familiar essay

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Guide: How to write a familiar essay

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The familiar essay is a type of essay that has fallen by the wayside in most primary and secondary school curricula because it is difficult to write. The familiar essay is a personal reflection on an elevated topic, such as “people worth knowing,” or “How religion informs morality.”

It is similar to a personal essay because the observations are unique to the author and research is not required. However, the familiar essay diverges from the personal essay because of the philosophical nature of the topics.

Tone and Audience

The author of a familiar essay writes as if they have an audience consisting of one person. They may even interact with their audience by using “you” or phrases such as “dear reader.” Because of the lofty nature of the topics for a familiar essay, the tone for this type of essay is typically elevated and geared toward an educated reader.

Planning the Essay

Even though the familiar essay is personal in nature, it is important to gather your thoughts before you begin writing. Many professors and instructors recommend freewriting about the topic or clustering as useful activities for planning a familiar essay. From the freewriting activity, the author can then create an outline to use as a general guide for organizing the essay.

Writing the Familiar Essay

As you write, use the outline you created during the planning phase. Working from an outline is important for any essay that is personal in nature because writers have the greatest tendency to ramble or get off topic when they are writing about their observations. Many authors find that writing the familiar essay is easiest if it is written in one session. This helps the writer to stay on track and prevents them from losing their focus.

Most familiar essays do not cite other essays or use references. However, you might make an exception to this rule by discussing a famous author, philosopher, or politician’s point to illuminate your point or to serve as a counterpoint to your assertions. In that instance, you would need to cite the reference.

Revising the Essay

Like other types of essays, the familiar essay should be carefully revised before it is turned in. Pay close attention to the tone of the essay. The tone should remain consistent. For example, if you began the essay with a light-hearted tone, make sure to continue that tone to the end of the essay for consistency. The exception would be if you have good reason to dampen the tone of the essay.

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Familiar Essay: Definition and Writing Recommendations

Usually secondary and high school students know nothing about familiar essays because it is considered as a challenging assignment. A familiar essay is focused on one’s own reflection and exploration of a topic such as “Deceiving Oneself” or “Giving Advice”.

What is a Familiar Essay?

Let us define a familiar essay. A familiar essay is a type of nonfiction short story writing in which the author shares a life experience and uses a personal or voice unique to themselves. It is known for being written in an informal manner.

Popular Classic Familiar Essays

Death of a Pig, by E.B. White
An Apology for Idlers, by Robert Louis Stevenson
A Piece of Chalk, by G. K.Chesterton
The Indian Jugglers, by William Hazlitt
Getting Up on Cold Mornings, by Leigh Hunt
Imperfect Sympathies, by Charles Lamb

How to Write a Familiar Essay

The familiar essay uses a unique literary device that involves addressing the reader directly as if they were an acquaintance. When executed properly, this keeps the audience interested and engaged as they read the story. As you begin to define a familiar essay writing process, think about how you can frame the narrative in a way that takes into account the needs of the reader. Using the first-person can be effective, although you should first ask your instructor if it is permitted for the assignment.

The good news when it comes to writing a familiar essay is that it is a far easier assignment than a research paper or most other academic work. Rather than requiring you to seek out sources or read up on a topic, all you really have to do is use your imagination. Of course, coming up with familiar essay topics that the reader would find interesting can be a challenge. In addition, if you lack creativity or the ability to find colorful ways to express yourself, you might struggle with this paper. One way to get started is to think about a passion in your life or a memorable event that you think would make for an interesting narrative. Usually casual slang – typically frowned upon in conventional academic writing – is perfectly acceptable. If you can get the reader to laugh or even cry, you have accomplished your goals.

Audience and Tone of Writing

While writing a familiar essay, imagine that your audience is one person only. Your reader is educated enough to understand the topic and there is no need to prove additional clarifications or explanations. Think that your audience is enthusiastic to hear your opinion on the topic. You can even interact with the reader by using personal pronouns.

Make a Plan

Even if a familiar essay refers to personal writing, you still need to organize your ideas before writing. You can begin with freewriting and create a paper with all ideas that appear in your mind during several minutes. Do not worry about the content. You will extract the most valuable and significant ideas for your outline, which will further transform into a real essay.

Writing a Familiar Essay

Now it is time to use your outline and create the essay itself. Do not underestimate the importance of creating an outline and following it during the writing stage. Since familiar essays are deeply personal in their nature, students often go off the track and forget about the initial topics they tried to address. One of the easiest ways to write a familiar essay is to produce it at once (in one session). It will help you not to lose the focus.

Usage of Sources

Most of the teachers ask students not to use any references in familiar essays. However, please read carefully your instructions to be sure. If allowed, you can rely on the quote of a famous philosopher to prove your point. However, there is no need to introduce an outside argument because the focus of discussion should be your personal reflection.

Revise Your Paper

Always re-read your familiar essay before submission and revise its content. The reader should have a clear understanding of your personal standpoint. You should check the tone and style of writing. Be sure to get rid of all stylistic inconsistencies. For example, if you begin your essay with an enthusiastic tone, the same should be seen in the concluding paragraph. Check your paper for unity and coherence as well.

High Quality Academic Help

Although the familiar essay does not involve doing outside research or collecting data, it is nonetheless a difficult paper if you have trouble expressing your ideas in an entertaining way. Fortunately, when you are feeling stuck you can always buy a familiar essay from the experts at WeWriteOnline.com!

Buy Custom Essay Papers

Sometimes downloading an example of a familiar essay just will not cut it, especially when your own paper has to reflect on aspects of your life. This is why ordering a high quality custom familiar essay is the perfect solution. But where should you shop for paper? With so many writing services to choose from, it is not always easy to know which one is right for you. Here are a few traits that a reputable writing service should always possess:

The company has developed a solid reputation for creating high quality content and has a high review score.
The company does not merely send you the same familiar essay examples that they give to all their clients, they provide custom work that cannot be found anywhere else.
The company understands the importance of keeping their prices low so that their services are accessible to all students.
The company delivers their work by the deadline, even on the tightest of time frames.

When you look at the custom writing company websites, you will find that many of them are poorly written; containing grammar mistakes and typos. If they cannot even get their webpages right, how can they be expected to deliver an essay that gets you an A? Other websites look perfectly fine, but that also is not an automatic sign that they are reputable. Ultimately, it is important to choose the company carefully.

We at WeWriteOnline.com are the company that you can trust. Whether you need a familiar essay, movie review or even a dissertation, we have talented writers to handle all of your academic and professional needs. Every paper that we produce is original and follows your instructions to the letter. You are free to provide us some information about yourself that your writer will then craft into an entertaining, beautifully written familiar essay that keeps the reader’s attention. Alternatively, you can send us the general requirements of the assignment and we will use our creativity and imagination to do the rest! They will craft a purposeful, coherent story that leaves the audience feeling satisfied. Of course, the ultimate judge (your instructor) is sure to give it a high grade.

You never have to worry about plagiarism either. We scan all of our papers through the latest in plagiarism detection technology, guaranteeing one-of-a-kind work that you cannot find anywhere else. We also understand the importance of receiving your assignments on time. After all, receiving an amazing essay does you no good if your professor is not willing to accept it late.

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250 Topics for Familiar Essays

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Ph.D., Rhetoric and English, University of Georgia
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This list of 250 "subjects for familiar essays " originally appeared as an appendix to Essays and Essay-Writing , an anthology edited by William M. Tanner and published by the Atlantic Monthly Press in 1917. But don't let the date scare you away.

While a few of the topics are musty ("Our Ragtime Age") and some are a bit perplexing ("Grooves and Graves"), the majority of these topics are as timely (or perhaps timeless) as ever ("The Shrinking Earth," "Illusions We Live By," "Our Nervous Age").

Tanner's brief introduction strikes an encouraging note:

In no other form of prose composition is the selection of a subject so much a matter of the writer's own choosing as in the familiar essay. Though adequate subjects can rarely be assigned by another person, it is possible that the student may find in the following list a few titles that suggest subjects of interest to him and within the range of his observation and experience.

So remain open to these suggestions. Feel free to update a topic--for example, by turning "telephone etiquette" into email or texting behaviors. If you're puzzled by a subject, don't try to decipher what the author intended a century ago. Instead, take a few minutes to explore its possible meanings for you today.

