)

I like how it is organized along the steps of the writing process: exploring, generating a thesis, writing, revising, proofreading, etc. The section on grammar perhaps should come a little earlier, and the section on research, citation and plagiarism also feels like it comes rather late in the process. However, the authors point out early in the book that the process is not linear, and student writers often loop back to where they started as research or writing alters their point of view.

I had to blow it up quite a bit to make the text legible. This was not difficult, however. The images and handwritten charts are charming and informative and they are visually pleasing. Navigation is no problem. I love the index and glossary!

The grammar is impeccable, as it should be!

The student writing samples appear to have been drawn from a diverse group of writers.

It is beautifully written. It seems just right for the young, early college writing student. It is too generalized to serve as an advanced writing text for a specific discipline. I would recommend that the section on conventions be turned into an appendix - it doesn't fit neatly into "proofreading" and it is more useful as a reference than as a chapter.

Reviewed by Michael Albright, Assistant Professor, MnSCU on 10/24/18

This text covers a range of composition and rhetoric topics, while allowing for the convenience of selecting concerns that are most relevant to particular courses or students. read more

This text covers a range of composition and rhetoric topics, while allowing for the convenience of selecting concerns that are most relevant to particular courses or students.

The authors are careful to attribute their sources and do so in a way that provides clear modeling for readers. The book is polished and accurate.

The text is refreshing in its relevance and timeliness. The authors include common cultural and social references to reinforce their ideas and main topics.

One of the text's virtues is its accessibility. It is crafted for students and addressed to readers in a non-threatening and approachable way.

The text maintains consistency in terms of formatting and content.

The text is blocked into chapters and subsections, and the Table of Contents allows for easy redirection. There are some rather large blocks of prose that span for several pages at a time, which could prove daunting for students who are not prepared or equipped to pore over large swaths of text.

The overall organization is logical and intuitive.

The text is navigable and free of any technical errors or distortions. Some of the work's most appealing aspects are its authentic screenshots, markups, and charts.

The text is cleanly written and polished.

The text is geared toward multiple readers of diverse backgrounds. It is neither biased nor insensitive.

You, Writing! provides a refreshing and accessible approach to first-year composition, as it sets out to present a range of useful and translatable concepts in a disarming manner. Students and instructors will benefit from clearly defined sections and authentic examples, which supplement extensive commentary on rhetorical issues ranging from thesis development to Anglo-Saxon or Latinate language use.

This text would serve as a fine primary reader for composition students, while certain sections would prove immensely valuable as supplementary content give the depth of the book as a whole.

Reviewed by Zachary Canter, Adjunct Faculty, East Tennessee State University on 10/10/18

The table of contents is very detailed, and a helpful glossary is included at the end of the book. A chapter on using logic and reasoning and avoiding logical fallacies would be helpful. There is no index. read more

Content Accuracy rating: 3

The content is both accurate and unbiased; however, the discussion of sources (pp. 138-143) is inadequate. Sources are only classified as “excellent,” “good,” and “other,” with very little information on how to evaluate them. Peer-reviewed journal articles are only briefly mentioned, and the quality of information from library databases over Internet search engines is not stressed enough.

The content of the text is relevant, and most examples come from classic literature, so they will not become dated. Writing is explored in a way that balances the use of technology with traditional methods.

The text is very accessible, being conversational and helpful in tone. The informative writing example, “What I Did on My Summer Vacation,” did seem somewhat elementary for a college text (pp. 53-54). The other examples were good, but I would have liked to have seen more, including a sample research paper.

Terminology is consistently used and defined throughout the text, and there is a logical framework to the whole.

The text is very adaptable to any freshman college or high school composition course. Readings on the writing process would work best if assigned chronologically, but each chapter could potentially stand on its own or be incorporated with additional readings.

The text is well-organized and offers a good overview of the writing process (especially planning).

The interface is adequate. An interactive table of contents with internal links to chapters and sections would be convenient. Links to outside sources work, but all links to the Purdue OWL only go to the homepage instead of the particular reference cited.

Grammatical Errors rating: 2

The text contains multiple minor errors, which is somewhat problematic for a writing textbook that stresses the need for editing. For example, “hear” should be “heard” (p. 11), “conclusion” is misspelled twice (pp. 12-13), “your” should be “you” (p. 20), there is an unnecessary parenthesis (p. 41), book titles are not italicized (p. 53), the word “to” should come after “Plato” (p. 54), “an” should be “and” (p. 57), there should be a comma instead of a period before “sin” and “put” should be capitalized (p. 60), there are problems with parallelism (pp. 69 and 71), the word “one” (for “tone”?) inside the parentheses of point 8 does not make sense (p. 81), the first sentence under the subheading “Style and Clarity” is incomplete (p. 91), there is a missing period (p. 96), “live” should be “life” (p. 100), and there is an extra indentation (p. 140). In addition, there is some inconsistency in the use of the Oxford comma.

The text is culturally sensitive, inoffensive, and inclusive. In addition, it is refreshingly apolitical, focusing on the kinds of writing students will need in their college courses and careers, rather than hot-button debates, activism, or extreme political correctness.

This book offers an excellent overview of the writing process, explains terms well, and maintains a very friendly tone throughout. Unfortunately, there are numerous minor errors in grammar, spelling, and punctuation, which some careful editing would correct. As a composition textbook, it would benefit from a chapter on using logic and reasoning, while the chapter on research needs some further development.

Chapter One: Why Write?
Chapter Two: A Writing Process for Every Writer
Chapter Three: Defining Audience and Purpose
Chapter Four: Exploring: Finding a Topic
Chapter Five: Writing a Thesis
Chapter Six: Organizing
Chapter Seven: Drafting
Chapter Eight: Revising
Chapter Nine: Editing
Chapter Ten: Proofreading
Chapter Eleven: Research Process

Ancillary Material

About the book.

This text is meant to be used in any first year College Composition class or as a general guide to college writing. The book focuses on writing as a process, not a product. The goal is to help students discover their own writing process, tryin g out different methods and strategies to find what works best for them

About the Contributors

Alexandra Glynn has been teaching English for about ten years. She holds an M.A. in English Literature from St. Cloud State University. She sometimes publishes about teaching English in the Minnesota English Journal. She also translates lyrics into English as well.

Kelli Hallsten-Erickson has been teaching developmental writing, Composition I and II, and a variety of literature courses at the two-year level for fifteen years. She is currently at Lake Superior College, encouraging student s to stay warm during the long winter by keeping their fingers burning across their keyboards, constructing interesting essays.

Amy Jo Swing has been teaching writing and English since 1993. She holds a B.A. in English and Creative Writing from Purdue University and an M.F.A. in Poetry Writing from Texas State University San Marcos. She teaches all manner of writing at Lake Superior College in Duluth, Minnesota, where she is also a writer of poetry and middle grade fiction

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What Is Composition? Definition, Types, and Examples

A composition, which derives from the Latin “to bring together,” refers to how a writer puts words and phrases together to produce a text that is both cohesive and meaningful. The composition may also refer to the writing process, the subject matter of writing, the writing itself, or the name of a college course a student must take. This article focuses on writing exercises.

Key Takeaways

Composition in writing refers to the way a writer organizes a text.
Description, narration, exposition, and argumentation are the four types of writing defined in the late 19th century.
Multimodal compositional features may be found in good literature.

Composition Definition

A writer, like a musician or an artist, determines the tone of a composition according to its intended purpose, making choices about what that tone should be to create a structure. Anything may be expressed via writing, from ardent rage to the use of cold rationality. A piece of writing could use clear, concise language, floral descriptions, or analytical terminology.

English authors and educators have been debating how to categorize forms and styles of writing since the 19th century so that beginning writers would have a place to start. Description, Narration, Exposition, and Argumentation are the four literary genres that rhetoricians settled on after decades of debate. These genres still dominate Composition 101 college courses.

Types of Composition Writing

Description, narration, exposition, and argumentation are the four traditional writing styles; they are not always categories. They are best regarded as writing modes or individual styles that may be merged and used to make a whole since they would seldom stand alone in a piece of writing. In other words, they may provide information for a piece of writing and serve as solid foundations for learning how to organize a piece of writing.

The famous line “A rose is a rose” from the American poet Gertrude Stein’s 1913 poem “Sacred Emily” is the basis for examples of each of the composition styles listed below.

Description

A description, also known as descriptive writing, is a claim or narrative that gives a reader a verbal portrait of something or someone by enumerating distinguishing qualities and essential details. As a depiction of a person, place, or thing in time, descriptions are grounded in the tangible, realism, or solidity of an item. They give you as many details as you want while giving them the appearance and feel of actual objects.

The color of the petals, the scent of the rose’s perfume, the location of the rose in your garden, and whether it is in a simple clay pot or a hothouse in the city are all ways to describe a rose.

A description of “Sacred Emily” can discuss the poem’s length, composition, and publication dates. It can list Stein’s illustrations or discuss how she employs alliteration and repetition.

A narration, also known as narrative writing , is a personal tale the author tells the reader. It may explain a set of facts or events presented in chronological order and make connections between the various phases. It may even be theatrical, allowing you to depict each scenario with dialogue and movements. You might insert flashbacks or follow the sequence strictly.

A rose’s story can include how you first saw it, how it ended up in your garden, or why you went to the greenhouse that particular day.

A “Sacred Emily” narrative might describe how you came across the poem, such as in a class or a friend’s loaned book, or you could describe how you looked into the origin of the phrase “a rose is a rose” online.

A person, place, object, or event is expounded upon or explained in an exposition, also known as expository writing. Instead of merely describing something, your goal should be to give it a reality, an interpretation, or your beliefs about what it means. In some ways, you are formulating a proposal to clarify your topic’s overarching idea or abstract concept.

An explanation of a rose could include its classification, scientific and colloquial names, who created it, the results of its public release, and how it was spread.

An explanation of “Sacred Emily” may include the setting in which Stein wrote her residence, her influences, and the book’s effect on critics.

Argumentation

An argumentation, also known as argumentative writing, tests one’s ability to compare and contrast. It is the logical or formal presentation of opposing arguments utilizing a methodical approach. The conclusion is constructed to justify why item A is superior to object B. The substance of your arguments is what you mean by “better.”

A rose could be the subject of an argument over why one rose is superior to another, why you choose roses over daisies or vice versa.

Arguments against “Sacred Emily” could compare it to other poems by Stein or poems that deal with the same subject matter.

The Value of Composition

In the 1970s and 1980s, there was much discussion in college theoretical rhetoric as academics sought to escape what they saw as the constricting conventions of these four writing forms. They continue to be a staple of several collegiate writing courses.

These four traditional forms provide beginner writers with a basis for building a concept and a technique to intentionally influence their writing. They could, however, also be restrictive. Use the conventional forms of composition as a guide to help you improve your writing, but keep in mind that they should only be seen as beginning points rather than strict guidelines.

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ENGL001: English Composition I

If English is your second or third language and you are looking to improve your English language skills, you may consider completing our "English as a Second Language" courses first. You can find those here: sylr.org/ESL

Course Introduction

Time: 32 hours
Free Certificate

Because this course is designed specifically for students in a university setting, the second unit will focus on academic writing. We will learn how to respond to an assignment or test question by using the "PWR-Writing" or "Power-Writing" Method (PWR: prewrite, write, revise) while learning the ins and outs of building a solid thesis and supporting that thesis with evidence. The remaining units will focus on good writing practices, from style to proper citation.

Course Syllabus

First, read the course syllabus. Then, enroll in the course by clicking "Enroll me". Click Unit 1 to read its introduction and learning outcomes. You will then see the learning materials and instructions on how to use them.

Unit 1: What is College-Level Writing?

We begin this course by refining our ideas about what we are doing when we write. Let's begin by acknowledging that writing is a difficult, complex process. It does not come easily; it takes quite a bit of work and thought. Writing is more than words on a page, but a way to communicate ideas.

In college-level writing, we say written communication is rhetorical , which means our rhetorical situation (the purpose and audience of our writing) and our use of rhetorical appeals, such as ethos , logos , and pathos , determine our writing decisions. We define these terms in this unit, discuss how to identify them as you read, and discuss how to incorporate them into your own writing.

Writing is a process, rather than a product. You often need to write your ideas down to organize and clarify what you think about a subject. We discuss ways to use this process to manage your writing, develop your ideas, and make the task of drafting an essay seem less overwhelming.

Throughout Unit 1, we ask you to complete several activities that will culminate in an essay writing assignment. The topic for these activities and the essay is what it takes to succeed in an Internet-based college course. As you develop your response, come up with at least three activities you should do, or characteristics you should employ, to succeed in this and other courses.

Completing this unit should take you approximately 9 hours.

Unit 2: What Makes Academic Writing Unique?

University students need to know how to write an effective academic essay. At its core, any academic essay is essentially an argument. This does not mean you are penning a series of aggressive verbal attacks; rather, you are using language to persuade someone to adopt a certain perspective.

For example, you may be asked to write an essay on how the revolution changed the culture in your country. Your response is an argument, in which you try to persuade your audience that the war changed cultural norms in three or four specific ways. As you create your argument, think about your writing as a conversation between yourself and an audience.

The way you choose to build and support your argument has a great deal to do with how you see yourself as part of the conversation. If you envision your work as a response to an existing prompt, the reader with whom you are "speaking" should shape the way you write.

For example, imagine someone asks you why a politician acted in a certain way. You will probably respond in one way if the questioner is your five-year-old cousin, another way if they are a friend who is your same age, and yet another if they are your boss. You should approach every writing project with this same awareness of audience. Keep these ideas about argument and conversation in mind as we explore how to develop an academic essay.

The rhetorical situation we discussed in Unit 1 should influence the argument you choose, the type of essay you write, and the way you organize your ideas. In Unit 2 we review these issues in detail and discuss a highly-structured approach to writing an argument. By the end of this unit, you should be ready to write an academic essay.

Throughout Unit 2 we ask you to complete a number of activities which will culminate in writing an argumentative essay. Choose one point you promoted in your Unit 1 essay topic and develop it further. The assigned topic for the Unit 2 activities and the essay is how your selected activity or characteristic affects success in an Internet-based college course.

Completing this unit should take you approximately 11 hours.

Unit 3: How Do I Use Sources?

A well-placed reference, quotation, or paraphrase from an outside expert can make all the difference when you are making an argument. In fact, many academic writing assignments require you to include these types of supporting arguments to support your case. These supporting arguments can convince your reader that other respected, intelligent individuals share your perspective; it can argue your point with winning style or rhetorical power; and it can prop up your argument where you may need help.

In this unit, we explore how to leverage the work of others to strengthen your argument, while you ensure that you (and not the individual you reference) take the spotlight. We also address plagiarism and the steps you can take to avoid it.

Completing this unit should take you approximately 7 hours.

Unit 4: Finishing Touches

Your writing style refers to the way you write a sentence and how you assemble your arguments within a sequence of sentences so they make sense to your audience. A "sound" writing style is not a luxury; it is necessary to communicate your ideas clearly and effectively. For example, you may write with perfect grammar, but if your style needs work, your audience may not understand what you are trying to convey.

While opinions on the best type of writing style is inherently subjective and may even be based on cultural standards or preferences, in this unit we provide you with some guidelines that are most academics generally agree upon. Our first goal is to learn how to write as clearly, persuasively, and elegantly as possible. Our second goal is to apply these skills and learn how to revise and edit our work. Revision and editing are important stages of the writing process. It allows you to fine-tune your ideas so your reader can easily follow your argument.

Completing this unit should take you approximately 5 hours.

Study Guide

This study guide will help you get ready for the final exam. It discusses the key topics in each unit, walks through the learning outcomes, and lists important vocabulary terms. It is not meant to replace the course materials!

Course Feedback Survey

Please take a few minutes to give us feedback about this course. We appreciate your feedback, whether you completed the whole course or even just a few resources. Your feedback will help us make our courses better, and we use your feedback each time we make updates to our courses.

If you come across any urgent problems, email [email protected].

Certificate Final Exam

Take this exam if you want to earn a free Course Completion Certificate.

To receive a free Course Completion Certificate, you will need to earn a grade of 70% or higher on this final exam. Your grade for the exam will be calculated as soon as you complete it. If you do not pass the exam on your first try, you can take it again as many times as you want, with a 7-day waiting period between each attempt.

Once you pass this final exam, you will be awarded a free Course Completion Certificate .

What is an Essay?

10 May, 2020

11 minutes read

Author: Tomas White

Well, beyond a jumble of words usually around 2,000 words or so - what is an essay, exactly? Whether you’re taking English, sociology, history, biology, art, or a speech class, it’s likely you’ll have to write an essay or two. So how is an essay different than a research paper or a review? Let’s find out!

Defining the Term – What is an Essay?

The essay is a written piece that is designed to present an idea, propose an argument, express the emotion or initiate debate. It is a tool that is used to present writer’s ideas in a non-fictional way. Multiple applications of this type of writing go way beyond, providing political manifestos and art criticism as well as personal observations and reflections of the author.

An essay can be as short as 500 words, it can also be 5000 words or more. However, most essays fall somewhere around 1000 to 3000 words ; this word range provides the writer enough space to thoroughly develop an argument and work to convince the reader of the author’s perspective regarding a particular issue. The topics of essays are boundless: they can range from the best form of government to the benefits of eating peppermint leaves daily. As a professional provider of custom writing, our service has helped thousands of customers to turn in essays in various forms and disciplines.

Origins of the Essay

Over the course of more than six centuries essays were used to question assumptions, argue trivial opinions and to initiate global discussions. Let’s have a closer look into historical progress and various applications of this literary phenomenon to find out exactly what it is.

Today’s modern word “essay” can trace its roots back to the French “essayer” which translates closely to mean “to attempt” . This is an apt name for this writing form because the essay’s ultimate purpose is to attempt to convince the audience of something. An essay’s topic can range broadly and include everything from the best of Shakespeare’s plays to the joys of April.

The essay comes in many shapes and sizes; it can focus on a personal experience or a purely academic exploration of a topic. Essays are classified as a subjective writing form because while they include expository elements, they can rely on personal narratives to support the writer’s viewpoint. The essay genre includes a diverse array of academic writings ranging from literary criticism to meditations on the natural world. Most typically, the essay exists as a shorter writing form; essays are rarely the length of a novel. However, several historic examples, such as John Locke’s seminal work “An Essay Concerning Human Understanding” just shows that a well-organized essay can be as long as a novel.

The Essay in Literature

The essay enjoys a long and renowned history in literature. They first began gaining in popularity in the early 16 th century, and their popularity has continued today both with original writers and ghost writers. Many readers prefer this short form in which the writer seems to speak directly to the reader, presenting a particular claim and working to defend it through a variety of means. Not sure if you’ve ever read a great essay? You wouldn’t believe how many pieces of literature are actually nothing less than essays, or evolved into more complex structures from the essay. Check out this list of literary favorites:

The Book of My Lives by Aleksandar Hemon
Notes of a Native Son by James Baldwin
Against Interpretation by Susan Sontag
High-Tide in Tucson: Essays from Now and Never by Barbara Kingsolver
Slouching Toward Bethlehem by Joan Didion
Naked by David Sedaris
Walden; or, Life in the Woods by Henry David Thoreau

Pretty much as long as writers have had something to say, they’ve created essays to communicate their viewpoint on pretty much any topic you can think of!

The Essay in Academics

Not only are students required to read a variety of essays during their academic education, but they will likely be required to write several different kinds of essays throughout their scholastic career. Don’t love to write? Then consider working with a ghost essay writer ! While all essays require an introduction, body paragraphs in support of the argumentative thesis statement, and a conclusion, academic essays can take several different formats in the way they approach a topic. Common essays required in high school, college, and post-graduate classes include:

Five paragraph essay

This is the most common type of a formal essay. The type of paper that students are usually exposed to when they first hear about the concept of the essay itself. It follows easy outline structure – an opening introduction paragraph; three body paragraphs to expand the thesis; and conclusion to sum it up.

Argumentative essay

These essays are commonly assigned to explore a controversial issue. The goal is to identify the major positions on either side and work to support the side the writer agrees with while refuting the opposing side’s potential arguments.

Compare and Contrast essay

This essay compares two items, such as two poems, and works to identify similarities and differences, discussing the strength and weaknesses of each. This essay can focus on more than just two items, however. The point of this essay is to reveal new connections the reader may not have considered previously.

Definition essay

This essay has a sole purpose – defining a term or a concept in as much detail as possible. Sounds pretty simple, right? Well, not quite. The most important part of the process is picking up the word. Before zooming it up under the microscope, make sure to choose something roomy so you can define it under multiple angles. The definition essay outline will reflect those angles and scopes.

Descriptive essay

Perhaps the most fun to write, this essay focuses on describing its subject using all five of the senses. The writer aims to fully describe the topic; for example, a descriptive essay could aim to describe the ocean to someone who’s never seen it or the job of a teacher. Descriptive essays rely heavily on detail and the paragraphs can be organized by sense.

Illustration essay

The purpose of this essay is to describe an idea, occasion or a concept with the help of clear and vocal examples. “Illustration” itself is handled in the body paragraphs section. Each of the statements, presented in the essay needs to be supported with several examples. Illustration essay helps the author to connect with his audience by breaking the barriers with real-life examples – clear and indisputable.

Informative Essay

Being one the basic essay types, the informative essay is as easy as it sounds from a technical standpoint. High school is where students usually encounter with informative essay first time. The purpose of this paper is to describe an idea, concept or any other abstract subject with the help of proper research and a generous amount of storytelling.

Narrative essay

This type of essay focuses on describing a certain event or experience, most often chronologically. It could be a historic event or an ordinary day or month in a regular person’s life. Narrative essay proclaims a free approach to writing it, therefore it does not always require conventional attributes, like the outline. The narrative itself typically unfolds through a personal lens, and is thus considered to be a subjective form of writing.

Persuasive essay

The purpose of the persuasive essay is to provide the audience with a 360-view on the concept idea or certain topic – to persuade the reader to adopt a certain viewpoint. The viewpoints can range widely from why visiting the dentist is important to why dogs make the best pets to why blue is the best color. Strong, persuasive language is a defining characteristic of this essay type.

The Essay in Art

Several other artistic mediums have adopted the essay as a means of communicating with their audience. In the visual arts, such as painting or sculpting, the rough sketches of the final product are sometimes deemed essays. Likewise, directors may opt to create a film essay which is similar to a documentary in that it offers a personal reflection on a relevant issue. Finally, photographers often create photographic essays in which they use a series of photographs to tell a story, similar to a narrative or a descriptive essay.

Drawing the line – question answered

“What is an Essay?” is quite a polarizing question. On one hand, it can easily be answered in a couple of words. On the other, it is surely the most profound and self-established type of content there ever was. Going back through the history of the last five-six centuries helps us understand where did it come from and how it is being applied ever since.

If you must write an essay, follow these five important steps to works towards earning the “A” you want:

Understand and review the kind of essay you must write
Brainstorm your argument
Find research from reliable sources to support your perspective
Cite all sources parenthetically within the paper and on the Works Cited page
Follow all grammatical rules

Generally speaking, when you must write any type of essay, start sooner rather than later! Don’t procrastinate – give yourself time to develop your perspective and work on crafting a unique and original approach to the topic. Remember: it’s always a good idea to have another set of eyes (or three) look over your essay before handing in the final draft to your teacher or professor. Don’t trust your fellow classmates? Consider hiring an editor or a ghostwriter to help out!

If you are still unsure on whether you can cope with your task – you are in the right place to get help. HandMadeWriting is the perfect answer to the question “Who can write my essay?”

A life lesson in Romeo and Juliet taught by death

Due to human nature, we draw conclusions only when life gives us a lesson since the experience of others is not so effective and powerful. Therefore, when analyzing and sorting out common problems we face, we may trace a parallel with well-known book characters or real historical figures. Moreover, we often compare our situations with […]

Ethical Research Paper Topics

Writing a research paper on ethics is not an easy task, especially if you do not possess excellent writing skills and do not like to contemplate controversial questions. But an ethics course is obligatory in all higher education institutions, and students have to look for a way out and be creative. When you find an […]

Art Research Paper Topics

Students obtaining degrees in fine art and art & design programs most commonly need to write a paper on art topics. However, this subject is becoming more popular in educational institutions for expanding students’ horizons. Thus, both groups of receivers of education: those who are into arts and those who only get acquainted with art […]

Essay vs Composition: Difference and Comparison

Some students make a mistake, thinking an essay and composition are synonymous. These terms are not contrary on the one side, and on the other side, there is a significant distinction between them.

Key Takeaways Essay and composition are both forms of academic writing that require critical thinking, analysis, and effective communication; essay is a more specific term that refers to a piece of writing that presents a thesis statement and supports it with evidence and analysis. The composition can encompass various types of writing, including essays, narratives, and descriptive pieces; an essay is a specific type of composition with a more structured format. An essay includes an introduction, body paragraphs, and a conclusion, while composition may not have a specific structure or format.

Essay vs. Composition

Essays are about the writer’s opinion on a particular topic. They are structured and follow patterns, including an introduction, a body paragraph, and a conclusion. The composition can be about any topic, and it is not structured. It is not about any specific opinion or argument.

As such, essay and composition are not interchangeable terms. They also have different writing purposes. An essay aims to push readership to develop their position on a topic. A composition explains the topic and compares phenomena without declaring the author’s position.

An essay is a text of a small volume (sometimes a college essay can be up to 7-10 pages long, but usually, the required volume is not more than 2-3 pages). The essay is written in a prosaic style. In an essay, the author states his personal opinion on a topic.

The author can express his vision in a free form. In an essay, the author is speaking on a particular phenomenon, event, or opinion that is reasoning with his view. The essay requires not only gathering specific relevant information but also adding it to your thoughts and arguments.

Comparison Table

What is essay.

This genre has recently become popular, but its roots date back to the 16 th century. Today, the essay is offered as a college and university assignment. An essay is a type of work built around a central topic.

The main purpose of writing an essay is to provoke the reader into reflection . Writing an essay allows learning to formulate your thoughts, structure information, find arguments, express the individual impression, and formulate your position.

The characteristics of an essay are a small volume, a specific topic, and free composition. The author must build a trusting relationship with the reader; therefore, writing an essay is much more difficult than writing a composition.

What is Composition?

A composition is a creative work, on a prescribed topic. It has a clear presentation structure.

In the composition, you can agree or disagree with the opinion of other authors, express your thoughts about what you read, compare works of different authors, and analyze their vision. A composition is expected to provide full disclosure of the topic.

To provide it, the paper must follow a set structure: an introduction that outlines the essential problem of the topic. This body explains and reveals the main idea of the composition and a logical conclusion. Therefore, a composition has a larger volume than an essay.

Main Differences Between An Essay And Composition

There is a significant difference in style. A composition mainly contains the analysis of the topic. At the same time, the author’s position is clearly expressed in the essay.
Compositions and essays vary in length. The essay, most often, has a small volume because the author’s thoughts must be clearly stated. The composition has a prescribed structure and a larger volume.
An essay allows the author to express creativity and show his vision and attitude toward a specific phenomenon. A composition explains the topic according to its concept and doesn’t have to be supplemented with unusual thoughts.
To write an essay, finding an original idea or developing an out-of-the-box view of a situation is significant. At the same time, writing a composition requires reading about the topic and talking about it.

Difference Between X and Y 2023 04 18T094302.034

Last Updated : 11 June, 2023

I’ve put so much effort writing this blog post to provide value to you. It’ll be very helpful for me, if you consider sharing it on social media or with your friends/family. SHARING IS ♥️

Emma Smith holds an MA degree in English from Irvine Valley College. She has been a Journalist since 2002, writing articles on the English language, Sports, and Law. Read more about me on her bio page .

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24 thoughts on “essay vs composition: difference and comparison”.

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The Difference between an Essay and a Composition

In a few cases, an essay and a composition can mean the same thing. However, your composition for a music class will look much different than your composition for a history class.

What is an Essay?

An essay is an informative piece of writing that includes an introduction, a body, and a conclusion. The purpose of an essay is to present a specific point that a writer has chosen to make on a topic and to lay out the reasoning for why the writer reached that conclusion. When the writer has completed their essay, they have in their hands a literary composition. Essays can only be completed using the written word.

What is A Composition?

A composition is any creative work, and creativity does not always come in the form of the written word. Written compositions can be essays, but there are many other forms of writing that fall under the definition of a composition. In fact, all original pieces of writing are defined as written compositions, including all the writing forms that are not essays. Compositions can also include many other forms other than writing, as well.

Essays come in four basic types: expository, persuasive, descriptive, and narrative. Expository essays present facts about a topic, persuasive essays argue a point and try to convince readers to agree on that point, a descriptive essay paints a story using words, and a narrative essay tells a true story from a writer's personal experience. Each type of essay has its own structure to be followed but all should analyze, present, or describe a specific topic.