1. On Discovering Oneself 2. On Deceiving Oneself 3. Epidemic Education 4. The Pleasures of Loafing 5. Favorite Antipathies 6. On Wearing New Shoes 7. The Penalty of Violating Convention 8. First Impressions 9. On Acquiring an Artistic Temperament 10. A Model Obituary

11. Uses of Disagreeable People 12. Keeping up Appearances 13. The Psychology of Bargains 14. People Who Make-Believe 15. Conceited People 16. Our Nervous Age 17. Sophomore Apathy 18. The Enchantment of Distance 19. On Being Worth Knowing 20. The Glory of the Commonplace

21. Mental Laziness 22. On Thinking for Oneself 23. The Necessity of Being Amused 24. Man's Opinion of Himself 25. On Giving Advice 26. Silent Talkers 27. My Ailments 28. The Valor of Ignorance 29. An Apology for Bores 30. College Libraries as Social Centers

31. Judging by Appearances 32. On Making Excuses 33. The Pleasure of Escape 34. A Word for Mediocrity 35. On Attending to Other People's Business 36. The Heritage of the Youngest Child 37. Academic Snobbishness 38. On Being Small 89. A Defense of Day-Dreaming 40. Leaders and Led

41. The Excitement of Having a Bank Account 42. By-Products of Church Attendance 43. Fashionable Tardiness 44. The Penalties of Success 45. On Looking One's Best 46. Cultural Immunity 47. Personality in Apparel 48. The Responsibility of Greatness 49. On Recovering from Love Affairs 50. The Passing of the Country Road

51. Mute Eloquence 52. On Choosing One's Ancestors 53. The Psychology of Patent Medicines 54. Helpful Enemies 55. The Tyranny of Trifles 56. Intellectual Alarm Clocks 57. The Monotony of Student Life 58. Table Manners 59. On Holding One's Tongue 60. Dangers of Narrowmindedness

61. The Tendency to Exaggerate Misfortune 62. Outgrown Opinions 63. On Making Apologies for Oneself 64. My Taskmaster--Duty 65. Talkers 66. The Character of Horses 67. Why the Dessert Course Last? 68. On Being Introduced 69. Running on Low Gear 70. Etiquette for Ancestors

71. On Going Barefooted 72. Cast-off Enthusiasms 73. The Joys of the Country Cottager 74. On Answering Advertisements 75. Reflections While Shaving 76. Shams 77. Intellectual Inheritances 78. The Imperious "They" 79. On Knowing When to Stop 80. Personality in the Handshake

81. Hairpins 82. On Taking Oneself Too Seriously 83. A Curse of Cleverness 84. Living Caricatures 85. On Repenting at Leisure 86. Imitations 87. The Joys of Procrastination 88. Popular Fallacies 89. "Men Say" 90. Human Parasites

91. On Looking Wise 92. Mechanical Pleasures 93. Sponges 94. On Waiting for the Postman 95. Intellectual Pioneers 96. Animal Resemblances in People 97. The Pleasures of Quarreling 98. Bird Music 99. Victims of Charity 100. On Being Misunderstood

101. Some False Impressions of Childhood 102. Rivalry in Gift-Giving 103. Faces and Masks 104. On Posing for My Friends 105. Seasonal Joys 106. The Value of Disagreement 107. The Pleasures of Living 108. Garden Friends 109. Animal Facial Expressions 110. Automobile Society

111. On Outgrowing One's Family 112. The Abuse of the Imagination 113. Humorous Blunders 114. Getters and Receivers 115. On Praying in Public 116. Pleasures of Memory 117. My Selves 118. A Plea for Ghosts 119. On Keeping a Secret 120. Color Antipathies

121. The Art of Eating Spaghetti 122. Pins or Angels? 123. On Going to Sleep 124. Human Blindness 125. Dream Adventures 126. Behind the Teeth 127. On Riding Pegasus with Spurs 128. Butterfly Fancies 129. "Present" 130. The Glamour of the Past

131. Chameleons 132. On Being Good Company for Oneself 133. Face Value 134. The Monotony of Being Good 135. Safety Valves in Student Life 136. On Being Mentally Alert 137. Company Manners 138. Nature's Spring Song 139. Mountains and Molehills 140. Old-fashioned Remedies

141. On Wearing Overshoes 142. The Influence of Proximity 143. Bristles 144. Working Over-Time 145. On Nursing a Grievance 146. Family Expectations 147. Mental Perspective 148. Subway Scenery 149. The Futility of the Practical 150. On Making Up One's Mind

151. The Responsibility of a "Perfect" Baby 152. Domineering Ideals 153. On Living in the Present (Future) 154. Social Misfits 155. Interesting By-Paths 156. Temporal Halos 157. Face Forward! 158. Mental Vagrancy 159. On Hugging a Conclusion 160. An Apology for Polite Lying

161. Preparedness 162. Gasoline and Onions 163. On Stepping Aside 164. Voices 165. Late Arrivals 166. "Next!" 167. Mental Detours 168. Watch Your Step! 169. On Telling Jokes 170. Epitaph Humor

171. The Winged Circle 172. Spring Styles in Freshmen 173. American Aggressiveness 174. Nature's Languages 175. Earthbound 176. On Advising the Almighty 177. Mental Lapses 178. Fashion Bondage 179. Haunted Libraries 180. The Humor of Cartoons

181. Wasting Time 182. On Growing Up 183. Beyond My Horizon 184. Mental Shock-Absorbers 185. After He Was Dead 186. Successful Failures 187. The Dilettante 188. Humorous Dyspepsia 189. On Becoming One's Own Financier 190. Conservation of Social Resources

191. Perfume and the Lady 192. On Being Eye-Minded 193. The Satisfaction of Being Well-Dressed 194. Earth Odors 195. The Life Urge in Nature 196. The Shrinking Earth 197. College Ethics 198. The Triumph of the Machine 199. Human Gadflies 200. The Failure of Success

201. Social Eclipses 202. Adventures While Pursuing an Idea 203. Our Ragtime Age 204. On Boasting of Weakness 205. Discords 206. Suspended Judgments 207. Second Thoughts 208. On Keeping Step 209. Understudies 210. The Vogue of Boredom

211. Smoke Wreaths 212. Traveling and Arriving 213. Echoes 214. Screens, Past and Present 215. Illusions We Live By 216. On Losing One's Grip 217. Poppies 218. Anvil Choruses 219. Interesting Pathetic Fallacies 220. Evidences of Humor and Joy in Animals

221. On Card-Indexing One's Friends 222. Gigglers and Growlers 223. Too Much Momentum 224. Mental Indigestion 225. Diddling 226. Female Orators 227. Laughter as a Social Asset 228. Personal Reactions 229. Grooves and Graves 230. On Taking Thought for the World

231. Blind Optimism 232. Church Theatricals 233. The Skimmed Milk of Human Kindness 234. On Asking Why 235. Canine Expressions 236. On Seeing One's Name in Print 237. Backyard Gardens 238. Curiosity in Chickens 239. The Passing of Modesty 240. On Going to War

241. Telephone Manners 242. Nodding 243. Social Protective Coloring 244. On Arising to the Occasion 245. Human Registers 246. The Responsibility of Being Sane 247. Acid Tests 248. The Pleasures of Eating 249. On Losing One's Freckles 250. Mental Precipitates

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Extended Essay: Formal vs. Informal Writing

Extended Essay- The Basics
Step 1. Choose a Subject
Step 2. Educate yourself!
Using Brainstorming and Mind Maps
Identify Keywords
Do Background Reading
Define Your Topic
Conduct Research in a Specific Discipline
Step 5. Draft a Research Question
Step 6. Create a Timeline
Find Articles
Find Primary Sources
Get Help from Experts
Search Engines, Repositories, & Directories
Databases and Websites by Subject Area
Create an Annotated Bibliography
Advice (and Warnings) from the IB
Chicago Citation Syle
MLA Works Cited & In-Text Citations
Step 9. Set Deadlines for Yourself
Step 10. Plan a structure for your essay
Evaluate & Select: the CRAAP Test
Conducting Secondary Research
Conducting Primary Research
Formal vs. Informal Writing
Presentation Requirements
Evaluating Your Work

Differences Between Informal and Formal Essays

When writing your extended essay you should use language that is formal and academic in tone. The chart below gives you some idea of the differences between informal and formal essays. See the box below for examples of the differences in tone in informal and formal essays written on identical topics. A PDF of this chart, and the examples below, is in the box to the right , along with a list of tips for avoiding colloquial writing.

Examples of Informal and Formal Tone in Essay Writing

The following examples highlight the differences between formal and informal tone.

Language B - English

Formal vs. Informal Writing A chart giving the differences between informal and formal essays in seven areas (author's viewpoint; subject/content (sources of evidence); tone; structure; location of the research question; vocabulary; and purpose. Also included are examples comparing informal and formal writing for essays in English, biology, and psychology.
How to Avoid Colloquial (Informal) Writing While it may be acceptable in friendly e-mails and chat rooms, excessive colloquialism is a major pitfall that lowers the quality of formal written text. Here are some steps/tips that you can follow to help improve your overall writing.
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On the Familiar Essay

Challenging Academic Orthodoxies

© 2009
G. Douglas Atkins

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Hamsun, Knut: Essays zur Literatur

Tournier, michel: le vent paraclet.

Essays zur französischen Literatur

Close reading
participation

Table of contents (10 chapters)

Front matter, the observing self, or writing upon something: the character, art, and distinctiveness of the familiar essay, on time, the familiar, and the essay, envisioning the stranger’s heart, e.b. white and the poetics of participation, “the way life should be,” or the maine-ing of existence: e.b. white as familiar essayist, the limits of the familiar: e.b. white and t.s. eliot, toward a familiar literary criticism, of swords, ploughshares, and pens: the return of/to civility, against winning, and the art of peace, the essay in the academy: between “literature” and “creative writing”, essaying to be: higher education, the vocation of teaching, and the making of persons, back matter.

"In this timely revalorization of the form, Atkins shows the unexpected depths of the familiar essay. Far from being the lightweight pieces dismissed by their detractors as trivial, he shows how, at their best, such essays are exquisitely crafted intersections of time and timelessness. Their indirectness, individuality and warmth suggest a way of knowing that at once challenges and complements the clinical prose of conventional academic articles. Essayists, says Atkins, are endeavoring to write personally and artfully about the familiar and through it to approach the universal. His study calls for a meticulous reading of their work in order, ultimately, for the reader to learn from it how to make the most of the short time we have on earth." Quoting extensively from acknowledged masters of this neglected mode of writing, Atkins provocatively questions the adequacy of established educational procedures and champions a pedagogy informed by essayistic ideals." - Chris Arthur, author of Irish Nocturnes, Irish Willow, Irish Haiku and Irish Elegies

"In these pages, Atkins richly models the exploratory, revelatory pursuit that he calls the familiar essay. The essays he celebrates range outward from personal experience to impersonal, even cosmic concerns. They marry literature and philosophy, wisdom and wit. Through illuminating readings of figures as diverse as E. B. White and T. S. Eliot, Atkins confirms his position as the leading interpreter of this various and vitalmode of art." - Scott Russell Sanders, author of A Private History of Awe

"In these deeply felt and elegantly expressed thoughts about the essay, Atkins offers a moving account of the hard work of self examination in a difficult world. His book is also both an apologia for and a gentle critique of Atkins s own vocation to an academic life. But unlike Marxist or disciplinary commentaries on the profession, this essay invokes the much rarer language of spirituality - of value - to engage, disturb, and inspire its readers." - Patricia Harkin, Professor, English and Communication Studies, University of Illinois at Chicago

About the author

Bibliographic information.

Book Title : On the Familiar Essay

Book Subtitle : Challenging Academic Orthodoxies

Authors : G. Douglas Atkins

DOI : https://doi.org/10.1057/9780230101241

Publisher : Palgrave Macmillan New York

eBook Packages : Palgrave Literature & Performing Arts Collection , Literature, Cultural and Media Studies (R0)

Hardcover ISBN : 978-0-230-62000-1 Published: 18 November 2009

Softcover ISBN : 978-1-349-38259-0 Published: 18 November 2009

eBook ISBN : 978-0-230-10124-1 Published: 26 October 2009

Edition Number : 1

Number of Pages : XIV, 204

Topics : Literary Theory , Social Sciences, general

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Familiar Essay Writing: 10 Tips That Will Make Your Work Easier

How to structure it?
What should you write about?
What writing style should you settle on?

If you have to write a familiar essay, and these or other questions are whirling around in your brain, you have come to the right place. Yes, in this article, you will find all the tips to write a high-quality familiar essay on any topic.

Table of Contents

1. Get a Familiar Essay Example to Get You Started

A familiar essay is a very peculiar genre of the creative writing with some characteristics that are not shared by any other essay type. To simplify a bit, it is a short-form nonfiction text primarily characterized by a strong personal touch, a voice of the author’s persona. Normally, no matter what you write about – be it a book you’ve read, the current state of education industry or environmental protection, you are expected to be fully objective and avoid emotionally colored words (and anything else showing your subjectivity). In an informal essay, you don’t have these limitations – if you need to be emotional to demonstrate your unique take on the problem, so be it. In fact, the more personal your style is, the better it is for you – you can be as witty, funny, and quirky as you like.

To better understand what is expected of you, it would be a good idea to read a few examples of familiar essays. This can be quite informative and will give you the better understanding of how you can go about developing your own writing style – the most important prerequisite of a quality familiar essay. Be careful about the place where you get your writing sample – you cannot just visit any online writing service and say “ Write my familiar essay ” – specialists in this kind of work are relatively rare and are not easy to come by.

2. Look at Familiar Essay Topics That Are Acceptable

Another feature of writing familiar essays is the kind of topics that are covered in them. They should not require any professional or specialized knowledge and have universal human appeal – in other words, they should be understandable and relatable for anybody who would read them simply because they are just as human as the essay’s author. Such topics, for example, include:

Books Getting Replaced with Digital Sources of Information and What It Means for Every One of Us;
Community-Conscious Business: Is It Possible in Current Economic Climate?
Is Writing a Doctoral or MBA Dissertation to Obtain a PhD Degree Worth the Trouble One Has to Go for Its Sake?
Does History Repeat Itself and Is It a Good Enough Reason to Study It?
War on Drugs and Its Connection to Teenage Crime Rates;
Security Concerns vs. the Rights of Individuals in the UK;
The Most Important Traits Associated with True Leadership.

As you can see, familiar essays can be written about virtually anything – you simply have to avoid topics that require specialized technical knowledge. When choosing what to write about, ask yourself: can it be understood by a person who does not study this subject but has background knowledge of an intelligent, generally well-educated amateur?

3. Use a Proper Familiar Essay Structure

The hook – the first sentence or two, aimed at grabbing the reader’s attention and smoothly transferring it to the rest of the paper. It plays a special role in a familiar essay because of its high degree of informality – meaning that you have much more freedom of expression than usual. Let your wit roam free and don’t worry about going out of line – it is a part of the course when it comes to informal essays;
The thesis statement. Nothing special about this – it is no different from what it is in any other type of essay, i.e., an explanatory sentence containing the gist of your entire paper in a definite and clear form.

The introduction is followed by body paragraphs and, again, you are free to organize them in any way you like. It is, however, a good idea to follow the usual rules: don’t exceed a limit of one point per paragraph, have logical connections between paragraphs, support your words with viable evidence. However, the familiar essay is a definition of a freeform assignment, so don’t be afraid to make experiments. Introduce a list or two, use narrative elements – in other words, do everything you need to get your point across, without being restricted by any particular format.

4. Talk to Your Reader While Writing a Familiar Essay

A familiar essay, the way it evolved in English literature, is a very personal experience, not just a piece of writing but an informal chat between two people: the writer and the reader. By a reader, we mean not just the grader responsible for reading and evaluating your work, but anybody whom this text will come to hand. So, be personal, address directly to the individual reading your paper, be friendly and don’t try to show yourself as superior to your audience. Demonstrate that your essay is a labour of love, not of pride. Usually familiar essays are written in a way that presupposes the audience of a single reader, which further emphasizes the personal nature of this genre.

5. Use the Simple Language, but Don’t Oversimplify

Your writing should be closer to the everyday speech than in the formal types of essays. But don’t treat this genre’s informality as an excuse to use slang, jargon or rude language. If it is of any help, imagine yourself writing a letter to a good yet somewhat distant friend. Think of how you would report about the latest happenings in your life in such a situation. Then, start writing.

6. Try Freewriting as a Good Method of Preparation

Although familiar essay writing is personal and informal in nature, it doesn’t mean that you should approach working on it haphazardly. Just like with any other kind of writing, it is extremely important to gather your thoughts before you start typing. However, in this case, you may give yourself a certain amount of freedom and start not with a rigid academic plan that looks almost like a thesis proposal, but with freewriting on the general topic you are dealing with.

7. Prepare an Essay Outline

It is especially important if you have to do some research being not very familiar with the essay topic. Having a clear-cut outline before you start working on an essay prevents you from rambling and omitting important points you have intended to mention. Some students resent the idea of writing an informal essay from an outline, but in fact, this stage is even more important in this type of writing than it is for other, more formal essays. The fact is that people are much more prone to steering off the course when they write about something personal in nature. Having a definite plan will help you keep your thoughts collected and cover everything you want but no more. Try it, it will save you a lot of time.

8. Try Finishing Your Work in One Session

9. Use of Some References in Your Familiar Essays

Most familiar essays do without any references at all – they are personal discussions on specific topics, not research assignments. However, you may have been given a task to introduce a certain amount of references in your assignment. Or you can make your own decision to discuss a famous author, and in this case, it will be impossible to avoid using quotations.

10. Don’t Forget to Revise and Proofread

Just like with any other type of academic writing, revising and proofreading are extremely important when it comes to familiar essays. However, in addition to the usual things – checking up on formatting, spelling, grammar, and syntax – here you should pay special attention to the tone of your writing.

It shouldn’t be overly dry and academic. Think of the way you would talk about a good acquaintance of yours – eliminate overly complex words and structures, divide longer sentences into shorter ones and so on;
It should be consistent. If you begin writing in a light-hearted tone, keep it this way throughout the whole essay – that is, unless you have a very good reason to change the way you speak and a way to demonstrate that you do it intentionally and not as a slip.
Give your essay the right emotional vibe. Use informal, sometimes emotional language – the way you would discuss the topic with a living human being, not an abstract audience. At the same time, make sure you are respectful both towards your reader and viewpoints you discuss.

If possible, get an external proofreader – somebody you can trust, somebody who is interested in your success. Ask him/her to give you some feedback on the following aspects of your writing:

Logic. Are all points connected to each other in a logical and consistent manner?
Style. Is your style consistent throughout the essay? Are there any words or expressions that seem to be out of place?
Grammar and syntax. Are there any glaring mistakes you’ve missed during your revision?

Familiar essays are rarely written by college students these days and are considered to be a difficult task. That’s why if you experience difficulties, there is nothing unusual about it – but we hope that these tips will get you through!

Too busy to write your paper by yourself?

Definition and Recommendations on Writing a Familiar Essay

The familiar essay is mostly given as home task in primary and secondary school curricula. This type of essay is indeed difficult to write. If you have to deal with a familiar essay, writing a personal reflection on a certain topic will be your main task. Another difficulty in the way of writing this essay is the following: you can easily fall into confusion, because the familiar essay in pretty similar to the personal essay. The observations are unique to the author and research is not required. This challenging assignment is often unfamiliar to the pupils. It is considered as a pretty hard and challenging writing because you have to focus on your own reflection and exploration of a topic. There is no way in which you can rely on facts and other investigators in this field. Don’t worry though, you can write it with our help. Say to yourself: «I can write my essay nicely and fast! »

Here are some pieces of advice that will make your essay look more elevated:

When writing your essay, imagine that your audience consists of only one person. Your reader is enthusiastic about hearing your opinion on the topic. In this type of essay, there is no need for adding different explanations in order to prove your point of view. You only need to interact with one imaginary reader. You can even try to use personal pronouns.
Organize your ideas before writing by making a plan. Familiar or not, it is still a piece of writing that has to be well-structured.
Do not underestimate an outline. it is an important part of essay writing. Make sure to follow it during the writing process. The problem is that students often go off the track and forget about the initial topics they tried to address. That is why it will be good to write your familiar essay in one sitting.
In familiar essays, teachers will ask you not to use any references or sources. However, you can rely on one quote to prove your point.