Compositions come in many forms: plays, short stories, musical scores, art, novels, and poems. Each has their own requirements for structure and allowances for creativity. Any original creative work is a composition, whether it's written, performed, sculpted, or drawn. Both modern American author Stephen King and 16th Century music composer Wolfgang Amadeus Mozart are known for famous compositions like the novel The Stand and the opera The Marriage of Figaro.

While you don't need to be a great writer to publish a composition that will make you famous someday, you won't be able to take any shortcuts on learning an art form and honing it through years of practice. Whether your practice includes a pencil, word processing software, a paintbrush, or a piano, the original and creative results of that practice will all be compositions.

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From drab to fab: elevate your essay writing with powerful techniques, sponsored post.

May 28, 2024

Essays. The mere word can make some students groan and break out in a cold sweat. Some of them don’t know where to start, and others wonder, “How do I make my essay better to get a good grade?” But essays don’t have to be your nemesis. With the right tools and tricks, you can transform your essays from drab to absolutely fabulous!

Whether you panic at the sight of a blank page or feel like your texts always end up being a confusing jumble, you’re in the right place. And yes, sometimes it helps to get extra guidance from websites like WritePapers when it comes to academic writing. Yet, with the strategies we’ll talk about here, you can start crafting those A+ essays your teachers will rave about.

Let’s ditch the dull texts and get creative!

Spice Up Your Sentences

Basic sentences get the job done, but they won’t make your essay pop. To really elevate your writing, you should experiment with different sentence structures and words.

Think about how you can add flair to your writing strategies. A mix of sentence lengths is a great starting point. Short, punchy sentences can create emphasis. Longer, detailed sentences are perfect for describing complex ideas.

And don’t forget the power of those vivid verbs! They bring your writing to life. Instead of describing something as “interesting,” try words like “fascinating,” “captivating,” or “riveting.”

Master Transitions

Smooth transitions are essential for creating a strong, cohesive essay. Imagine trying to cross a river without any bridges…it’d be tough! Effective transitions show the relationships between your ideas, taking your reader on a clear and logical journey.

Using signal words and phrases is a cornerstone of successful transitions. For example, if you’re adding onto a previous point, words like “furthermore” or “additionally” work wonders. Want to show contrast? Try “however” or “on the other hand.” To demonstrate cause and effect, use words like “consequently” or “therefore” are your friends.

But transitions can be more subtle than just these signal words. A well-placed example or brief anecdote can seamlessly move from one concept to the next.

Apply the Right Evidence

Using relevant evidence is one of the best essay writing strategies. But simply dropping a quote won’t cut it. The real magic comes from analyzing and integrating evidence into your own words. Explain why that particular quote or piece of data backs up your argument.

Moreover, you should provide context for your evidence. Don’t let it stand alone in a disconnected way – weave it seamlessly into your writing.

And lastly, remember that variety is key when it comes to essay writing tips. Mix up the types of evidence you use – a poignant quote, a relevant statistic, or a vivid example – to keep your reader engaged and make your points even more convincing.

Don’t Skip the Revision Step

Never underestimate the power of thorough revision. It’s where you can refine your ideas, polish your writing, and truly make your essay better.

One crucial step in the revision process is to take a break after writing your first draft. Returning to your work with fresh eyes lets you catch those sneaky errors or confusing passages you might have glossed over initially.

Reading your work aloud is another invaluable strategy! Hearing your words spoken out loud helps you notice awkward phrasing or areas where the flow feels off. This is a simple yet highly effective way to identify where you might need to focus on how to improve writing skills.

Finally, remember that revision isn’t just about fixing typos (although those are important, too!). Take a step back and ask yourself the big questions:

Is your thesis statement crystal clear?
Is your essay well-organized?
Does each paragraph seamlessly support your main argument?

If you find yourself needing guidance or an extra set of eyes, don’t hesitate to seek out help with writing. There are numerous resources available, including online platforms and essay writing services, that can provide valuable feedback and help you take your writing to the next level.

Embrace Your Voice

One of the easiest ways to fall into the “drab essay” trap is by trying to sound overly formal or academic. While correct grammar and good structure are non-negotiable, letting your own voice shine through is what makes your writing memorable. Think about these tips:

Write like you talk (but a bit more polished). Imagine you’re explaining your essay topic to a friend. What kind of language would you use? Keep the tone engaging and natural.
Don’t be afraid of strong opinions. Essays are opportunities to argue your point of view. Using words like “clearly,” “undoubtedly,” or “importantly” adds conviction to your statements.
Own your perspective. Share insights or experiences that relate to your topic. This sets your essay apart from the crowd.

Your writing doesn’t have to be filled with complex jargon to be impressive. Clarity, confidence, and a dash of personality can create an engaging essay that your teachers won’t soon forget!

Final Thoughts

Essays aren’t always the most thrilling thing in the world. But with the strategies we talked about, you can learn to craft sentences that make your reader lean in, not zone out. You’ll master the art of making your ideas flow effortlessly, and you’ll use evidence like a pro to back up your arguments.

The revision process allows you to look at the piece of writing from another perspective. Don’t be afraid to read your essay out loud, get feedback from others, and ask those big-picture questions about your organization and thesis statement.

And hey, we all need a little extra support sometimes! There are tons of amazing resources out there to help if you need guidance on how to write better essays.

Most importantly, don’t try to sound like someone you’re not. Let your personality be reflected in your writing. Share your unique perspectives, use vivid language, and express your opinions with confidence. Your teachers will notice the difference!

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Reflective Essay

Reflective essay generator.

Sometimes, it is our experiences that startled and challenged our own voyage that strengthens and improves us to be the best versions of ourselves. If your life experience greatly moved you, there is a certain essay that allows you to compose your own endeavor. In this article, read through because we will be discussing the fundamentals of writing a reflective essay.

They say that being wise is better than being knowledgeable. Wisdom is acquired through reflection of one’s experience as well as of the environment. The more we reflect the more we become aware of ourselves. We become mindful of our existence as well as the meaning of life and all the things that surround us. Here we present different formats of essays like essays in doc .

Reflective Essay Outline Template

Google Docs

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Reflective Essay About Life Experience

Apple Pages

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Reflective Essay Template

Size: 237 KB

Self Reflective Essay Template

Size: 114 KB

Personal Reflective Essay Template

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Personal Reflective Sample

High School Essay

PDFReflective Essay Example Reflective Essay Example Reflective Essay Example

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Reflective Essay Outline

Size: 247 KB

Student Reflective Example

Size: 42 KB

Communication Reflective

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What Is a Reflective Essay?

A reflective essay is a written piece of literature that focuses on presenting and narrating a person’s experience and how it becomes an instrument towards a change of perception in life.

It is a way for a writer to share an important event in his/her life and how it affected him/her so that others may learn something from it. Reflective writing root on life-changing events. The writer shares a specific experience, provides a narration of the incident including the material elements. It offers a realization so that others who may have had the same experience can draw out a shared mutual lesson from it.

How to Write a Reflective Essay

To write a reflective short essay , you need to have the right disposition as well as the momentum. Remember that you are not just writing to say something but to share an important lesson in life.

1. Think of an important event. What you will be writing on your reflective essay is something that is rooted in your own personal experience or encounter of something. Think deep and concentrate. You may also see personal essay examples & samples.

2. Introduce your topic. In your introduction, write the concrete event or experience that you want to share. Pattern it in a story form.

3. Develop your point. Write the main content of your essay with at least three to five paragraphs supporting your main topic.

Final Reflective Essay

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Internship Reflective Essay

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Leadership Reflective Example

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Nursing Reflective Essay

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Research Reflective Example

Size: 155 KB

Tips on Writing a Reflective Essay

Writing a reflective essay is not persuasive writing where you have to convince your readers to accept your opinion. You simply have to share an experience.

1. Write a draft. Do not jump hastily onto formal writing . Write a draft where you can create a bulleted list of the things that you want to share.

2. Think logically. When presenting a story, do it in a chronological manner so that your readers can understand the plot. Do this as well when presenting your ideas.

3. Create a summary. Use a summary writing to briefly state your insights and to give your final thoughts of the topic.

Importance of a Reflective Essay

In this era that we currently live in, personal reflection can be considered a thing of the past. Because of the gradual change and development of the things around us, we find it difficult to pause and reflect on the things that happen to our lives. You may also see academic essay examples .

The importance of writing an essay is to present to us the things that we rarely encounter in our day-to-day activities. In this time when material things are all that mattered, we have become unappreciative of the abstract things like love, compassion, and mercy. We cannot learn these things from those electronic gadgets that keep us busy.

How to Start a Reflective Essay Correctly

As mentioned above, a reflective essay presents and narrates the experience of a writer and how it changes the way he/she perceives life. In a simpler sense, it talks about how the author reflected on a certain adventure. As an essayist, since it’s you who bears the story and lessons, you are the one who is responsible for expressing it.

Just like any other composition, it’s your introduction that catches the attention of the reader. Thus, in order for your essay to be fully read, it is important to start your essay remarkably. If you find writing an introduction for your reflective essay challenging, don’t worry, you’re not alone. In this section, we are going to slowly tackle the ways to compose a compelling introduction.

1. Being catchy is the key.

In writing your reflective essay, you must start with something that would captivate the readers right away. Since the purpose of the introduction is to grab some attention, you may include some unique and interesting facts or beliefs. In this part, showcase your creativity by adding an introduction that is written in a bizarre manner and not those that depict cliché experience. You may also utilize a highly moving quotation or a dialogue that would also be appropriate for your reader.

2. Write the thesis statement in one sentence.

A thesis statement refers to the sentence that carries the topic being discussed in the whole essay. Therefore, it bears the central idea in which your essay revolves around. In writing your own essay, construct this statement in a clear and concise sentence. In this way, the reader will have a better grasp of your topic and would be clearly oriented on what you want to convey. In most cases, thesis statements are written at the end of the introduction.

3. Stick to the first person POV.

Remembering that this essay is subjective and depends on the author’s interpretation, it is important to use the first person point of view. By using this POV, it would be easier for you to convey your thoughts and opinions, and it would engage you to the readers like you’re telling a story in person. The first person involves the pronouns I , me , my , and mine .

4. Keep it brief.

When it comes to writing your own essay, you must perceive what your readers feel or see in reading your composition. Always put into mind that readers also have their own time to spend, and without a mark in the writing industry, people won’t invest much time on reading your essay. Thus, it is important to keep your composition concise. You can utilize a paragraph of five to ten sentences in your introduction. Using this number of sentences, you must already express a complete and clear thought of an essay that is worth reading.

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Text prompt

Instructive
Professional

Write a Reflective Essay on your most meaningful learning experience.

Create a Reflective Essay about a time when you showed leadership.

'ZDNET Recommends': What exactly does it mean?

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What is ChatGPT and why does it matter? Here's what you need to know

What is ChatGPT?

ChatGPT is an AI chatbot with natural language processing (NLP) that allows you to have human-like conversations to complete various tasks. The generative AI tool can answer questions and assist you with tasks such as composing emails, essays, code, and more.

Also : How to use ChatGPT: What you need to know now

It's currently open to use for free . A paid subscription version called ChatGPT Plus launched in February 2023 with access to priority access to OpenAI's latest models and updates.

Who made ChatGPT?

AI startup OpenAI launched ChatGPT on November 30, 2022. OpenAI has also developed DALL-E 2 and DALL-E 3 , popular AI image generators , and Whisper, an automatic speech recognition system.

Who owns ChatGPT currently?

OpenAI owns ChatGPT. Microsoft is a major investor in OpenAI thanks to multiyear, multi-billion dollar investments. Elon Musk was an investor when OpenAI was first founded in 2015, but has since completely severed ties with the startup and created his own AI chatbot, Grok .

How can you access ChatGPT?

On April 1, 2024, OpenAI stopped requiring you to log in to use ChatGPT. Now, you can access ChatGPT simply by visiting chat.openai.com . You can also access ChatGPT via an app on your iPhone or Android device.

Once you visit the site, you can start chatting away with ChatGPT. A great way to get started is by asking a question, similar to what you would do with Google. You can ask as many questions as you'd like.

Also: ChatGPT no longer requires a login, but you might want one anyway. Here's why

There are still some perks to creating an OpenAI account, such saving and reviewing your chat history and accessing custom instructions. Creating an OpenAI account is entirely free and easy. You can even log in with your Google account.

For step-by-step instructions, check out ZDNET's guide on how to start using ChatGPT .

Is there a ChatGPT app?

Yes, an official ChatGPT app is available for both iPhone and Android users.

Also: ChatGPT dropped a free app for iPhones. Does it live up to the hype?

Make sure to download OpenAI's app, as there are a plethora of copycat fake apps listed on Apple's App Store and the Google Play Store that are not affiliated with the startup.

Is ChatGPT available for free?

ChatGPT is free to use, regardless of what you use it for, including writing, coding, and much more.

There is a subscription option , ChatGPT Plus, that users can take advantage of that costs $20/month. The paid subscription model guarantees users extra perks, such as priority access to GPT-4o and the latest upgrades.

Also: ChatGPT vs ChatGPT Plus: Is it worth the subscription fee?

Although the subscription price may seem steep, it is the same amount as Microsoft Copilot Pro and Google One AI, Microsoft's and Google's premium AI offerings.

The free version is still a solid option as it can access the same model and most of the same perks. One major exception: only subscribers get guaranteed access to GPT-4o when the model is at capacity.

I tried using ChatGPT and it says it's at capacity. What does that mean?

The ChatGPT website operates using servers. When too many people hop onto these servers, they may overload and can't process your request. If this happens to you, you can visit the site later when fewer people are trying to access the tool. You can also keep the tab open and refresh it periodically.

Also: The best AI chatbots

If you want to skip the wait and have reliable access, you can subscribe to ChatGPT Plus for general access during peak times, faster response times, and priority access to new features and improvements, including priority access to GPT-4o.

You can also try using Bing's AI chatbot, Copilot . This chatbot is free to use, runs on GPT-4, has no wait times, and can access the internet for more accurate information.

What is ChatGPT used for?

ChatGPT has many functions in addition to answering simple questions. ChatGPT can compose essays , have philosophical conversations, do math, and even code for you .

The tasks ChatGPT can help with also don't have to be so ambitious. For example, my favorite use of ChatGPT is for help creating basic lists for chores, such as packing and grocery shopping, and to-do lists that make my daily life more productive. The possibilities are endless.

ZDNET has published many ChatGPT how-to guides. Below are some of the most popular ones.