10 tips for your familiar essay

We can assure you – the progress will be visible with these tips! Use them to create a nice familiar essay, better than your classmate’s.

– Read the examples of another familiar essay to understand the process. A familiar essay is a pretty peculiar genre of creative writing. Hence, some characteristics might be different than in any other essay type. It would be a good idea to read the few examples of familiar essays to better understand what is expected of you.

– The topic is very important. Topics should not require any professional or specialized knowledge. Try to make them understandable and relatable. Familiar essays can be written about anything – you just have to avoid the issues that require specialized technical knowledge. Make your essay familiar.

– You should use a proper familiar essay structure. Familiar essay is not extremely different from any other type of paper. Usually, an introduction comes first. It consists of the so-called hook (the first sentence or two, aimed at grabbing the reader’s attention) and the thesis statement.

– Remember to talk to your reader while writing a familiar essay. You can use simple language, but remember not to oversimplify. Slang, jargon or rude language will not be acceptable.

– Freewriting can help you, as it is a good method of preparation. Simply sit down, take a sheet of paper and write everything that comes to your head. Free your mind. Don’t worry if the quality of writing is low, you can later improve it.

– Essay outline preparation. If you have to do some research and aren’t very familiar with the essay topic – do the outline. Having a clear-cut prevents you from rambling and omitting important points you need to mention.

– References in your familiar essay. It is a good idea to add them. It will not be a mistake to show your own decision in order to discuss a famous author, and in this case, it will be impossible not to use some quotations.

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The familiar essay: a delight in the hands of Anne Fadiman

Head and heart join together beautifully in 'At Large and At Small.'

By Heller McAlpin

July 3, 2007

Would someone please hire Anne Fadiman to edit another magazine so she'll keep writing essays?

As editor at large of Civilization magazine, Fadiman produced the wonderful pieces, mainly about books, collected in 1998 in "Ex Libris," a volume I've probably bought for more people than any other in my life.

She wrote 11 of the 12 essays in At Large and At Small for The American Scholar, which she edited from 1997 to 2004. Their publication in book form is cause for rejoicing.

But it's also a cause for concern, since the flow of essays stopped when (in a move that demonstrates that good grades do not always equal great smarts), the Phi Beta Kappa Society, publisher of The American Scholar, let her go.

Fadiman, a self-proclaimed "enthusiastic amateur, not a scholar," writes so knowledgeably and charmingly about her passions – which include Arctic explorer Vilhjalmur Stefansson, circadian biorhythms and disruption of same by coffee, and "the compulsion to order experience" – manifested in her youthful butterfly collecting – that her readers become passionate about her.

Originally published under the apt pseudonym Philonoë – "lover of intellect" – these essays will be familiar to readers of The American Scholar, though that is not what Fadiman means by "familiar essays." The familiar essay is a genre that reached its heyday in the early 19th century with one of her great crushes, Charles Lamb. His legacy, she laments in "The Unfuzzy Lamb," is kept alive mainly by university English departments, "the ICUs of literature."

Fadiman explains her devotion to the familiar form in the book's lovely Preface: "Today's readers encounter plenty of critical essays (more brain than heart) and plenty of personal – very personal – essays (more heart than brain), but not many familiar essays (equal measures of both)."

A typical Fadiman essay begins with an engaging personal anecdote before branching out into the history of the subject in question. As her extensive bibliography indicates, research aplenty goes into each piece. But it's all so delightful, it's like eating a meal that is both good for you and delicious.

"Mail," for example, opens with a portrait of her father, writer Clifton Fadiman, waiting for his day to really start with the arrival of the daily post. From there, she examines British postal history, noting that mail was delivered 10-12 times a day in pretelephonic 17th-century central London. She recounts her own struggles with e-mail and concludes that we get the level of service we need.

"A Piece of Cotton" is a sensitive meditation on the American flag and Fadiman's newfound respect for it after 9/11. Before tracing its Latin roots to vexillum, she explains that the old farmhouse she and her husband bought the summer before 9/11 came with an American flag.

"On September 13, two days after the attacks, we raised it, with our children's help, to half staff." Being a Fadiman, she adds, "We'd read up on half-masting protocol, which dictates raising the flag briskly to the peak and then slowly bringing it halfway down."

Another classic Fadiman line, in her essay on ice cream, again folds in information as deliciously as blend-ins: "I recently calculated (assuming an average consumption of one pint of ice cream per week, at 1,000 calories per pint, and the American Medical Association's reckoning of 3,500 calories per pound of stored body fat) that had I eaten no ice cream since the age of 18, I would currently weigh –416 pounds."

Then she adds the clincher: "I might be lighter than air, but I would be miserable."

A confessed "loquacious workaholic" and lover of sesquipedalians – long words – Fadiman shares her prodigious vocabulary with her readers, always carefully defining her more abstruse mots justes (such as polysemous, defined as "having multiple meanings") for the less lexicographically lubricated among us.

She also confesses that "in the spirit of participatory journalism," several essays were "written under the influence," though not of alcohol, since she long ago decided she preferred caffeine.

She notes, "I ingested a shocking amount of Häagen-Dazs while I wrote about ice cream. I sustained a terrific caffeine buzz while I wrote about coffee. I wrote every word of the night-owl essay between midnight and dawn."

Would that every writer were so thorough – and half as entertaining.

• Heller McAlpin is a freelance writer in New York .

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Literature & Fiction
Essays & Correspondence

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At Large and At Small: Familiar Essays Hardcover – June 12, 2007

Print length 240 pages
Language English
Publisher Farrar, Straus and Giroux
Publication date June 12, 2007
Dimensions 5.25 x 0.75 x 7.75 inches
ISBN-10 0374106622
ISBN-13 978-0374106621
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Publisher ‏ : ‎ Farrar, Straus and Giroux; First Edition (June 12, 2007)
Language ‏ : ‎ English
Hardcover ‏ : ‎ 240 pages
ISBN-10 ‏ : ‎ 0374106622
ISBN-13 ‏ : ‎ 978-0374106621
Item Weight ‏ : ‎ 11.5 ounces
Dimensions ‏ : ‎ 5.25 x 0.75 x 7.75 inches
#1,675 in Essays (Books)
#25,876 in Literary Fiction (Books)

About the author

Anne fadiman.

Anne Fadiman is the Francis Writer-in-Residence at Yale. Her most recent book is "The Wine Lover's Daughter," a memoir about her father that the Washington Post called "wonderfully engaging" and Christopher Buckley called "the best family memoir yet to come out of the Baby Boom generation.” Her first book, "The Spirit Catches You and You Fall Down," is an account of the unbridgeable gulf between a family of Hmong refugees and their American doctors. It won the National Book Critics Circle Award for Nonfiction, among other awards. Fadiman is also the author of two essay collections. The London Observer called "Ex Libris" "witty, enchanting, and supremely well-written." NPR said of "At Large and At Small," "Fadiman is utterly delightful, witty and curious, and she's such a stellar writer that if she wrote about pencil shavings, you'd read it aloud to all your friends."

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Why Are Divorce Memoirs Still Stuck in the 1960s?

Recent best sellers have reached for a familiar feminist credo, one that renounces domestic life for career success.

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An illustration of a laptop computer dropping inside a stew pot, along with a tomato, an apron, a spoon and a spice shaker.

By Sarah Menkedick

Sarah Menkedick’s most recent book is “Ordinary Insanity: Fear and the Silent Crisis of Motherhood in America.”

“The only way for a woman, as for a man, to find herself, to know herself as a person, is by creative work of her own,” Betty Friedan wrote in “ The Feminine Mystique ,” in 1963. Taking a new role as a productive worker is “the way out of the trap,” she added. “There is no other way.”

On the final page of “ This American Ex-Wife ,” her 2024 memoir and study of divorce, Lyz Lenz writes: “I wanted to remove myself from the martyr’s pyre and instead sacrifice the roles I had been assigned at birth: mother, wife, daughter. I wanted to see what else I could be.”

More than 60 years after Friedan’s landmark text, there remains only one way for women to gain freedom and selfhood: rejecting the traditionally female realm, and achieving career and creative success.

Friedan’s once-provocative declaration resounds again in a popular subgenre of autobiography loosely referred to as the divorce memoir, several of which have hit best-seller lists in the past year or two. These writers’ candid, raw and moving exposés of their divorces are framed as a new frontier of women’s liberation, even as they reach for a familiar white feminist ideology that has prevailed since “The Problem That Has No Name,” through “Eat, Pray, Love” and “I’m With Her” and “Lean In”: a version of second-wave feminism that remains tightly shackled to American capitalism and its values.

Lenz, for example, spends much of her book detailing her struggle to “get free,” but never feels she needs to define freedom. It is taken as a given that freedom still means the law firm partner in heels, the self-made woman with an independent business, the best-selling author on book tour — the woman who has shed any residue of the domestic and has finally come to shine with capitalist achievement.

It is not the freedom for a woman to stay home with her child for a year, or five. The freedom to stop working after a lifetime toiling in low-wage jobs. The freedom for a Filipina nanny to watch her own children instead of those of her “liberated” American boss. The freedom to start a farm or a homestead or engage in the kind of unpaid work ignored by an economy that still values above all else the white-collar professional labor long dominated by men — and in fact mostly fails to recognize other labor as valuable at all.

One of the paradoxes the divorce memoir highlights is that women’s work is made invisible by a society that disparages it, and the only way it becomes visible is through the triumphant narrative of a woman’s escape from it — which only reinforces its undesirability and invisibility.

In Maggie Smith’s 2023 memoir “ You Could Make This Place Beautiful ,” Smith details the critical inflection point when her poem “ Good Bones ” goes viral, her career takes off and her marriage begins to implode. She tells a reporter from The Columbus Dispatch: “I feel like I go into a phone booth and I turn into a poet sometimes. Most of the other time, I’m just Maggie who pushes the stroller.”

Nothing threatening, nothing meaningful. Just a mom pushing the stroller in the meager labor of women — until she slips into the phone booth and transforms into an achieving superhero.

This is not to diminish Smith’s work, a unique and highly refined series of linked essays that build into an emotional symphony about marital breakdown. Her intention is not, like Lenz’s, to condemn the institution of marriage or to rejoice in her release from hers, which is complicated, excruciating and tender. Her depictions of divorce clearly resonate with readers and offer solace and insight into a common experience of heartbreak. But it’s worth asking what exactly is being celebrated in the huge cultural reception her memoir, and other popular divorce memoirs, have received.

Leslie Jamison’s book “ Splinters ,” published the same day as “This American Ex-Wife,” is an exquisite, textured and precise articulation of the collapse of her marriage, all nuance and interiority where Lenz’s writing is blunt and political. But here, too, we get a female narrator for whom freedom and acceptance ultimately signify professional success. Jamison is much more vexed about this formula, but in the end she settles for lightly querying rather than assailing it. She jokes about how her editor is stressed about book sales while she’s stressed about her baby sleeping on airplanes, and mocks this as a “humblebrag”: “ I don’t care about ambition! I only care about baby carriers! ” She rushes to clarify in the next sentence, “Of course I cared about book sales, too.”

Herein lies the ultimate paradigm, the space no woman wants to explore: What if the modern woman didn’t actually care about book sales? About making partner? About building a successful brand? That would be unthinkable. Embarrassing. Mealy, mushy, female.

But later in “Splinters,” Jamison skewers the cult of male, capitalist achievement: “My notion of divinity was gradually turning its gaze away from the appraising, tally-keeping, pseudo-father in the sky who would give me enough gold stars if I did enough good things, and toward the mother who’d been here all along,” she writes. I felt an electric optimism reading this. If feminism wants to tackle patriarchy, it needs to start with that pseudo-father and his metrics of a person’s worth.

Jamison struggles toward this in “Splinters.” She wants so badly to be remarkable. To banter about the Russian G.D.P. while she spoon-feeds her toddler, or to impress arrogant lovers who critique her conversation as only “85 percent as good as it could be.” At the same time, she yearns “to experience the sort of love that could liberate everyone involved from their hamster wheels of self-performance,” a love that will “involve all your tedious moments.”

Yes , I found myself saying, I want to read about this love . A mother love that is radical, creative, affirming, even and especially in its difficulty and tedium. Jamison almost gets there, but returns ultimately to the affirmation that it’s OK to want more: “quiet mornings at my laptop, tap-tap-tapping at my keyboard.”

It is certainly OK, and natural, to want more. But what I find most exhilarating in this beautiful book is the possibility that it’s also OK to let go of wanting. It’s OK to not write a best seller, to not hold a prestigious title, to not start your own brand. It’s OK, even, to not try to find yourself, that most American of quests.

Divorce, sure. Ditch the toxic men, strike out on your own. But there’s nothing new or radical there. The radical is in a feminism that examines care as profound, powerful work and centers rather than marginalizes mothering, as both a lived act and a metaphor. We must let go of this half-century-old notion that the self can be “found” only after the roles of “mother, wife, daughter” have been rejected.

With friends, Jamison recounts lively anecdotes from a trip to Oslo with her daughter in order to prove that her life had not “‘gotten small,’ a phrase I put in quotes in my mind, though I did not know whom I was quoting.” Yet in this phrase lies another way of living: letting things get small, in a world that sees and celebrates mostly superlatives, and getting down to the level of the local, the intimate, the granular, the home.

Explore More in Books

Want to know about the best books to read and the latest news start here..

John S. Jacobs was a fugitive, an abolitionist — and the brother of the canonical author Harriet Jacobs. Now, his own fierce autobiography has re-emerged .

Don DeLillo’s fascination with terrorism, cults and mass culture’s weirder turns has given his work a prophetic air. Here are his essential books .

Jenny Erpenbeck’s “ Kairos ,” a novel about a torrid love affair in the final years of East Germany, won the International Booker Prize , the renowned award for fiction translated into English.

Kevin Kwan, the author of “Crazy Rich Asians,” left Singapore’s opulent, status-obsessed, upper crust when he was 11. He’s still writing about it .

Each week, top authors and critics join the Book Review’s podcast to talk about the latest news in the literary world. Listen here .

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12.4: Writing About Fiction and Creative Nonfiction

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Heather Ringo & Athena Kashyap
City College of San Francisco via ASCCC Open Educational Resources Initiative

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Writing an analysis of a piece of fiction can be a mystifying process. First, literary analyses (or papers that offer an interpretation of a story) rely on the assumption that stories must mean something. How does a story mean something? Isn't a story just an arrangement of characters and events? And if the author wanted to convey a meaning, wouldn't he or she be much better off writing an essay just telling us what he or she meant?

It's pretty easy to see how at least some stories convey clear meanings or morals. Just think about a parable like the prodigal son or a nursery tale about "crying wolf." Stories like these are reduced down to the bare elements, giving us just enough detail to lead us to their main points, and because they are relatively easy to understand and tend to stick in our memories, they're often used in some kinds of education.

But if the meanings were always as clear as they are in parables, who would really need to write a paper analyzing them? Interpretations of fiction would not be interesting if the meanings of the stories were clear to everyone who reads them. Thankfully (or perhaps regrettably, depending on your perspective) the stories we're asked to interpret in our classes are a good bit more complicated than most parables. They use characters, settings, and actions to illustrate issues that have no easy resolution. They show different sides of a problem, and they can raise new questions. In short, the stories we read in class have meanings that are arguable and complicated, and it's our job to sort them out.

It might seem that the stories do have specific meanings, and the instructor has already decided what those meanings are. Not true. Instructors can be pretty dazzling (or mystifying) with their interpretations, but that's because they have a lot of practice with stories and have developed a sense of the kinds of things to look for. Even so, the most well-informed professor rarely arrives at conclusions that someone else wouldn't disagree with. In fact, most professors are aware that their interpretations are debatable and actually love a good argument. But let's not go to the other extreme. To say that there is no one answer is not to say that anything we decide to say about a novel or short story is valid, interesting, or valuable. Interpretations of fiction are often opinions, but not all opinions are equal.

So what makes a valid and interesting opinion? A good interpretation of fiction will:

avoid the obvious (in other words, it won't argue a conclusion that most readers could reach on their own from a general knowledge of the story)
support its main points with strong evidence from the story
use careful reasoning to explain how that evidence relates to the main points of the interpretation.

The following steps are intended as a guide through the difficult process of writing an interpretive paper that meets these criteria. Writing tends to be a highly individual task, so adapt these suggestions to fit your own habits and inclinations.

Writing an Essay on Fiction in 9 Steps

1. become familiar with the text.

There's no substitute for a good general knowledge of your story. A good paper inevitably begins with the writer having a solid understanding of the work that they interpret. Being able to have the whole book, short story, or play in your head—at least in a general way—when you begin thinking through ideas will be a great help and will actually allow you to write the paper more quickly in the long run. It's even a good idea to spend some time just thinking about the story. Flip back through the book and consider what interests you about this piece of writing—what seemed strange, new, or important?

2. Explore potential topics

Perhaps your instructor has given you a list of topics to choose, or perhaps you have been asked to create your own. Either way, you'll need to generate ideas to use in the paper—even with an assigned topic, you'll have to develop your own interpretation. Let's assume for now that you are choosing your own topic.

After reading your story, a topic may just jump out at you, or you may have recognized a pattern or identified a problem that you'd like to think about in more detail. What is a pattern or a problem?

A pattern can be the recurrence of certain kinds of imagery or events. Usually, repetition of particular aspects of a story (similar events in the plot, similar descriptions, even repetition of particular words) tends to render those elements more conspicuous. Let's say I'm writing a paper on Mary Shelley's novel Frankenstein . In the course of reading that book, I keep noticing the author's use of biblical imagery: Victor Frankenstein anticipates that "a new species would bless me as its creator and source" (52) while the monster is not sure whether to consider himself as an Adam or a Satan. These details might help me interpret the way characters think about themselves and about each other, as well as allow me to infer what the author might have wanted her reader to think by using the Bible as a frame of reference. On another subject, I also notice that the book repeatedly refers to types of education. The story mentions books that its characters read and the different contexts in which learning takes place.