Use ChatGPT to:

Write an essay
Create an app
Build your resume
Write Excel formulas
Summarize content
Write a cover letter
Start an Etsy business
Create charts and tables
Write Adruino drivers

Can ChatGPT generate images?

Yes, ChatGPT can generate images, but only for ChatGPT Plus subscribers. Since OpenAI discontinued DALL-E 2 in February 2024, the only way to access its most advanced AI image generator, DALL-E 3, through OpenAI's offerings is via its chatbot and ChatGPT Plus subscription.

Also: DALL-E adds new ways to edit and create AI-generated images. Learn how to use it

Microsoft's Copilot offers image generation, which is also powered by DALL-E 3, in its chatbot for free. This is a great alternative if you don't want to shell out the money for ChatGPT Plus.

How does ChatGPT work?

ChatGPT runs on a large language model (LLM) architecture created by OpenAI called the Generative Pre-trained Transformer (GPT). Since its launch, the free version of ChatGPT ran on a fine-tuned model in the GPT-3.5 series until May 2024, when the startup upgraded the model to GPT-4o.

Also: Here's a deep dive into how ChatGPT works

With a subscription to ChatGPT Plus , you can access GPT-3.5, GPT-4, or GPT-4o . Plus, users also have the added perk of priority access to GPT-4o, even when it is at capacity, while free users get booted down to GPT-3.5.

Generative AI models of this type are trained on vast amounts of information from the internet, including websites, books, news articles, and more.

What does ChatGPT stand for?

As mentioned above, the last three letters in ChatGPT's namesake stand for Generative Pre-trained Transformer (GPT), a family of large language models created by OpenAI that uses deep learning to generate human-like, conversational text.

Also: What does GPT stand for? Understanding GPT 3.5, GPT 4, GPT-4 Turbo, and more

The "Chat" part of the name is simply a callout to its chatting capabilities.

Is ChatGPT better than a search engine?

ChatGPT is a language model created to converse with the end user. A search engine indexes web pages on the internet to help users find information. One is not better than the other, as each suit different purposes.

When searching for as much up-to-date, accurate information as you can access, your best bet is a search engine. It will provide you with pages upon pages of sources you can peruse.

Also: The best AI search engines of 2024: Google, Perplexity, and more

As of May, the free version of ChatGPT can get responses from both the GPT-4o model and the web. It will only pull its answer from, and ultimately list, a handful of sources, as opposed to showing nearly endless search results.

For example, I used GPT-4o to answer, "What is the weather today in San Francisco?" The response told me it searched four sites and provided links to them.

If you are looking for a platform that can explain complex topics in an easy-to-understand manner, then ChatGPT might be what you want. If you want the best of both worlds, there are plenty of AI search engines on the market that combine both.

What are ChatGPT's limitations?

Despite its impressive capabilities, ChatGPT still has limitations. Users sometimes need to reword questions multiple times for ChatGPT to understand their intent. A bigger limitation is a lack of quality in responses, which can sometimes be plausible-sounding but are verbose or make no practical sense.

Instead of asking for clarification on ambiguous questions, the model guesses what your question means, which can lead to poor responses. Generative AI models are also subject to hallucinations, which can result in inaccurate responses.

Does ChatGPT give wrong answers?

As mentioned above, ChatGPT, like all language models, has limitations and can give nonsensical answers and incorrect information, so it's important to double-check the data it gives you.

Also: 8 ways to reduce ChatGPT hallucinations

OpenAI recommends that you provide feedback on what ChatGPT generates by using the thumbs-up and thumbs-down buttons to improve its underlying model. You can even join the startup's Bug Bounty program , which offers up to $20,000 for reporting security bugs and safety issues.

Can ChatGPT refuse to answer my prompts?

AI systems like ChatGPT can and do reject inappropriate requests . The AI assistant can identify inappropriate submissions to prevent the generation of unsafe content.

Also: 6 things ChatGPT can't do (and another 20 it refuses to do)

These submissions include questions that violate someone's rights, are offensive, are discriminatory, or involve illegal activities. The ChatGPT model can also challenge incorrect premises, answer follow-up questions, and even admit mistakes when you point them out.

These guardrails are important. AI models can generate advanced, realistic content that can be exploited by bad actors for harm, such as spreading misinformation about public figures and influencing elections .

Can I chat with ChatGPT?

Although some people use ChatGPT for elaborate functions, such as writing code or even malware , you can use ChatGPT for more mundane activities, such as having a friendly conversation.

Also: Do you like asking ChatGPT questions? You could get paid (a lot) for it

Some conversation starters could be as simple as, "I am hungry, what food should I get?" or as elaborate as, "What do you think happens in the afterlife?" Either way, ChatGPT is sure to have an answer for you.

Is ChatGPT safe?

People are expressing concerns about AI chatbots replacing or atrophying human intelligence. For example, a chatbot can write an article on any topic efficiently (though not necessarily accurately) within seconds, potentially eliminating the need for human writers.

Chatbots can also write an entire essay within seconds, making it easier for students to cheat or avoid learning how to write properly. This even led some school districts to block access when ChatGPT initially launched.

Also: Generative AI can be the academic assistant an underserved student needs

Now, not only have many of those schools decided to unblock the technology, but some higher education institutions have been catering their academic offerings to AI-related coursework.

Another concern with AI chatbots is the possible spread of misinformation. ChatGPT itself says: "My responses are not intended to be taken as fact, and I always encourage people to verify any information they receive from me or any other source." OpenAI also notes that ChatGPT sometimes writes "plausible-sounding but incorrect or nonsensical answers."

Also: Microsoft and OpenAI detect and disrupt nation-state cyber threats that use AI, report shows

Lastly, there are ethical concerns regarding the information ChatGPT was trained on, since the startup scraped the internet to train the chatbot.

It also automatically uses people's interactions with the free version of the chatbot to further train its models, raising privacy concerns. OpenAI lets you turn off training in ChatGPT's settings.

Does ChatGPT plagiarize?

Yes, sort of. OpenAI scraped the internet to train ChatGPT. Therefore, the technology's knowledge is influenced by other people's work. Since there is no guarantee that when OpenAI outputs its answers it is entirely original, the chatbot may regurgitate someone else's work in your answer, which is considered plagiarism.

Is there a ChatGPT detector?

Concerns about students using AI to cheat mean the need for a ChatGPT text detector is becoming more evident.

In January 2023, OpenAI released a free tool to target this problem. Unfortunately, OpenAI's "classifier" tool could only correctly identify 26% of AI-written text with a "likely AI-written" designation. Furthermore, it provided false positives 9% of the time, incorrectly identifying human-written work as AI-produced.

The tool performed so poorly that, six months after being released, OpenAI it shut down "due to its low rate of accuracy." Despite the tool's failure, the startup claims to be researching more effective techniques for AI text identification.

Also: OpenAI unveils text-to-video model and the results are astonishing

Other AI detectors exist on the market, including GPT-2 Output Detector , Writer AI Content Detector , and Content at Scale's AI Content Detection tool. ZDNET put these tools to the test, and the results were underwhelming: all three were found to be unreliable sources for spotting AI, repeatedly giving false negatives. Here are ZDNET's full test results .

What are the common signs something was written by ChatGPT?

Although tools aren't sufficient for detecting ChatGPT-generated writing, a study shows that humans could detect AI-written text by looking for politeness. The study's results indicate that ChatGPT's writing style is extremely polite . And unlike humans, it cannot produce responses that include metaphors, irony, or sarcasm.

Will my conversations with ChatGPT be used for training?

One of the major risks when using generative AI models is that they become more intelligent by being trained on user inputs. Therefore, when familiarizing yourself with how to use ChatGPT, you might wonder if your specific conversations will be used for training and, if so, who can view your chats.

Also: This ChatGPT update fixed one of my biggest productivity issues with the AI chatbot

OpenAI will use your conversations with the free chatbot to automatically training data to refine its models. You can opt out of the startup using your data for model training by clicking on the question mark in the bottom left-hand corner, Settings, and turning off "Improve the model for everyone."

What is GPT-4?

GPT-4 is OpenAI's language model that is much more advanced than its predecessor, GPT-3.5. Users can access GPT-4 by subscribing to ChatGPT Plus for $20 per month or using Microsoft's Copilot.

Also: What does GPT stand for? Understanding GPT-3.5, GPT-4, and more

GPT-4 has advanced intellectual capabilities, meaning it outperforms GPT-3.5 in a series of simulated benchmark exams. The newer model also supposedly produces fewer hallucinations.

What is GPT-4o?

GPT-4o is OpenAI's latest, fastest, and most advanced flagship model. As the name implies, it has the same intelligence as GPT-4. However, the "o" in the title stands for "omni," referring to its multimodal capabilities, which allow it to understand text, audio, image, and video inputs and output text, audio, and image outputs.

Also: 6 ways OpenAI just supercharged ChatGPT for free users

The model is 50% cheaper in the API than GPT-4 Turbo while still matching its English and coding capabilities and outperforming it in non-English languages, vision, and audio understanding -- a big win for developers.

Are there alternatives to ChatGPT worth considering?

Although ChatGPT gets the most buzz, other options are just as good -- and might even be better suited to your needs. ZDNET has created a list of the best chatbots, which have all been tested by us and show which tool is best for your requirements.

Also: 4 things Claude AI can do that ChatGPT can't

Despite ChatGPT's extensive abilities, there are major downsides to the AI chatbot. If you want to try the technology, there are plenty of other options: Copilot , Claude , Perplexity , Jasper , and more.

Is ChatGPT smart enough to pass benchmark exams?

Yes, ChatGPT is capable of passing a series of benchmark exams. A professor at Wharton, the University of Pennsylvania's business school, used ChatGPT to take an MBA exam and the results were quite impressive.

ChatGPT not only passed the exam, but the tool scored between a B- and a B. The professor, Christian Terwiesch, was impressed at its basic operations management, process analysis questions, and explanations.

OpenAI also tested the chatbot's ability to pass benchmark exams. Although ChatGPT could pass many of these benchmark exams, its scores were usually in the lower percentile. However, with GPT-4, ChatGPT can score much higher.

For example, ChatGPT using GPT-3.5 scored in the lower 10th percentile of a simulated Bar Exam, while GPT-4 scored in the top 10th percentile. You can see more examples from OpenAI in the chart below.

Can ChatGPT be used for job application assistance?

Yes, ChatGPT is a great resource to help with job applications. Undertaking a job search can be tedious and difficult, and ChatGPT can help you lighten the load. ChatGPT can build your resume and write a cover letter .

Also : How to use ChatGPT to write an essay

If your application has any written supplements, you can use ChatGPT to help you write those essays or personal statements .

What are the most common ChatGPT plugins, and how do I use them?

Plugins allowed ChatGPT to connect to third-party applications, including access to real-time information on the web. The plugins expanded ChatGPT's abilities , allowing it to assist with many more activities, such as planning a trip or finding a place to eat.

Also: My two favorite ChatGPT Plus features and the remarkable things I can do with them

On March 19, 2024, however, OpenAI stopped allowing users to install new plugins or start new conversations with existing ones. Instead, OpenAI replaced plugins with GPTs , which are easier for developers to build.

Users can find 3 million ChatGPT chatbots, also known as GPTs, on the GPT store. Unfortunately, there is also a lot of spam in the GPT store.

What is Microsoft's involvement with ChatGPT?

Microsoft was an early investor in OpenAI, the AI startup behind ChatGPT, long before ChatGPT was released to the public. Microsoft's first involvement with OpenAI was in 2019, when the company invested $1 billion, and then another $2 billion in the years after. In January 2023, Microsoft extended its partnership with OpenAI through a multiyear, multi-billion dollar investment .

Also: ChatGPT vs. Copilot: Which AI chatbot is better for you?

Neither company disclosed the investment value, but unnamed sources told Bloomberg that it could total $10 billion over multiple years. In return, OpenAI's exclusive cloud-computing provider is Microsoft Azure, powering all OpenAI workloads across research, products, and API services.

Microsoft has also used its OpenAI partnership to revamp its Bing search engine and improve its browser.

On February 7, 2023, Microsoft unveiled a new Bing tool , now known as Copilot, that runs on OpenAI's GPT-4, customized specifically for search.

What does Copilot (formerly Bing Chat) have to do with ChatGPT?

In February 2023, Microsoft unveiled a new version of Bing -- and its standout feature was its integration with ChatGPT. When it was announced, Microsoft shared that Bing Chat, now Copilot, was powered by a next-generation version of OpenAI's large language model, making it "more powerful than ChatGPT." Five weeks after the launch, Microsoft revealed that Copilot had been running on GPT-4 before the model had even launched.

How does Copilot compare to ChatGPT?

Copilot uses OpenAI's GPT-4, which means that since its launch, it has been more efficient and capable than the standard, free version of ChatGPT. At the time, Copilot boasted several other features over ChatGPT, such as access to the internet, knowledge of current information, and footnotes.

In May 2024, however, OpenAI supercharged the free version of its chatbot with GPT-4o. The upgrade gave users GPT-4 level intelligence, the ability to get responses from the web via ChatGPT Browse with Bing, analyze data, chat about photos and documents, use GPTs, access the GPT Store, and Voice Mode. Therefore, after the upgrade, ChatGPT reclaimed its crown as the best AI chatbot.

What is Gemini and how does it relate to ChatGPT?

Gemini is Google's AI chat service, a rival to ChatGPT. On February 6, 2023, Google introduced its experimental AI chat service, which was then called Google Bard. Over a month after the announcement, Google began rolling out access to Bard first via a waitlist . Now, it is available to the general public.

Artificial Intelligence

Chatgpt vs. copilot: which ai chatbot is better for you, how to use chatgpt (and how to access gpt-4o), what does gpt stand for understanding gpt-3.5, gpt-4, gpt-4o, and more.

CLEP College Composition Practice Test

Prepare for your test with realistic questions.

The College Board administers the College-Level Examination Program (CLEP), which offers affordable exams to help students across the country receive college credits. This article covers the CLEP College Composition exam, which tests your writing skills and general English knowledge.

Click “Start Test” above to take a free CLEP College Composition practice test!

What is the CLEP College Composition Exam?

As mentioned previously, if you are already familiar with a particular subject without having a college education, CLEP exams can be taken to earn college credits for those subjects. If you have learned the exam material through life experience, previous studies, or on-the-job training, you can take this one exam and receive college credit as if you took the one-semester course!

By taking and passing the CLEP College Composition exam, you can skip the composition class at college, which could potentially result in the following:

Save you money because the test is cheaper than a semester at college
Allow you to earn three or more college credits
Add flexibility to your degree program
Allow you to graduate on time or possibly to graduate ahead of schedule

It is important that you check with your college before taking this exam to make sure it is an exam they will accept.