A problem, on the other hand, is something in the story that bugs you or that doesn't seem to add up. A character might act in some way that's unaccountable, a narrator may leave out what we think is important information (or may focus on something that seems trivial), or a narrator or character may offer an explanation that doesn't seem to make sense to us. Not all problems lead in interesting directions, but some definitely do and even seem to be important parts of the story. In Frankenstein , Victor works day and night to achieve his goal of bringing life to the dead, but once he realizes his goal, he is immediately repulsed by his creation and runs away. Why? Is there something wrong with his creation, something wrong with his goal in the first place, or something wrong with Victor himself? The book doesn't give us a clear answer but seems to invite us to interpret this problem.

If nothing immediately strikes you as interesting or no patterns or problems jump out at you, don't worry. Just start making a list of whatever you remember from your reading, regardless of how insignificant it may seem to you now. Consider a character's peculiar behavior or comments, the unusual way the narrator describes an event, or the author's placement of an action in an odd context. (Step 5 will cover some further elements of fiction that you might find useful at this stage as well.)

There's a good chance that some of these intriguing moments and oddities will relate to other points in the story, eventually revealing some kind of pattern and giving you potential topics for your paper. Also keep in mind that if you found something peculiar in the story you're writing about, chances are good that other people will have been perplexed by these moments in the story as well and will be interested to see how you make sense of it all. It's even a good idea to test your ideas out on a friend, a classmate, or an instructor since talking about your ideas will help you develop them and push them beyond obvious interpretations of the story. And it's only by pushing those ideas that you can write a paper that raises interesting issues or problems and that offers creative interpretations related to those issues.

3. Select a topic with a lot of evidence

If you're selecting from a number of possible topics, narrow down your list by identifying how much evidence or how many specific details you could use to investigate each potential issue. Do this step just off the top of your head. Keep in mind that persuasive papers rely on ample evidence and that having a lot of details to choose from can also make your paper easier to write.

It might be helpful at this point to jot down all the events or elements of the story that have some bearing on the two or three topics that seem most promising. This can give you a more visual sense of how much evidence you will have to work with on each potential topic. It's during this activity that having a good knowledge of your story will come in handy and save you a lot of time. Don't launch into a topic without considering all the options first because you may end up with a topic that seemed promising initially but that only leads to a dead end.

4. Write out a working thesis

Based on the evidence that relates to your topic—and what you anticipate you might say about those pieces of evidence—come up with a working thesis. Don't spend a lot of time composing this statement at this stage since it will probably change (and a changing thesis statement is a good sign that you're starting to say more interesting and complex things on your subject). At this point in my Frankenstein project, I've become interested in ideas on education that seem to appear pretty regularly, and I have a general sense that aspects of Victor's education lead to tragedy. Without considering things too deeply, I'll just write something like, "Victor Frankenstein’s tragic ambition was fueled by a faulty education."

5. Make an extended list of evidence

Once you have a working topic in mind, skim back over the story and make a more comprehensive list of the details that relate to your point. For my paper about education in Frankenstein , I'll want to take notes on what Victor Frankenstein reads at home, where he goes to school and why, what he studies at school, what others think about those studies, etc. And even though I'm primarily interested in Victor's education, at this stage in the writing, I'm also interested in moments of education in the novel that don't directly involve this character. These other examples might provide a context or some useful contrasts that could illuminate my evidence relating to Victor. With this goal in mind, I'll also take notes on how the monster educates himself, what he reads, and what he learns from those he watches. As you make your notes keep track of page numbers so you can quickly find the passages in your book again and so you can easily document quoted passages when you write without having to fish back through the book.

At this point, you want to include anything, anything, that might be useful, and you also want to avoid the temptation to arrive at definite conclusions about your topic. Remember that one of the qualities that makes for a good interpretation is that it avoids the obvious. You want to develop complex ideas, and the best way to do that is to keep your ideas flexible until you’ve considered the evidence carefully. A good gauge of complexity is whether you feel you understand more about your topic than you did when you began (and even just reaching a higher state of confusion is a good indicator that you’re treating your topic in a complex way).

When you jot down ideas, you can focus on the observations from the narrator or things that certain characters say or do. These elements are certainly important. It might help you come up with more evidence if you also take into account some of the broader components that go into making fiction, things like plot, point of view, character, setting, and symbols.

Plot is the string of events that go into the narrative. Think of this as the "who did what to whom" part of the story. Plots can be significant in themselves since chances are pretty good that some action in the story will relate to your main idea. For my paper on education in Frankenstein , I'm interested in Victor's going to the University of Ingolstadt to realize his father's wish that Victor attend school where he could learn about a another culture. Plots can also allow you to make connections between the story you're interpreting and some other stories, and those connections might be useful in your interpretation. For example, the plot of Frankenstein , which involves a man who desires to bring life to the dead and creates a monster in the process, bears some similarity to the ancient Greek story of Icarus who flew too close to the sun on his wax wings. Both tell the story of a character who reaches too ambitiously after knowledge and suffers dire consequences.

Your plot could also have similarities to whole groups of other stories, all having conventional or easily recognizable plots. These types of stories are often called genres. Some popular genres include the gothic, the romance, the detective story, the bildungsroman (this is just a German term for a novel that is centered around the development of its main characters), and the novel of manners (a novel that focuses on the behavior and foibles of a particular class or social group). These categories are often helpful in characterizing a piece of writing, but this approach has its limitations. Many novels don't fit nicely into one genre, and others seem to borrow a bit from a variety of different categories. For example, given my working thesis on education, I am more interested in Victor's development than in relating Frankenstein to the gothic genre, so I might decide to treat the novel as a bildungsroman.

And just to complicate matters that much more, genre can sometimes take into account not only the type of plot but the form the novelist uses to convey that plot. A story might be told in a series of letters (this is called an epistolary form), in a sequence of journal entries, or in a combination of forms ( Frankenstein is actually told as a journal included within a letter).

These matters of form also introduce questions of point of view, that is, who is telling the story and what do they or don’t they know. Is the tale told by an omniscient or all-knowing narrator who doesn’t interact in the events, or is it presented by one of the characters within the story? Can the reader trust that person to give an objective account, or does that narrator color the story with his or her own biases and interests?

Character refers to the qualities assigned to the individual figures in the plot. Consider why the author assigns certain qualities to a character or characters and how any such qualities might relate to your topic. For example, a discussion of Victor Frankenstein’s education might take into account aspects of his character that appear to be developed (or underdeveloped) by the particular kind of education he undertakes. Victor tends to be ambitious, even compulsive about his studies, and I might be able to argue that his tendency to be extravagant leads him to devote his own education to writers who asserted grand, if questionable, conclusions.

Setting is the environment in which all of the actions take place. What is the time period, the location, the time of day, the season, the weather, the type of room or building? What is the general mood, and who is present? All of these elements can reflect on the story’s events, and though the setting of a story tends to be less conspicuous than plot and character, setting still colors everything that's said and done within its context. If Victor Frankenstein does all of his experiments in "a solitary chamber, or rather a cell, at the top of the house, and separated from all the other apartments by a staircase" (53) we might conclude that there is something anti-social, isolated, and stale, maybe even unnatural about his project and his way of learning.

Obviously, if you consider all of these elements, you'll probably have too much evidence to fit effectively into one paper. Your goal is merely to consider each of these aspects of fiction and include only those that are most relevant to your topic and most interesting to your reader. A good interpretive paper does not need to cover all elements of the story — plot, genre, narrative form, character, and setting. In fact, a paper that did try to say something about all of these elements would be unfocused. You might find that most of your topic could be supported by a consideration of character alone. That's fine. For my Frankenstein paper, I'm finding that my evidence largely has to do with the setting, evidence that could lead to some interesting conclusions that my reader probably hasn't recognized on his or her own.

6. Select your evidence

Once you've made your expanded list of evidence, decide which supporting details are the strongest. First, select the facts which bear the closest relation to your thesis statement. Second, choose the pieces of evidence you'll be able to say the most about. Readers tend to be more dazzled with your interpretations of evidence than with a lot of quotes from the book. It would be useful to refer to Victor Frankenstein's youthful reading in alchemy, but my reader will be more impressed by some analysis of how the writings of the alchemists—who pursued magical principles of chemistry and physics—reflect the ambition of his own goals. Select the details that will allow you to show off your own reasoning skills and allow you to help the reader see the story in a way he or she may not have seen it before.

7. Refine your thesis

Now it's time to go back to your working thesis and refine it so that it reflects your new understanding of your topic. This step and the previous step (selecting evidence) are actually best done at the same time, since selecting your evidence and defining the focus of your paper depend upon each other. Don't forget to consider the scope of your project: how long is the paper supposed to be, and what can you reasonably cover in a paper of that length? In rethinking the issue of education in Frankenstein , I realize that I can narrow my topic in a number of ways: I could focus on education and culture (Victor's education abroad), education in the sciences as opposed to the humanities (the monster reads Milton, Goethe, and Plutarch), or differences in learning environments (e.g. independent study, university study, family reading). Since I think I found some interesting evidence in the settings that I can interpret in a way that will get my reader's attention, I'll take this last option and refine my working thesis about Victor's faulty education to something like this: "Victor Frankenstein’s education in unnaturally isolated environments fosters his tragic ambition."