CLEP College Composition Exam Eligibility

There are no eligibility requirements to take this exam! CLEP exams are available for anyone to take at any time, regardless of age or formal education.

Generally, you will see the following groups of people taking the CLEP College Composition exam:

Homeschool students
High school students who are preparing to graduate
College students
Adults who are returning to school
Professionals who want to use the exam results to help advance their careers
Applicants to master’s degree programs that still have undergraduate prerequisites they need to fulfill

CLEP College Composition Exam Outline

The CLEP College Composition exam contains 50 multiple-choice questions and two essays. The multiple-choice questions have a time limit of 55 minutes, while the essays are timed at 70 minutes.

The multiple-choice questions are split into four categories:

Conventions of Standard Written English (10%)

The knowledge and skills tested in this section include:

Logical comparison
Punctuation
Identification of correctly written sentences
Logical agreement
Sentence boundaries
Passive and active voice

Revision Skills (40%)

Sentence structure
Transitions
Evaluation of evidence
Use of language
Organization
Consistency of point of view
Main idea and thesis statements
Topic sentences
Level of detail
Author’s appeal
Rhetorical effects
Awareness of audience

Ability to Use Source Materials (25%)

Reference materials
Source evaluation
Integration of resource material
Source documentation

Rhetoric Analysis (25%)

In this section, you will be asked to write two essays.

Check out Mometrix's Study Guide

Get practice questions, video tutorials, and detailed study lessons

CLEP College Composition Exam Registration

The CLEP College Composition exam is administered year-round on a very flexible schedule, and you can register via the College Board website.

First, you must create a College Board account. This will allow you to register, and you will be able to see any exams you have taken and view the grades of the exams you have taken. You can also request a transcript from this page.

During the registration process, you will need to pay the $90 exam fee and choose whether to take the exam at a testing center or from home via an online proctor.

Testing In-person

Once you have selected the testing center, date, and time that works best for you, you will need to print your exam ticket. You will not be admitted into the testing center without this printed ticket (a screenshot of the ticket will not be accepted).

Testing Remotely

Before you register, you should ensure that you meet the system requirements:

You must have a PC desktop or laptop (Macs, Chromebooks, and tablets are not supported).
Your computer must be using the Windows 10 operating system (Windows 11 is not supported).
Your computer must have the most recent version of Google Chrome installed.
You must have a speaker of some kind, internal or external (headphones are not allowed).
You must have a camera and microphone, internal or external.
You must have a reliable internet connection.

Once you have selected the date and time that works best for you, you will need to download the ETS Online Test desktop application. This app is what allows you to take the exam on your computer at home.

In-person Testing

On the day of your exam, you should arrive at the testing center 15-30 minutes earlier than the scheduled time. Once you arrive, you will be asked to provide a valid, government-issued photo ID, as well as your printed registration ticket.

Before you enter the testing room, you will be asked to leave all personal items (cell phone, bag, coat, notes, food, etc.) in a secure locker outside the testing area. Since you are not allowed to bring your own calculator, a TI-30XS MultiView scientific calculator will be made available within the testing software:

Texas Instruments TI-30XS MultiView Scientific Calculator

Remote Testing

On the day of your exam, you will need to log in to your CLEP account 15-30 minutes prior to your scheduled exam time. Once you have logged in, you will need to download and install the Proctortrack desktop application. Within this app, you will be asked to verify your identity with a face scan, and you will need to scan your photo ID. You will also be asked to scan your testing room using your webcam.

Once the check-in process is complete, you will need to open the ETS Online Test desktop app, and the proctor will get you set up and start the exam.

During the exam, you must ensure that no one enters your testing area. If someone comes into your room, you must immediately ask them to leave, and you cannot say anything else.

How the CLEP College Composition Exam is Scored

CLEP exams are scored with one point for each correct answer, and you will not have points removed for any incorrect answers or skipped questions. The number of correct answers you have will be your raw score.

Your raw score is converted into a scaled score, which is typically in numeric form ranging from 20 to about 80.

An unofficial score report will appear on the screen as soon as you finish the exam, and an official report will be made available the day after the exam when you log in to your CLEP account.

Passing Score

Each college has its own CLEP score requirements, so there is no universal passing score. You can usually find this score requirement on your college’s website or course catalog.

According to the American Council on Education, a scaled score of 50 or higher is often what colleges require.

Check out Mometrix's Flashcards

Get complex subjects broken down into easily understandable concepts

How to Study for the CLEP College Composition Exam

How to study effectively.

Your success on CLEP test day depends not only on how many hours you put into preparing but also on whether you prepared the right way. It’s good to check along the way to see whether your studying is paying off. One of the most effective ways to do this is by taking CLEP College Composition practice tests to evaluate your progress. Practice tests are useful because they show exactly where you need to improve. Every time you take a free CLEP College Composition exam practice test, pay special attention to these three groups of questions:

The questions you got wrong
The ones you had to guess on, even if you guessed right
The ones you found difficult or slow to work through

This will show you exactly what your weak areas are and where you need to devote more study time. Ask yourself why each of these questions gave you trouble. Was it because you didn’t understand the material? Was it because you didn’t remember the vocabulary? Do you need more repetitions on this type of question to build speed and confidence? Dig into those questions and figure out how you can strengthen your weak areas as you go back to review the material.

Answer Explanations

Additionally, many CLEP College Composition practice tests have a section explaining the answer choices. It can be tempting to read the explanation and think that you now have a good understanding of the concept. However, an explanation likely only covers part of the question’s broader context. Even if the explanation makes sense, go back and investigate every concept related to the question until you’re positive you have a thorough understanding.

Comprehend Each Topic

As you go along, keep in mind that the CLEP practice test is just that: practice. Memorizing these questions and answers will not be very helpful on the actual test because it is unlikely to have any of the same exact questions. If you only know the right answers to the sample questions, you won’t be prepared for the real thing. Study the concepts until you understand them fully, and then you’ll be able to answer any question that shows up on the test.

Strategy for CLEP College Composition Practice

When you’re ready to start taking practice tests, follow this strategy:

Remove Limitations. Take the first test with no time constraints and with your notes and CLEP study guide handy. Take your time and focus on applying the strategies you’ve learned.
Time Yourself. Take the second practice test “open book” as well, but set a timer and practice pacing yourself to finish in time.
Simulate Test Day. Take any other practice tests as if it were test day. Set a timer and put away your study materials. Sit at a table or desk in a quiet room, imagine yourself at the testing center, and answer questions as quickly and accurately as possible.
Keep Practicing. Keep taking practice tests on a regular basis until you run out of practice tests or it’s time for the actual test. Your mind will be ready for the schedule and stress of test day, and you’ll be able to focus on recalling the material you’ve learned.

How many questions are on the CLEP College Composition exam?

There are 50 multiple-choice questions and two essays on the exam.

How long is the CLEP College Composition exam?

The total time limit for the exam is about 2 hours; the multiple-choice questions are timed at 55 minutes, and the essays are timed at 70 minutes.

What is the passing score for the CLEP College Composition exam?

There is no set passing score for the exam, but a scaled score of 50 is recommended.

How much does the CLEP College Composition exam cost?

The exam fee is $90.

By Peter Rench

Peter Rench joined Mometrix in 2009 and serves as Vice President of Product Development, responsible for overseeing all new product development and quality improvements. Mr. Rench, a National Merit Scholar, graduated magna cum laude with a Bachelor of Science in Mechanical Engineering and a minor in mathematics from Texas A&M University.

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Marksheet for essays - mark scheme criteria for pieces of writing

Subject: English

Age range: 14-16

Resource type: Assessment and revision

Last updated

28 May 2024

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Used this for IELTS essays, but it’s good for pretty much any subject and long pieces of writing / essays.

Easily adaptable; my criteria is describe, explain and evaluate. Each worth 5 marks tops (1 mark for grade E, 2 for D, 3 for C, 4 for B and 5 for A/A*). Total worth is 15 points.

Works really well with students if they are familiar with it. At the end of the doc they get a WWW and EBI, plus an improvement task we can give them to action upon getting the feedback.

Tes paid licence How can I reuse this?

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Filipino Writers’ Circle organizes essay writing and poster making contests

In celebration of the 126th Philippines Independence Day, the Filipino Writers’ Circle (FilWrite) in collaboration with the Philippine Embassy Manama and Migrant Workers Office (MWO), Bahrain is delighted to announce an exciting opportunity for all creative-minded Filipinos to participate in the ‘’On the Spot Essay Writing and Poster Making’’ contests to showcase their talents on the theme that revolves on freedom, love of country and future aspirations. This will be held on 8 June 2024 at the Philippine Embassy.

According to Cecil Ancheta, president of FilWrite, “Both contests will celebrate the artistic talents of the participants to express their hopes and ideas for the future of the country through words and art.”

She further narrated that these competitions “will serve as an educational platform for Overseas Filipino Workers (OFWs) to reflect on and honor the journeys and sacrifices of our heroes as one way of celebrating Independence Day with creativity and vision.”

The winning candidates will receive certificates of awards, plaques, and cash prizes.

Interested participants must register online. The deadline for registration is 31 May 2024. For inquiries, interested parties can contact Ruth +9736778214 and Gina +9736395711.

FilWrite is composed of Filipino writers in Bahrain who bonded together to foster camaraderie among its ranks and create a strong united voice to support the community on various issues.

Staff Report

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DMW, stakeholders collaborate to enhance skills of OFWs in Japan

Hontiveros releases document on possible mother of Alice Guo

Cynthia Villar rejects divorce bill due to “happy family life”

Privacy overview.

photo of Icon of the Seas, taken on a long railed path approaching the stern of the ship, with people walking along dock

Crying Myself to Sleep on the Biggest Cruise Ship Ever

Seven agonizing nights aboard the Icon of the Seas

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Updated at 2:44 p.m. ET on April 6, 2024.

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MY FIRST GLIMPSE of Royal Caribbean’s Icon of the Seas, from the window of an approaching Miami cab, brings on a feeling of vertigo, nausea, amazement, and distress. I shut my eyes in defense, as my brain tells my optic nerve to try again.

The ship makes no sense, vertically or horizontally. It makes no sense on sea, or on land, or in outer space. It looks like a hodgepodge of domes and minarets, tubes and canopies, like Istanbul had it been designed by idiots. Vibrant, oversignifying colors are stacked upon other such colors, decks perched over still more decks; the only comfort is a row of lifeboats ringing its perimeter. There is no imposed order, no cogent thought, and, for those who do not harbor a totalitarian sense of gigantomania, no visual mercy. This is the biggest cruise ship ever built, and I have been tasked with witnessing its inaugural voyage.

Explore the May 2024 Issue

Check out more from this issue and find your next story to read.

“Author embarks on their first cruise-ship voyage” has been a staple of American essay writing for almost three decades, beginning with David Foster Wallace’s “A Supposedly Fun Thing I’ll Never Do Again,” which was first published in 1996 under the title “Shipping Out.” Since then, many admirable writers have widened and diversified the genre. Usually the essayist commissioned to take to the sea is in their first or second flush of youth and is ready to sharpen their wit against the hull of the offending vessel. I am 51, old and tired, having seen much of the world as a former travel journalist, and mostly what I do in both life and prose is shrug while muttering to my imaginary dachshund, “This too shall pass.” But the Icon of the Seas will not countenance a shrug. The Icon of the Seas is the Linda Loman of cruise ships, exclaiming that attention must be paid. And here I am in late January with my one piece of luggage and useless gray winter jacket and passport, zipping through the Port of Miami en route to the gangway that will separate me from the bulk of North America for more than seven days, ready to pay it in full.

The aforementioned gangway opens up directly onto a thriving mall (I will soon learn it is imperiously called the “Royal Promenade”), presently filled with yapping passengers beneath a ceiling studded with balloons ready to drop. Crew members from every part of the global South, as well as a few Balkans, are shepherding us along while pressing flutes of champagne into our hands. By a humming Starbucks, I drink as many of these as I can and prepare to find my cabin. I show my blue Suite Sky SeaPass Card (more on this later, much more) to a smiling woman from the Philippines, and she tells me to go “aft.” Which is where, now? As someone who has rarely sailed on a vessel grander than the Staten Island Ferry, I am confused. It turns out that the aft is the stern of the ship, or, for those of us who don’t know what a stern or an aft are, its ass. The nose of the ship, responsible for separating the waves before it, is also called a bow, and is marked for passengers as the FWD , or forward. The part of the contemporary sailing vessel where the malls are clustered is called the midship. I trust that you have enjoyed this nautical lesson.

I ascend via elevator to my suite on Deck 11. This is where I encounter my first terrible surprise. My suite windows and balcony do not face the ocean. Instead, they look out onto another shopping mall. This mall is the one that’s called Central Park, perhaps in homage to the Olmsted-designed bit of greenery in the middle of my hometown. Although on land I would be delighted to own a suite with Central Park views, here I am deeply depressed. To sail on a ship and not wake up to a vast blue carpet of ocean? Unthinkable.

Allow me a brief preamble here. The story you are reading was commissioned at a moment when most staterooms on the Icon were sold out. In fact, so enthralled by the prospect of this voyage were hard-core mariners that the ship’s entire inventory of guest rooms (the Icon can accommodate up to 7,600 passengers, but its inaugural journey was reduced to 5,000 or so for a less crowded experience) was almost immediately sold out. Hence, this publication was faced with the shocking prospect of paying nearly $19,000 to procure for this solitary passenger an entire suite—not including drinking expenses—all for the privilege of bringing you this article. But the suite in question doesn’t even have a view of the ocean! I sit down hard on my soft bed. Nineteen thousand dollars for this .

selfie photo of man with glasses, in background is swim-up bar with two women facing away

The viewless suite does have its pluses. In addition to all the Malin+Goetz products in my dual bathrooms, I am granted use of a dedicated Suite Deck lounge; access to Coastal Kitchen, a superior restaurant for Suites passengers; complimentary VOOM SM Surf & Stream (“the fastest Internet at Sea”) “for one device per person for the whole cruise duration”; a pair of bathrobes (one of which comes prestained with what looks like a large expectoration by the greenest lizard on Earth); and use of the Grove Suite Sun, an area on Decks 18 and 19 with food and deck chairs reserved exclusively for Suite passengers. I also get reserved seating for a performance of The Wizard of Oz , an ice-skating tribute to the periodic table, and similar provocations. The very color of my Suite Sky SeaPass Card, an oceanic blue as opposed to the cloying royal purple of the standard non-Suite passenger, will soon provoke envy and admiration. But as high as my status may be, there are those on board who have much higher status still, and I will soon learn to bow before them.

In preparation for sailing, I have “priced in,” as they say on Wall Street, the possibility that I may come from a somewhat different monde than many of the other cruisers. Without falling into stereotypes or preconceptions, I prepare myself for a friendly outspokenness on the part of my fellow seafarers that may not comply with modern DEI standards. I believe in meeting people halfway, and so the day before flying down to Miami, I visited what remains of Little Italy to purchase a popular T-shirt that reads DADDY’S LITTLE MEATBALL across the breast in the colors of the Italian flag. My wife recommended that I bring one of my many T-shirts featuring Snoopy and the Peanuts gang, as all Americans love the beagle and his friends. But I naively thought that my meatball T-shirt would be more suitable for conversation-starting. “Oh, and who is your ‘daddy’?” some might ask upon seeing it. “And how long have you been his ‘little meatball’?” And so on.

I put on my meatball T-shirt and head for one of the dining rooms to get a late lunch. In the elevator, I stick out my chest for all to read the funny legend upon it, but soon I realize that despite its burnished tricolor letters, no one takes note. More to the point, no one takes note of me. Despite my attempts at bridge building, the very sight of me (small, ethnic, without a cap bearing the name of a football team) elicits no reaction from other passengers. Most often, they will small-talk over me as if I don’t exist. This brings to mind the travails of David Foster Wallace , who felt so ostracized by his fellow passengers that he retreated to his cabin for much of his voyage. And Wallace was raised primarily in the Midwest and was a much larger, more American-looking meatball than I am. If he couldn’t talk to these people, how will I? What if I leave this ship without making any friends at all, despite my T-shirt? I am a social creature, and the prospect of seven days alone and apart is saddening. Wallace’s stateroom, at least, had a view of the ocean, a kind of cheap eternity.

Worse awaits me in the dining room. This is a large, multichandeliered room where I attended my safety training (I was shown how to put on a flotation vest; it is a very simple procedure). But the maître d’ politely refuses me entry in an English that seems to verge on another language. “I’m sorry, this is only for pendejos ,” he seems to be saying. I push back politely and he repeats himself. Pendejos ? Piranhas? There’s some kind of P-word to which I am not attuned. Meanwhile elderly passengers stream right past, powered by their limbs, walkers, and electric wheelchairs. “It is only pendejo dining today, sir.” “But I have a suite!” I say, already starting to catch on to the ship’s class system. He examines my card again. “But you are not a pendejo ,” he confirms. I am wearing a DADDY’S LITTLE MEATBALL T-shirt, I want to say to him. I am the essence of pendejo .

Eventually, I give up and head to the plebeian buffet on Deck 15, which has an aquatic-styled name I have now forgotten. Before gaining entry to this endless cornucopia of reheated food, one passes a washing station of many sinks and soap dispensers, and perhaps the most intriguing character on the entire ship. He is Mr. Washy Washy—or, according to his name tag, Nielbert of the Philippines—and he is dressed as a taco (on other occasions, I’ll see him dressed as a burger). Mr. Washy Washy performs an eponymous song in spirited, indeed flamboyant English: “Washy, washy, wash your hands, WASHY WASHY!” The dangers of norovirus and COVID on a cruise ship this size (a giant fellow ship was stricken with the former right after my voyage) makes Mr. Washy Washy an essential member of the crew. The problem lies with the food at the end of Washy’s rainbow. The buffet is groaning with what sounds like sophisticated dishes—marinated octopus, boiled egg with anchovy, chorizo, lobster claws—but every animal tastes tragically the same, as if there was only one creature available at the market, a “cruisipus” bred specifically for Royal Caribbean dining. The “vegetables” are no better. I pick up a tomato slice and look right through it. It tastes like cellophane. I sit alone, apart from the couples and parents with gaggles of children, as “We Are Family” echoes across the buffet space.

I may have failed to mention that all this time, the Icon of the Seas has not left port. As the fiery mango of the subtropical setting sun makes Miami’s condo skyline even more apocalyptic, the ship shoves off beneath a perfunctory display of fireworks. After the sun sets, in the far, dark distance, another circus-lit cruise ship ruptures the waves before us. We glance at it with pity, because it is by definition a smaller ship than our own. I am on Deck 15, outside the buffet and overlooking a bunch of pools (the Icon has seven of them), drinking a frilly drink that I got from one of the bars (the Icon has 15 of them), still too shy to speak to anyone, despite Sister Sledge’s assertion that all on the ship are somehow related.

Kim Brooks: On failing the family vacation

The ship’s passage away from Ron DeSantis’s Florida provides no frisson, no sense of developing “sea legs,” as the ship is too large to register the presence of waves unless a mighty wind adds significant chop. It is time for me to register the presence of the 5,000 passengers around me, even if they refuse to register mine. My fellow travelers have prepared for this trip with personally decorated T-shirts celebrating the importance of this voyage. The simplest ones say ICON INAUGURAL ’24 on the back and the family name on the front. Others attest to an over-the-top love of cruise ships: WARNING! MAY START TALKING ABOUT CRUISING . Still others are artisanally designed and celebrate lifetimes spent married while cruising (on ships, of course). A couple possibly in their 90s are wearing shirts whose backs feature a drawing of a cruise liner, two flamingos with ostensibly male and female characteristics, and the legend “ HUSBAND AND WIFE Cruising Partners FOR LIFE WE MAY NOT HAVE IT All Together BUT TOGETHER WE HAVE IT ALL .” (The words not in all caps have been written in cursive.) A real journalist or a more intrepid conversationalist would have gone up to the couple and asked them to explain the longevity of their marriage vis-à-vis their love of cruising. But instead I head to my mall suite, take off my meatball T-shirt, and allow the first tears of the cruise to roll down my cheeks slowly enough that I briefly fall asleep amid the moisture and salt.

photo of elaborate twisting multicolored waterslides with long stairwell to platform

I WAKE UP with a hangover. Oh God. Right. I cannot believe all of that happened last night. A name floats into my cobwebbed, nauseated brain: “Ayn Rand.” Jesus Christ.

I breakfast alone at the Coastal Kitchen. The coffee tastes fine and the eggs came out of a bird. The ship rolls slightly this morning; I can feel it in my thighs and my schlong, the parts of me that are most receptive to danger.

I had a dangerous conversation last night. After the sun set and we were at least 50 miles from shore (most modern cruise ships sail at about 23 miles an hour), I lay in bed softly hiccupping, my arms stretched out exactly like Jesus on the cross, the sound of the distant waves missing from my mall-facing suite, replaced by the hum of air-conditioning and children shouting in Spanish through the vents of my two bathrooms. I decided this passivity was unacceptable. As an immigrant, I feel duty-bound to complete the tasks I am paid for, which means reaching out and trying to understand my fellow cruisers. So I put on a normal James Perse T-shirt and headed for one of the bars on the Royal Promenade—the Schooner Bar, it was called, if memory serves correctly.

I sat at the bar for a martini and two Negronis. An old man with thick, hairy forearms drank next to me, very silent and Hemingwaylike, while a dreadlocked piano player tinkled out a series of excellent Elton John covers. To my right, a young white couple—he in floral shorts, she in a light, summery miniskirt with a fearsome diamond ring, neither of them in football regalia—chatted with an elderly couple. Do it , I commanded myself. Open your mouth. Speak! Speak without being spoken to. Initiate. A sentence fragment caught my ear from the young woman, “Cherry Hill.” This is a suburb of Philadelphia in New Jersey, and I had once been there for a reading at a synagogue. “Excuse me,” I said gently to her. “Did you just mention Cherry Hill? It’s a lovely place.”

As it turned out, the couple now lived in Fort Lauderdale (the number of Floridians on the cruise surprised me, given that Southern Florida is itself a kind of cruise ship, albeit one slowly sinking), but soon they were talking with me exclusively—the man potbellied, with a chin like a hard-boiled egg; the woman as svelte as if she were one of the many Ukrainian members of the crew—the elderly couple next to them forgotten. This felt as groundbreaking as the first time I dared to address an American in his native tongue, as a child on a bus in Queens (“On my foot you are standing, Mister”).

“I don’t want to talk politics,” the man said. “But they’re going to eighty-six Biden and put Michelle in.”

I considered the contradictions of his opening conversational gambit, but decided to play along. “People like Michelle,” I said, testing the waters. The husband sneered, but the wife charitably put forward that the former first lady was “more personable” than Joe Biden. “They’re gonna eighty-six Biden,” the husband repeated. “He can’t put a sentence together.”

After I mentioned that I was a writer—though I presented myself as a writer of teleplays instead of novels and articles such as this one—the husband told me his favorite writer was Ayn Rand. “Ayn Rand, she came here with nothing,” the husband said. “I work with a lot of Cubans, so …” I wondered if I should mention what I usually do to ingratiate myself with Republicans or libertarians: the fact that my finances improved after pass-through corporations were taxed differently under Donald Trump. Instead, I ordered another drink and the couple did the same, and I told him that Rand and I were born in the same city, St. Petersburg/Leningrad, and that my family also came here with nothing. Now the bonding and drinking began in earnest, and several more rounds appeared. Until it all fell apart.

Read: Gary Shteyngart on watching Russian television for five days straight

My new friend, whom I will refer to as Ayn, called out to a buddy of his across the bar, and suddenly a young couple, both covered in tattoos, appeared next to us. “He fucking punked me,” Ayn’s frat-boy-like friend called out as he put his arm around Ayn, while his sizable partner sizzled up to Mrs. Rand. Both of them had a look I have never seen on land—their eyes projecting absence and enmity in equal measure. In the ’90s, I drank with Russian soldiers fresh from Chechnya and wandered the streets of wartime Zagreb, but I have never seen such undisguised hostility toward both me and perhaps the universe at large. I was briefly introduced to this psychopathic pair, but neither of them wanted to have anything to do with me, and the tattooed woman would not even reveal her Christian name to me (she pretended to have the same first name as Mrs. Rand). To impress his tattooed friends, Ayn made fun of the fact that as a television writer, I’d worked on the series Succession (which, it would turn out, practically nobody on the ship had watched), instead of the far more palatable, in his eyes, zombie drama of last year. And then my new friends drifted away from me into an angry private conversation—“He punked me!”—as I ordered another drink for myself, scared of the dead-eyed arrivals whose gaze never registered in the dim wattage of the Schooner Bar, whose terrifying voices and hollow laughs grated like unoiled gears against the crooning of “Goodbye Yellow Brick Road.”

But today is a new day for me and my hangover. After breakfast, I explore the ship’s so-called neighborhoods . There’s the AquaDome, where one can find a food hall and an acrobatic sound-and-light aquatic show. Central Park has a premium steak house, a sushi joint, and a used Rolex that can be bought for $8,000 on land here proudly offered at $17,000. There’s the aforementioned Royal Promenade, where I had drunk with the Rands, and where a pair of dueling pianos duel well into the night. There’s Surfside, a kids’ neighborhood full of sugary garbage, which looks out onto the frothy trail that the behemoth leaves behind itself. Thrill Island refers to the collection of tubes that clutter the ass of the ship and offer passengers six waterslides and a surfing simulation. There’s the Hideaway, an adult zone that plays music from a vomit-slathered, Brit-filled Alicante nightclub circa 1996 and proves a big favorite with groups of young Latin American customers. And, most hurtfully, there’s the Suite Neighborhood.

2 photos: a ship's foamy white wake stretches to the horizon; a man at reailing with water and two large ships docked behind

I say hurtfully because as a Suite passenger I should be here, though my particular suite is far from the others. Whereas I am stuck amid the riffraff of Deck 11, this section is on the highborn Decks 16 and 17, and in passing, I peek into the spacious, tall-ceilinged staterooms from the hallway, dazzled by the glint of the waves and sun. For $75,000, one multifloor suite even comes with its own slide between floors, so that a family may enjoy this particular terror in private. There is a quiet splendor to the Suite Neighborhood. I see fewer stickers and signs and drawings than in my own neighborhood—for example, MIKE AND DIANA PROUDLY SERVED U.S. MARINE CORPS RETIRED . No one here needs to announce their branch of service or rank; they are simply Suites, and this is where they belong. Once again, despite my hard work and perseverance, I have been disallowed from the true American elite. Once again, I am “Not our class, dear.” I am reminded of watching The Love Boat on my grandmother’s Zenith, which either was given to her or we found in the trash (I get our many malfunctioning Zeniths confused) and whose tube got so hot, I would put little chunks of government cheese on a thin tissue atop it to give our welfare treat a pleasant, Reagan-era gooeyness. I could not understand English well enough then to catch the nuances of that seafaring program, but I knew that there were differences in the status of the passengers, and that sometimes those differences made them sad. Still, this ship, this plenty—every few steps, there are complimentary nachos or milkshakes or gyros on offer—was the fatty fuel of my childhood dreams. If only I had remained a child.

I walk around the outdoor decks looking for company. There is a middle-aged African American couple who always seem to be asleep in each other’s arms, probably exhausted from the late capitalism they regularly encounter on land. There is far more diversity on this ship than I expected. Many couples are a testament to Loving v. Virginia , and there is a large group of folks whose T-shirts read MELANIN AT SEA / IT’S THE MELANIN FOR ME . I smile when I see them, but then some young kids from the group makes Mr. Washy Washy do a cruel, caricatured “Burger Dance” (today he is in his burger getup), and I think, Well, so much for intersectionality .

At the infinity pool on Deck 17, I spot some elderly women who could be ethnic and from my part of the world, and so I jump in. I am proved correct! Many of them seem to be originally from Queens (“Corona was still great when it was all Italian”), though they are now spread across the tristate area. We bond over the way “Ron-kon-koma” sounds when announced in Penn Station.

“Everyone is here for a different reason,” one of them tells me. She and her ex-husband last sailed together four years ago to prove to themselves that their marriage was truly over. Her 15-year-old son lost his virginity to “an Irish young lady” while their ship was moored in Ravenna, Italy. The gaggle of old-timers competes to tell me their favorite cruising stories and tips. “A guy proposed in Central Park a couple of years ago”—many Royal Caribbean ships apparently have this ridiculous communal area—“and she ran away screaming!” “If you’re diamond-class, you get four drinks for free.” “A different kind of passenger sails out of Bayonne.” (This, perhaps, is racially coded.) “Sometimes, if you tip the bartender $5, your next drink will be free.”