8. Organize your evidence

Once you have a clear thesis you can go back to your list of selected evidence and group all the similar details together. The ideas that tie these clusters of evidence together can then become the claims that you'll make in your paper. As you begin thinking about what claims you can make (i.e. what kinds of conclusion you can come to) keep in mind that they should not only relate to all the evidence but also clearly support your thesis. Once you're satisfied with the way you've grouped your evidence and with the way that your claims relate to your thesis, you can begin to consider the most logical way to organize each of those claims. To support my thesis about Frankenstein , I've decided to group my evidence chronologically. I'll start with Victor's education at home, then discuss his learning at the University, and finally address his own experiments. This arrangement will let me show that Victor was always prone to isolation in his education and that this tendency gets stronger as he becomes more ambitious.

There are certainly other organizational options that might work better depending on the type of points I want to stress. I could organize a discussion of education by the various forms of education found in the novel (for example, education through reading, through classrooms, and through observation), by specific characters (education for Victor, the monster, and Victor's bride, Elizabeth), or by the effects of various types of education (those with harmful, beneficial, or neutral effects).

9. Interpret your evidence

Avoid the temptation to load your paper with evidence from your story. Each time you use a specific reference to your story, be sure to explain the significance of that evidence in your own words. To get your readers' interest, you need to draw their attention to elements of the story that they wouldn't necessarily notice or understand on their own. If you're quoting passages without interpreting them, you're not demonstrating your reasoning skills or helping the reader. In most cases, interpreting your evidence merely involves putting into your paper what is already in your head. Remember that we, as readers, are lazy — all of us. We don't want to have to figure out a writer's reasoning for ourselves; we want all the thinking to be done for us in the paper.

General Hints

The previous nine steps are intended to give you a sense of the tasks usually involved in writing a good interpretive paper. What follows are just some additional hints that might help you find an interesting topic and maybe even make the process a little more enjoyable.

1. Make your thesis relevant to your readers

You'll be able to keep your readers' attention more easily if you pick a topic that relates to daily experience. Avoid writing a paper that identifies a pattern in a story but doesn’t quite explain why that pattern leads to an interesting interpretation. Identifying the biblical references in Frankenstein might provide a good start to a paper—Mary Shelley does use a lot of biblical allusions—but a good paper must also tell the reader why those references are meaningful. So what makes an interesting paper topic? Simply put, it has to address issues that we can use in our own lives. Your thesis should be able to answer the brutal question "So what?" Does your paper tell your reader something relevant about the context of the story you're interpreting or about the human condition?

Some categories, like race, gender, and social class, are dependable sources of interest. This is not to say that all good papers necessarily deal with one of these issues. My thesis on education in Frankenstein does not. But a lot of readers would probably be less interested in reading a paper that traces the instances of water imagery than in reading a paper that compares male or female stereotypes used in a story or that takes a close look at relationships between characters of different races. Again, don't feel compelled to write on race, gender, or class. The main idea is that you ask yourself whether the topic you've selected connects with a major human concern, and there are a lot of options here (for example, issues that relate to economics, family dynamics, education, religion, law, politics, sexuality, history, and psychology, among others).

Also, don't assume that as long as you address one of these issues, your paper will be interesting. As mentioned in step 2, you need to address these big topics in a complex way. Doing this requires that you don’t go into a topic with a preconceived notion of what you’ll find. Be prepared to challenge your own ideas about what gender, race, or class mean in a particular text.

2. Select a topic of interest to you

Though you may feel like you have to select a topic that sounds like something your instructor would be interested in, don't overlook the fact that you'll be more invested in your paper and probably get more out of it if you make the topic something pertinent to yourself. Pick a topic that might allow you to learn about yourself and what you find important.

Of course, your topic can't entirely be of your choosing. We're always at the mercy of the evidence that's available to us. For example, your interest may really be in political issues, but if you're reading Frankenstein , you might face some difficulties in finding enough evidence to make a good paper on that kind of topic. If, on the other hand, you're interested in ethics, philosophy, science, psychology, religion, or even geography, you'll probably have more than enough to write about and find yourself in the good position of having to select only the best pieces of evidence.

3. Make your thesis specific

The effort to be more specific almost always leads to a thesis that will get your reader's attention, and it also separates you from the crowd as someone who challenges ideas and looks into topics more deeply. A paper about education in general in Frankenstein will probably not get my reader's attention as much as a more specific topic about the impact of the learning environment on the main character. My readers may have already thought to some extent about ideas of education in the novel, if they have read it, but the chance that they have thought through something more specific like the educational environment is slim.

Contributors and Attributions

Adapted from Literature (Fiction) . Provided by: UNC College of Arts and Sciences Writing Center. License: CC BY-NC-ND .

The Battle of Gettysburg: Lessons from the Past for Today’s World

This essay about the Battle of Gettysburg explores its significance beyond the immediate military outcomes, focusing on lessons in leadership, decision-making, and resilience. It highlights the importance of strategic positioning, as exemplified by the Union’s use of high ground and Colonel Joshua Lawrence Chamberlain’s defense of Little Round Top. The essay also discusses the human cost and the enduring spirit of the soldiers, emphasizing the importance of preparation and intelligence in successful outcomes. By reflecting on personal stories and the broader implications of the Union victory, including Lincoln’s Gettysburg Address, the essay draws parallels to contemporary life, illustrating how the principles of adaptability, informed decision-making, and perseverance remain relevant today.

How it works

The Battle of Gettysburg, fought from July 1 to July 3, 1863, remains one of the most significant events in American history. While many are familiar with its military details, examining this battle through the lens of leadership, decision-making, and human resilience offers a fresh perspective. This approach not only honors those who fought but also extracts timeless lessons applicable to various aspects of contemporary life.

Imagine a quiet town like Gettysburg, nestled in the rolling hills of Pennsylvania, suddenly becoming the epicenter of a national crisis.

In 1863, this town, home to farmers and merchants, found itself transformed into a battlefield where the fate of a nation was contested. Major General George G. Meade, leading the Union Army of the Potomac with roughly 85,000 troops, faced off against General Robert E. Lee’s Confederate Army of Northern Virginia, numbering about 75,000. The unexpected clash of these armies set the stage for one of history’s most dramatic and impactful battles.

Leadership under pressure is a key theme emerging from Gettysburg. Lee’s audacious decision to invade the North aimed to relieve pressure on Southern states, gather supplies, and potentially sway Northern public opinion towards peace. His strategy was bold, hinging on the hope of a decisive victory on Union soil. However, the ensuing events highlighted the importance of adaptability in leadership. As the battle unfolded, the Union forces capitalized on their defensive positions on high ground, such as Cemetery Hill and Little Round Top. Colonel Joshua Lawrence Chamberlain’s defense of Little Round Top, including a daring bayonet charge, exemplifies how decisive leadership can turn the tide in critical moments.

The terrain of Gettysburg played a crucial role in shaping the battle’s outcome. The Union’s strategic use of high ground provided a significant advantage, allowing them to repel repeated Confederate assaults. This underscores a fundamental lesson: leveraging available resources effectively can be a game-changer. In today’s context, this could translate to maximizing the potential of available technology, human talent, or strategic positions in business or negotiations.

Gettysburg was also a battle of endurance and resilience. The intense fighting on the second day, particularly in areas like the Wheatfield, the Peach Orchard, and Devil’s Den, highlighted the brutal nature of the conflict. Soldiers on both sides faced unimaginable hardships, yet their resolve never wavered. This resilience is a powerful reminder of the human spirit’s capacity to endure and persevere in the face of overwhelming adversity. Whether in personal challenges or professional obstacles, the ability to persist and adapt remains a critical skill.

Pickett’s Charge, the infamous assault on the third day of the battle, offers another poignant lesson. General Lee’s decision to launch a direct attack on the center of the Union lines was a high-risk gamble that ended in disaster. Approximately 12,500 Confederate soldiers, led by Major General George Pickett, advanced across open fields under heavy fire, resulting in devastating losses. This tragic event highlights the dangers of overconfidence and the importance of strategic planning. In any endeavor, it’s crucial to assess risks thoroughly and avoid decisions driven by desperation or unwarranted optimism.

The broader implications of the Union victory at Gettysburg extend beyond the immediate military context. This victory marked a turning point in the Civil War, halting Lee’s invasion of the North and boosting Northern morale. President Abraham Lincoln’s subsequent Gettysburg Address, delivered in November 1863, redefined the war’s purpose. Lincoln’s speech emphasized the principles of liberty and equality, reinforcing the idea that the conflict was not just about preserving the Union but also about ensuring that “government of the people, by the people, for the people, shall not perish from the earth.” These ideals continue to resonate, reminding us of the enduring values upon which the United States was founded.

The Battle of Gettysburg also provides valuable insights into the importance of preparation and intelligence. The Union’s effective use of reconnaissance and their ability to anticipate Confederate movements played a critical role in their success. In modern terms, this translates to the importance of data and information in decision-making processes. Whether in business, politics, or everyday life, having accurate and timely information can significantly impact outcomes.

Personal stories from Gettysburg add a deeply human dimension to the battle’s historical narrative. Letters and diaries from soldiers reveal their fears, hopes, and reflections amidst the chaos. These personal accounts remind us that history is not just a series of events but a tapestry of individual experiences. Understanding these perspectives fosters empathy and a deeper appreciation for the sacrifices made by those who came before us.