“Everyone’s here for a different reason,” the woman whose marriage ended on a cruise tells me again. “Some people are here for bad reasons—the drinkers and the gamblers. Some people are here for medical reasons.” I have seen more than a few oxygen tanks and at least one woman clearly undergoing very serious chemo. Some T-shirts celebrate good news about a cancer diagnosis. This might be someone’s last cruise or week on Earth. For these women, who have spent months, if not years, at sea, cruising is a ritual as well as a life cycle: first love, last love, marriage, divorce, death.

Read: The last place on Earth any tourist should go

I have talked with these women for so long, tonight I promise myself that after a sad solitary dinner I will not try to seek out company at the bars in the mall or the adult-themed Hideaway. I have enough material to fulfill my duties to this publication. As I approach my orphaned suite, I run into the aggro young people who stole Mr. and Mrs. Rand away from me the night before. The tattooed apparitions pass me without a glance. She is singing something violent about “Stuttering Stanley” (a character in a popular horror movie, as I discover with my complimentary VOOM SM Surf & Stream Internet at Sea) and he’s loudly shouting about “all the money I’ve lost,” presumably at the casino in the bowels of the ship.

So these bent psychos out of a Cormac McCarthy novel are angrily inhabiting my deck. As I mewl myself to sleep, I envision a limited series for HBO or some other streamer, a kind of low-rent White Lotus , where several aggressive couples conspire to throw a shy intellectual interloper overboard. I type the scenario into my phone. As I fall asleep, I think of what the woman who recently divorced her husband and whose son became a man through the good offices of the Irish Republic told me while I was hoisting myself out of the infinity pool. “I’m here because I’m an explorer. I’m here because I’m trying something new.” What if I allowed myself to believe in her fantasy?

2 photos: 2 slices of pizza on plate; man in "Daddy's Little Meatball" shirt and shorts standing in outdoor dining area with ship's exhaust stacks in background

“YOU REALLY STARTED AT THE TOP,” they tell me. I’m at the Coastal Kitchen for my eggs and corned-beef hash, and the maître d’ has slotted me in between two couples. Fueled by coffee or perhaps intrigued by my relative youth, they strike up a conversation with me. As always, people are shocked that this is my first cruise. They contrast the Icon favorably with all the preceding liners in the Royal Caribbean fleet, usually commenting on the efficiency of the elevators that hurl us from deck to deck (as in many large corporate buildings, the elevators ask you to choose a floor and then direct you to one of many lifts). The couple to my right, from Palo Alto—he refers to his “porn mustache” and calls his wife “my cougar” because she is two years older—tell me they are “Pandemic Pinnacles.”

This is the day that my eyes will be opened. Pinnacles , it is explained to me over translucent cantaloupe, have sailed with Royal Caribbean for 700 ungodly nights. Pandemic Pinnacles took advantage of the two-for-one accrual rate of Pinnacle points during the pandemic, when sailing on a cruise ship was even more ill-advised, to catapult themselves into Pinnacle status.

Because of the importance of the inaugural voyage of the world’s largest cruise liner, more than 200 Pinnacles are on this ship, a startling number, it seems. Mrs. Palo Alto takes out a golden badge that I have seen affixed over many a breast, which reads CROWN AND ANCHOR SOCIETY along with her name. This is the coveted badge of the Pinnacle. “You should hear all the whining in Guest Services,” her husband tells me. Apparently, the Pinnacles who are not also Suites like us are all trying to use their status to get into Coastal Kitchen, our elite restaurant. Even a Pinnacle needs to be a Suite to access this level of corned-beef hash.

“We’re just baby Pinnacles,” Mrs. Palo Alto tells me, describing a kind of internal class struggle among the Pinnacle elite for ever higher status.

And now I understand what the maître d’ was saying to me on the first day of my cruise. He wasn’t saying “ pendejo .” He was saying “Pinnacle.” The dining room was for Pinnacles only, all those older people rolling in like the tide on their motorized scooters.

And now I understand something else: This whole thing is a cult. And like most cults, it can’t help but mirror the endless American fight for status. Like Keith Raniere’s NXIVM, where different-colored sashes were given out to connote rank among Raniere’s branded acolytes, this is an endless competition among Pinnacles, Suites, Diamond-Plusers, and facing-the-mall, no-balcony purple SeaPass Card peasants, not to mention the many distinctions within each category. The more you cruise, the higher your status. No wonder a section of the Royal Promenade is devoted to getting passengers to book their next cruise during the one they should be enjoying now. No wonder desperate Royal Caribbean offers (“FINAL HOURS”) crowded my email account weeks before I set sail. No wonder the ship’s jewelry store, the Royal Bling, is selling a $100,000 golden chalice that will entitle its owner to drink free on Royal Caribbean cruises for life. (One passenger was already gaming out whether her 28-year-old son was young enough to “just about earn out” on the chalice or if that ship had sailed.) No wonder this ship was sold out months before departure , and we had to pay $19,000 for a horrid suite away from the Suite Neighborhood. No wonder the most mythical hero of Royal Caribbean lore is someone named Super Mario, who has cruised so often, he now has his own working desk on many ships. This whole experience is part cult, part nautical pyramid scheme.

From the June 2014 issue: Ship of wonks

“The toilets are amazing,” the Palo Altos are telling me. “One flush and you’re done.” “They don’t understand how energy-efficient these ships are,” the husband of the other couple is telling me. “They got the LNG”—liquefied natural gas, which is supposed to make the Icon a boon to the environment (a concept widely disputed and sometimes ridiculed by environmentalists).

But I’m thinking along a different line of attack as I spear my last pallid slice of melon. For my streaming limited series, a Pinnacle would have to get killed by either an outright peasant or a Suite without an ocean view. I tell my breakfast companions my idea.

“Oh, for sure a Pinnacle would have to be killed,” Mr. Palo Alto, the Pandemic Pinnacle, says, touching his porn mustache thoughtfully as his wife nods.

“THAT’S RIGHT, IT’S your time, buddy!” Hubert, my fun-loving Panamanian cabin attendant, shouts as I step out of my suite in a robe. “Take it easy, buddy!”

I have come up with a new dressing strategy. Instead of trying to impress with my choice of T-shirts, I have decided to start wearing a robe, as one does at a resort property on land, with a proper spa and hammam. The response among my fellow cruisers has been ecstatic. “Look at you in the robe!” Mr. Rand cries out as we pass each other by the Thrill Island aqua park. “You’re living the cruise life! You know, you really drank me under the table that night.” I laugh as we part ways, but my soul cries out, Please spend more time with me, Mr. and Mrs. Rand; I so need the company .

In my white robe, I am a stately presence, a refugee from a better limited series, a one-man crossover episode. (Only Suites are granted these robes to begin with.) Today, I will try many of the activities these ships have on offer to provide their clientele with a sense of never-ceasing motion. Because I am already at Thrill Island, I decide to climb the staircase to what looks like a mast on an old-fashioned ship (terrified, because I am afraid of heights) to try a ride called “Storm Chasers,” which is part of the “Category 6” water park, named in honor of one of the storms that may someday do away with the Port of Miami entirely. Storm Chasers consists of falling from the “mast” down a long, twisting neon tube filled with water, like being the camera inside your own colonoscopy, as you hold on to the handles of a mat, hoping not to die. The tube then flops you down headfirst into a trough of water, a Royal Caribbean baptism. It both knocks my breath out and makes me sad.

In keeping with the aquatic theme, I attend a show at the AquaDome. To the sound of “Live and Let Die,” a man in a harness gyrates to and fro in the sultry air. I saw something very similar in the back rooms of the famed Berghain club in early-aughts Berlin. Soon another harnessed man is gyrating next to the first. Ja , I think to myself, I know how this ends. Now will come the fisting , natürlich . But the show soon devolves into the usual Marvel-film-grade nonsense, with too much light and sound signifying nichts . If any fisting is happening, it is probably in the Suite Neighborhood, inside a cabin marked with an upside-down pineapple, which I understand means a couple are ready to swing, and I will see none of it.

I go to the ice show, which is a kind of homage—if that’s possible—to the periodic table, done with the style and pomp and masterful precision that would please the likes of Kim Jong Un, if only he could afford Royal Caribbean talent. At one point, the dancers skate to the theme song of Succession . “See that!” I want to say to my fellow Suites—at “cultural” events, we have a special section reserved for us away from the commoners—“ Succession ! It’s even better than the zombie show! Open your minds!”

Finally, I visit a comedy revue in an enormous and too brightly lit version of an “intimate,” per Royal Caribbean literature, “Manhattan comedy club.” Many of the jokes are about the cruising life. “I’ve lived on ships for 20 years,” one of the middle-aged comedians says. “I can only see so many Filipino homosexuals dressed as a taco.” He pauses while the audience laughs. “I am so fired tonight,” he says. He segues into a Trump impression and then Biden falling asleep at the microphone, which gets the most laughs. “Anyone here from Fort Leonard Wood?” another comedian asks. Half the crowd seems to cheer. As I fall asleep that night, I realize another connection I have failed to make, and one that may explain some of the diversity on this vessel—many of its passengers have served in the military.

As a coddled passenger with a suite, I feel like I am starting to understand what it means to have a rank and be constantly reminded of it. There are many espresso makers , I think as I look across the expanse of my officer-grade quarters before closing my eyes, but this one is mine .

photo of sheltered sandy beach with palms, umbrellas, and chairs with two large docked cruise ships in background

A shocking sight greets me beyond the pools of Deck 17 as I saunter over to the Coastal Kitchen for my morning intake of slightly sour Americanos. A tiny city beneath a series of perfectly pressed green mountains. Land! We have docked for a brief respite in Basseterre, the capital of St. Kitts and Nevis. I wolf down my egg scramble to be one of the first passengers off the ship. Once past the gangway, I barely refrain from kissing the ground. I rush into the sights and sounds of this scruffy island city, sampling incredible conch curry and buckets of non-Starbucks coffee. How wonderful it is to be where God intended humans to be: on land. After all, I am neither a fish nor a mall rat. This is my natural environment. Basseterre may not be Havana, but there are signs of human ingenuity and desire everywhere you look. The Black Table Grill Has been Relocated to Soho Village, Market Street, Directly Behind of, Gary’s Fruits and Flower Shop. Signed. THE PORK MAN reads a sign stuck to a wall. Now, that is how you write a sign. A real sign, not the come-ons for overpriced Rolexes that blink across the screens of the Royal Promenade.

“Hey, tie your shoestring!” a pair of laughing ladies shout to me across the street.

“Thank you!” I shout back. Shoestring! “Thank you very much.”

A man in Independence Square Park comes by and asks if I want to play with his monkey. I haven’t heard that pickup line since the Penn Station of the 1980s. But then he pulls a real monkey out of a bag. The monkey is wearing a diaper and looks insane. Wonderful , I think, just wonderful! There is so much life here. I email my editor asking if I can remain on St. Kitts and allow the Icon to sail off into the horizon without me. I have even priced a flight home at less than $300, and I have enough material from the first four days on the cruise to write the entire story. “It would be funny …” my editor replies. “Now get on the boat.”

As I slink back to the ship after my brief jailbreak, the locals stand under umbrellas to gaze at and photograph the boat that towers over their small capital city. The limousines of the prime minister and his lackeys are parked beside the gangway. St. Kitts, I’ve been told, is one of the few islands that would allow a ship of this size to dock.

“We hear about all the waterslides,” a sweet young server in one of the cafés told me. “We wish we could go on the ship, but we have to work.”

“I want to stay on your island,” I replied. “I love it here.”

But she didn’t understand how I could possibly mean that.

“WASHY, WASHY, so you don’t get stinky, stinky!” kids are singing outside the AquaDome, while their adult minders look on in disapproval, perhaps worried that Mr. Washy Washy is grooming them into a life of gayness. I heard a southern couple skip the buffet entirely out of fear of Mr. Washy Washy.

Meanwhile, I have found a new watering hole for myself, the Swim & Tonic, the biggest swim-up bar on any cruise ship in the world. Drinking next to full-size, nearly naked Americans takes away one’s own self-consciousness. The men have curvaceous mom bodies. The women are equally un-shy about their sprawling physiques.

Today I’ve befriended a bald man with many children who tells me that all of the little trinkets that Royal Caribbean has left us in our staterooms and suites are worth a fortune on eBay. “Eighty dollars for the water bottle, 60 for the lanyard,” the man says. “This is a cult.”

“Tell me about it,” I say. There is, however, a clientele for whom this cruise makes perfect sense. For a large middle-class family (he works in “supply chains”), seven days in a lower-tier cabin—which starts at $1,800 a person—allow the parents to drop off their children in Surfside, where I imagine many young Filipina crew members will take care of them, while the parents are free to get drunk at a swim-up bar and maybe even get intimate in their cabin. Cruise ships have become, for a certain kind of hardworking family, a form of subsidized child care.

There is another man I would like to befriend at the Swim & Tonic, a tall, bald fellow who is perpetually inebriated and who wears a necklace studded with little rubber duckies in sunglasses, which, I am told, is a sort of secret handshake for cruise aficionados. Tomorrow, I will spend more time with him, but first the ship docks at St. Thomas, in the U.S. Virgin Islands. Charlotte Amalie, the capital, is more charming in name than in presence, but I still all but jump off the ship to score a juicy oxtail and plantains at the well-known Petite Pump Room, overlooking the harbor. From one of the highest points in the small city, the Icon of the Seas appears bigger than the surrounding hills.

I usually tan very evenly, but something about the discombobulation of life at sea makes me forget the regular application of sunscreen. As I walk down the streets of Charlotte Amalie in my fluorescent Icon of the Seas cap, an old Rastafarian stares me down. “Redneck,” he hisses.

“No,” I want to tell him, as I bring a hand up to my red neck, “that’s not who I am at all. On my island, Mannahatta, as Whitman would have it, I am an interesting person living within an engaging artistic milieu. I do not wish to use the Caribbean as a dumping ground for the cruise-ship industry. I love the work of Derek Walcott. You don’t understand. I am not a redneck. And if I am, they did this to me.” They meaning Royal Caribbean? Its passengers? The Rands?

“They did this to me!”

Back on the Icon, some older matrons are muttering about a run-in with passengers from the Celebrity cruise ship docked next to us, the Celebrity Apex. Although Celebrity Cruises is also owned by Royal Caribbean, I am made to understand that there is a deep fratricidal beef between passengers of the two lines. “We met a woman from the Apex,” one matron says, “and she says it was a small ship and there was nothing to do. Her face was as tight as a 19-year-old’s, she had so much surgery.” With those words, and beneath a cloudy sky, humidity shrouding our weathered faces and red necks, we set sail once again, hopefully in the direction of home.

photo from inside of spacious geodesic-style glass dome facing ocean, with stairwells and seating areas

THERE ARE BARELY 48 HOURS LEFT to the cruise, and the Icon of the Seas’ passengers are salty. They know how to work the elevators. They know the Washy Washy song by heart. They understand that the chicken gyro at “Feta Mediterranean,” in the AquaDome Market, is the least problematic form of chicken on the ship.

The passengers have shed their INAUGURAL CRUISE T-shirts and are now starting to evince political opinions. There are caps pledging to make America great again and T-shirts that celebrate words sometimes attributed to Patrick Henry: “The Constitution is not an instrument for the government to restrain the people; it is an instrument for the people to restrain the government.” With their preponderance of FAMILY FLAG FAITH FRIENDS FIREARMS T-shirts, the tables by the crepe station sometimes resemble the Capitol Rotunda on January 6. The Real Anthony Fauci , by Robert F. Kennedy Jr., appears to be a popular form of literature, especially among young men with very complicated versions of the American flag on their T-shirts. Other opinions blend the personal and the political. “Someone needs to kill Washy guy, right?” a well-dressed man in the elevator tells me, his gray eyes radiating nothing. “Just beat him to death. Am I right?” I overhear the male member of a young couple whisper, “There goes that freak” as I saunter by in my white spa robe, and I decide to retire it for the rest of the cruise.

I visit the Royal Bling to see up close the $100,000 golden chalice that entitles you to free drinks on Royal Caribbean forever. The pleasant Serbian saleslady explains that the chalice is actually gold-plated and covered in white zirconia instead of diamonds, as it would otherwise cost $1 million. “If you already have everything,” she explains, “this is one more thing you can get.”

I believe that anyone who works for Royal Caribbean should be entitled to immediate American citizenship. They already speak English better than most of the passengers and, per the Serbian lady’s sales pitch above, better understand what America is as well. Crew members like my Panamanian cabin attendant seem to work 24 hours a day. A waiter from New Delhi tells me that his contract is six months and three weeks long. After a cruise ends, he says, “in a few hours, we start again for the next cruise.” At the end of the half a year at sea, he is allowed a two-to-three-month stay at home with his family. As of 2019, the median income for crew members was somewhere in the vicinity of $20,000, according to a major business publication. Royal Caribbean would not share the current median salary for its crew members, but I am certain that it amounts to a fraction of the cost of a Royal Bling gold-plated, zirconia-studded chalice.

And because most of the Icon’s hyper-sanitized spaces are just a frittata away from being a Delta lounge, one forgets that there are actual sailors on this ship, charged with the herculean task of docking it in port. “Having driven 100,000-ton aircraft carriers throughout my career,” retired Admiral James G. Stavridis, the former NATO Supreme Allied Commander Europe, writes to me, “I’m not sure I would even know where to begin with trying to control a sea monster like this one nearly three times the size.” (I first met Stavridis while touring Army bases in Germany more than a decade ago.)

Today, I decide to head to the hot tub near Swim & Tonic, where some of the ship’s drunkest reprobates seem to gather (the other tubs are filled with families and couples). The talk here, like everywhere else on the ship, concerns football, a sport about which I know nothing. It is apparent that four teams have recently competed in some kind of finals for the year, and that two of them will now face off in the championship. Often when people on the Icon speak, I will try to repeat the last thing they said with a laugh or a nod of disbelief. “Yes, 20-yard line! Ha!” “Oh my God, of course, scrimmage.”

Soon we are joined in the hot tub by the late-middle-age drunk guy with the duck necklace. He is wearing a bucket hat with the legend HAWKEYES , which, I soon gather, is yet another football team. “All right, who turned me in?” Duck Necklace says as he plops into the tub beside us. “I get a call in the morning,” he says. “It’s security. Can you come down to the dining room by 10 a.m.? You need to stay away from the members of this religious family.” Apparently, the gregarious Duck Necklace had photobombed the wrong people. There are several families who present as evangelical Christians or practicing Muslims on the ship. One man, evidently, was not happy that Duck Necklace had made contact with his relatives. “It’s because of religious stuff; he was offended. I put my arm around 20 people a day.”

Everyone laughs. “They asked me three times if I needed medication,” he says of the security people who apparently interrogated him in full view of others having breakfast.

Another hot-tub denizen suggests that he should have asked for fentanyl. After a few more drinks, Duck Necklace begins to muse about what it would be like to fall off the ship. “I’m 62 and I’m ready to go,” he says. “I just don’t want a shark to eat me. I’m a huge God guy. I’m a Bible guy. There’s some Mayan theory squaring science stuff with religion. There is so much more to life on Earth.” We all nod into our Red Stripes.

“I never get off the ship when we dock,” he says. He tells us he lost $6,000 in the casino the other day. Later, I look him up, and it appears that on land, he’s a financial adviser in a crisp gray suit, probably a pillar of his North Chicago community.

photo of author smiling and holding soft-serve ice-cream cone with outdoor seating area in background

THE OCEAN IS TEEMING with fascinating life, but on the surface it has little to teach us. The waves come and go. The horizon remains ever far away.

I am constantly told by my fellow passengers that “everybody here has a story.” Yes, I want to reply, but everybody everywhere has a story. You, the reader of this essay, have a story, and yet you’re not inclined to jump on a cruise ship and, like Duck Necklace, tell your story to others at great pitch and volume. Maybe what they’re saying is that everybody on this ship wants to have a bigger, more coherent, more interesting story than the one they’ve been given. Maybe that’s why there’s so much signage on the doors around me attesting to marriages spent on the sea. Maybe that’s why the Royal Caribbean newsletter slipped under my door tells me that “this isn’t a vacation day spent—it’s bragging rights earned.” Maybe that’s why I’m so lonely.

Today is a big day for Icon passengers. Today the ship docks at Royal Caribbean’s own Bahamian island, the Perfect Day at CocoCay. (This appears to be the actual name of the island.) A comedian at the nightclub opined on what his perfect day at CocoCay would look like—receiving oral sex while learning that his ex-wife had been killed in a car crash (big laughter). But the reality of the island is far less humorous than that.

One of the ethnic tristate ladies in the infinity pool told me that she loved CocoCay because it had exactly the same things that could be found on the ship itself. This proves to be correct. It is like the Icon, but with sand. The same tired burgers, the same colorful tubes conveying children and water from Point A to B. The same swim-up bar at its Hideaway ($140 for admittance, no children allowed; Royal Caribbean must be printing money off its clientele). “There was almost a fight at The Wizard of Oz ,” I overhear an elderly woman tell her companion on a chaise lounge. Apparently one of the passengers began recording Royal Caribbean’s intellectual property and “three guys came after him.”

I walk down a pathway to the center of the island, where a sign reads DO NOT ENTER: YOU HAVE REACHED THE BOUNDARY OF ADVENTURE . I hear an animal scampering in the bushes. A Royal Caribbean worker in an enormous golf cart soon chases me down and takes me back to the Hideaway, where I run into Mrs. Rand in a bikini. She becomes livid telling me about an altercation she had the other day with a woman over a towel and a deck chair. We Suites have special towel privileges; we do not have to hand over our SeaPass Card to score a towel. But the Rands are not Suites. “People are so entitled here,” Mrs. Rand says. “It’s like the airport with all its classes.” “You see,” I want to say, “this is where your husband’s love of Ayn Rand runs into the cruelties and arbitrary indignities of unbridled capitalism.” Instead we make plans to meet for a final drink in the Schooner Bar tonight (the Rands will stand me up).

Back on the ship, I try to do laps, but the pool (the largest on any cruise ship, naturally) is fully trashed with the detritus of American life: candy wrappers, a slowly dissolving tortilla chip, napkins. I take an extra-long shower in my suite, then walk around the perimeter of the ship on a kind of exercise track, past all the alluring lifeboats in their yellow-and-white livery. Maybe there is a dystopian angle to the HBO series that I will surely end up pitching, one with shades of WALL-E or Snowpiercer . In a collapsed world, a Royal Caribbean–like cruise liner sails from port to port, collecting new shipmates and supplies in exchange for the precious energy it has on board. (The actual Icon features a new technology that converts passengers’ poop into enough energy to power the waterslides . In the series, this shitty technology would be greatly expanded.) A very young woman (18? 19?), smart and lonely, who has only known life on the ship, walks along the same track as I do now, contemplating jumping off into the surf left by its wake. I picture reusing Duck Necklace’s words in the opening shot of the pilot. The girl is walking around the track, her eyes on the horizon; maybe she’s highborn—a Suite—and we hear the voice-over: “I’m 19 and I’m ready to go. I just don’t want a shark to eat me.”

Before the cruise is finished, I talk to Mr. Washy Washy, or Nielbert of the Philippines. He is a sweet, gentle man, and I thank him for the earworm of a song he has given me and for keeping us safe from the dreaded norovirus. “This is very important to me, getting people to wash their hands,” he tells me in his burger getup. He has dreams, as an artist and a performer, but they are limited in scope. One day he wants to dress up as a piece of bacon for the morning shift.

THE MAIDEN VOYAGE OF THE TITANIC (the Icon of the Seas is five times as large as that doomed vessel) at least offered its passengers an exciting ending to their cruise, but when I wake up on the eighth day, all I see are the gray ghosts that populate Miami’s condo skyline. Throughout my voyage, my writer friends wrote in to commiserate with me. Sloane Crosley, who once covered a three-day spa mini-cruise for Vogue , tells me she felt “so very alone … I found it very untethering.” Gideon Lewis-Kraus writes in an Instagram comment: “When Gary is done I think it’s time this genre was taken out back and shot.” And he is right. To badly paraphrase Adorno: After this, no more cruise stories. It is unfair to put a thinking person on a cruise ship. Writers typically have difficult childhoods, and it is cruel to remind them of the inherent loneliness that drove them to writing in the first place. It is also unseemly to write about the kind of people who go on cruises. Our country does not provide the education and upbringing that allow its citizens an interior life. For the creative class to point fingers at the large, breasty gentlemen adrift in tortilla-chip-laden pools of water is to gather a sour harvest of low-hanging fruit.

A day or two before I got off the ship, I decided to make use of my balcony, which I had avoided because I thought the view would only depress me further. What I found shocked me. My suite did not look out on Central Park after all. This entire time, I had been living in the ship’s Disneyland, Surfside, the neighborhood full of screaming toddlers consuming milkshakes and candy. And as I leaned out over my balcony, I beheld a slight vista of the sea and surf that I thought I had been missing. It had been there all along. The sea was frothy and infinite and blue-green beneath the span of a seagull’s wing. And though it had been trod hard by the world’s largest cruise ship, it remained.

This article appears in the May 2024 print edition with the headline “A Meatball at Sea.” When you buy a book using a link on this page, we receive a commission. Thank you for supporting The Atlantic.

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Types of Composition Writing and Examples
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What Is Composition? Definition, Types, and Examples
Definition, Types, and Examples. In the literary sense, a composition (from the Latin "to put together") is the way a writer assembles words and sentences to create a coherent and meaningful work. Composition can also mean the activity of writing, the nature of the subject of a piece of writing, the piece of writing itself, and the name of a ...
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Types of essays . Most essays are derived from the combination or variation of these four main types of essays. let's take a closer look at these types. 1. Narrative essay . A narrative essay is a type of writing that involves telling a story, often based on personal experiences. It is a form of creative nonfiction that allows you to use ...
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A composition is any creative work, and creativity does not always come in the form of the written word. Written compositions can be essays, but there are many other forms of writing that fall under the definition of a composition. In fact, all original pieces of writing are defined as written compositions, including all the writing forms that ...
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Free CLEP College Composition Practice Test (updated 2024)
CLEP College Composition Exam Outline. The CLEP College Composition exam contains 50 multiple-choice questions and two essays. The multiple-choice questions have a time limit of 55 minutes, while the essays are timed at 70 minutes. The multiple-choice questions are split into four categories: Conventions of Standard Written English (10%)
Marksheet for essays
Used this for IELTS essays, but it's good for pretty much any subject and long pieces of writing / essays. Easily adaptable; my criteria is describe, explain and evaluate. Each worth 5 marks tops (1 mark for grade E, 2 for D, 3 for C, 4 for B and 5 for A/A*). Total worth is 15 points. Works really well with students if they are familiar with it.
Filipino Writers' Circle organizes essay writing and poster making
In celebration of the 126th Philippines Independence Day, the Filipino Writers' Circle (FilWrite) in collaboration with the Philippine Embassy Manama and Migrant Workers Office (MWO), Bahrain is delighted to announce an exciting opportunity for all creative-minded Filipinos to participate in the ''On the Spot Essay Writing and Poster Making'' contests to showcase their talents on the ...
How to Write an Essay Introduction
Table of contents. Step 1: Hook your reader. Step 2: Give background information. Step 3: Present your thesis statement. Step 4: Map your essay's structure. Step 5: Check and revise. More examples of essay introductions. Other interesting articles. Frequently asked questions about the essay introduction.
Crying Myself to Sleep on the Biggest Cruise Ship Ever
You, the reader of this essay, have a story, and yet you're not inclined to jump on a cruise ship and, like Duck Necklace, tell your story to others at great pitch and volume.

What Is Composition? Definition, Types, and Examples

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Composition Definition

Types of Composition Writing

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Argumentation

The Value of Composition

How to Write a Composition

Composition Template

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Writing a Rough Draft

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You, Writing! A Guide to College Composition

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What Is Composition? Definition, Types, and Examples

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ENGL001: English Composition I

Course Introduction

Course Syllabus

Unit 1: What is College-Level Writing?

Unit 2: What Makes Academic Writing Unique?

Unit 3: How Do I Use Sources?

Unit 4: Finishing Touches

Study Guide

Course Feedback Survey

Certificate Final Exam

What is an Essay?

Defining the Term – What is an Essay?

Origins of the Essay

The Essay in Literature

The Essay in Academics

Five paragraph essay

Argumentative essay

Compare and Contrast essay

Definition essay

Descriptive essay

Illustration essay

Informative Essay

Narrative essay

Persuasive essay

The Essay in Art

Drawing the line – question answered

A life lesson in Romeo and Juliet taught by death

Ethical Research Paper Topics

Art Research Paper Topics

Essay vs Composition: Difference and Comparison

Essay vs. Composition

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What is Composition?

Main Differences Between An Essay And Composition

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The Difference between an Essay and a Composition

What is an Essay?

What is A Composition?

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