Today, the lessons of Gettysburg remain relevant across various fields. In leadership, the ability to adapt, make informed decisions, and inspire others is as crucial now as it was in 1863. The importance of resilience in overcoming challenges, the value of thorough preparation, and the need to balance risk with strategic thinking are timeless principles that apply universally.

In conclusion, the Battle of Gettysburg offers more than a historical account of a pivotal Civil War conflict. It provides enduring lessons on leadership, resilience, and strategic planning that remain applicable in today’s world. By reflecting on the experiences and decisions of those who fought at Gettysburg, we can gain valuable insights into how to navigate the complexities of contemporary life. The legacy of Gettysburg is not just in the past but in the lessons it continues to teach us about the present and the future.

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Your chance of acceptance, your chancing factors, extracurriculars, what should i know to prepare for the act.

Hey fellow students, I'm planning on taking the ACT soon, but I'm sort of lost on what I should focus on to study. Which subjects and topics are covered? Any prep recommendations or tips would be really helpful!

Hi there! It's a smart move to look for guidance on preparing for the ACT. Here's a rundown of the different sections and topics covered:

1. English (45 minutes, 75 questions): This section focuses on grammar, punctuation, sentence structure, and rhetorical skills. You'll be asked to identify and correct errors in passages. Brush up on grammar rules and practice reading critically to improve your performance in this section.

2. Math (60 minutes, 60 questions): The ACT Math test covers pre-algebra, elementary algebra, intermediate algebra, coordinate geometry, plane geometry, and trigonometry. Make sure you're familiar with key formulas and concepts in these areas, as well as problem-solving strategies.

3. Reading (35 minutes, 40 questions): The Reading section contains four passages, each with a set of questions. The passages cover topics in the humanities, social sciences, natural sciences, and literary fiction. The key to this section is learning to read quickly and efficiently while understanding the main ideas and details within the text.

4. Science (35 minutes, 40 questions): This section tests your data interpretation and analysis skills, not your knowledge of specific scientific facts. You'll work with graphs, tables, and charts in conjunction with descriptions of scientific experiments. Practice interpreting visual data sets, and be prepared to understand different types of studies, their methods, and conclusions.

In addition to these four sections, there is an optional Writing section (40 minutes, 1 essay). This involves writing a well-structured argumentative essay in response to a given prompt.

As for preparation, you have a few options:

1. Take official ACT practice tests to get familiar with the test format, content, and timing. Review your results to identify areas where you can improve.

2. Use an ACT prep book or online resources to review content and practice specific skills. There are many options on the market, so be sure to select one that suits your needs and learning style.

3. If you need more structure or guidance, consider joining a prep course or working with a tutor.

Lastly, some general tips:

- Create a regular study schedule, focusing on consistently improving your weaker areas.

- Learn time management strategies to pace yourself during the test.

- Stay up-to-date on the test and registration dates to ensure you have enough time to prepare.

Good luck with your ACT preparation!

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What is a Familiar Essay in Composition?
Learn what a familiar essay is, how it differs from a personal essay, and who are some famous essayists in this genre. Explore the characteristics, history, and examples of the familiar essay, a type of creative nonfiction that uses a personal voice and style.
Definitive Familiar Essay Guide
Learn what a familiar essay is, how it differs from other types of essays, and how to write one effectively. Find out the stylistic elements, anecdotes, and techniques to create a personal and engaging familiar essay.
How to write a familiar essay
Learn what a familiar essay is, how to plan and write one, and how to revise it. A familiar essay is a personal reflection on a philosophical topic, such as \"people worth knowing\" or \"religion and morality\".
How to Write a Familiar Essay
Learn what a familiar essay is, how to write one, and where to buy a custom paper. A familiar essay is a personal reflection on a topic, using an informal tone and addressing the reader directly.
The Familiar Essay Critical Essays
Learn about the history, characteristics, and writers of the familiar essay, a genre of informal and discursive prose that emerged in the nineteenth century. Explore the works of Hazlitt, Lamb, Addison, and others, and see how they influenced world literature.
The Familiar Essay Elements Of Form And Style
SOURCE: "On Familiar Style," in Romantic Prose of the Early Nineteenth Century, edited by Carl H. Grabo, Charles Scribner's Sons, 1927, pp. 3-12. [ Hazlitt was one of the leading essayists of the ...
The Familiar Essay Elements Of Content
Learn what a familiar essay is and how to write one from the nineteenth-century Scottish poet and essayist Alexander Smith. Read his essay on the elements of content, style, and mood of the familiar essay form.
On the Familiar Essay: Challenging Academic Orthodoxies
"In this timely revalorization of the form, Atkins shows the unexpected depths of the familiar essay. Far from being the lightweight pieces dismissed by their detractors as trivial, he shows how, at their best, such essays are exquisitely crafted intersections of time and timelessness. Their indirectness, individuality and warmth suggest a way ...
250 Topics for Familiar Essays (Writing Suggestions)
This list of 250 "subjects for familiar essays" originally appeared as an appendix to Essays and Essay-Writing, an anthology edited by William M. Tanner and published by the Atlantic Monthly Press in 1917. But don't let the date scare you away.
The rhetoric of the familiar essay: E. B. White and personal discourse
The familiar essay form is particularly well-suited to these modern rhetorical purposes. Though it has long been considered a tangential and irresponsible subgenre of writing, the familiar essay offers a means by which a modern speaker might reach an otherwise suspicious or uninterested audience through personal discourse, which reunites the ...
Extended Essay: Formal vs. Informal Writing
Differences Between Informal and Formal Essays. When writing your extended essay you should use language that is formal and academic in tone. The chart below gives you some idea of the differences between informal and formal essays. See the box below for examples of the differences in tone in informal and formal essays written on identical topics.
PDF On the Familiar Essay
The familiar essay allows us to see and appreciate, as I have sug-gested, the ordinary, and not just the ordinary but also the intersec-tion of the ordinary and the extra-ordinary, experience and meaning, time and timelessness. Confronting the faddish and merely fashion-able, and exposing them, the familiar essay does not flaunt its (badly
Familiar Essay Writing: 10 Tips That Will Make Your Work Easier
Look at Familiar Essay Topics That Are Acceptable. 3. Use a Proper Familiar Essay Structure. 4. Talk to Your Reader While Writing a Familiar Essay. 5. Use the Simple Language, but Don't Oversimplify. 6. Try Freewriting as a Good Method of Preparation.
The Spectator Tradition and the Development of the Familiar Essay
The essay periodical depicts a social age; the familiar essay, an individual. Yet Steele, in spite of all restrictions imposed upon him by the age and the form in which he worked, succeeded often in revealing the familiar essay spirit. In another age, freed of the artificial devices which so encumbered the essay periodical,
The Familiar Essay Definitions And Origins
SOURCE: "The Essay," in The Enjoyment of Literature, W. W. Norton & Company, Inc., 1935, pp. 38-61. [In the following excerpt, Drew traces the development of the familiar essay from Montaigne and ...
How to Write a Familiar Essay. Useful Information
10 tips for your familiar essay. We can assure you - the progress will be visible with these tips! Use them to create a nice familiar essay, better than your classmate's. - Read the examples of another familiar essay to understand the process. A familiar essay is a pretty peculiar genre of creative writing. Hence, some characteristics ...
The familiar essay: a delight in the hands of Anne Fadiman
The familiar essay is a genre that reached its heyday in the early 19th century with one of her great crushes, Charles Lamb. His legacy, she laments in "The Unfuzzy Lamb," is kept alive mainly by ...
At Large and At Small: Familiar Essays
Paperback. $17.65 80 Used from $1.35 20 New from $12.60. In At Large and At Small, Anne Fadiman returns to one of her favorite genres, the familiar essay—a beloved and hallowed literary tradition recognized for both its intellectual breadth and its miniaturist focus on everyday experiences. With the combination of humor and erudition that has ...
At Large and At Small: Familiar Essays
Anne Fadiman. Farrar, Straus and Giroux, May 27, 2008 - Literary Collections - 240 pages. In At Large and At Small, Anne Fadiman returns to one of her favorite genres, the familiar essay—a beloved and hallowed literary tradition recognized for both its intellectual breadth and its miniaturist focus on everyday experiences.
Public confidences: Hazlitt's "Table-Talk" and the Romantic familiar essay
The familiar essay is one of the most neglected genres of Romantic prose. Recent criticism of the essays of Leigh Hunt, Charles Lamb, and William Hazlitt, the familiar style's most articulate defender, has sought to assimilate the genre into a tradition rooted in the periodical essays of Addison and Steele. Yet Hazlitt's more immediate ...
The English Familiar Essay: Representative Texts
The English Familiar Essay: Representative Texts. William Frank Bryan, Ronald Salmon Crane. Ginn, 1916 - English essays - 471 pages . Preview this book ...
The Familiar Essay Overview Of The Genre
The didactic essay, or "paper," is a lesser channel of the essay-form; and even during the 19th century it was the non-critical or "literary" essay which left the deepest mark on non-narrative ...
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May 25, 2024, 5:00 a.m. ET. "The only way for a woman, as for a man, to find herself, to know herself as a person, is by creative work of her own," Betty Friedan wrote in " The Feminine ...
12.4: Writing About Fiction and Creative Nonfiction
Writing an Essay on Fiction in 9 Steps. 1. Become familiar with the text; 2. Explore potential topics; 3. Select a topic with a lot of evidence; 4. Write out a working thesis; 5. Make an extended list of evidence; 6. Select your evidence; 7. Refine your thesis; 8. Organize your evidence; 9. Interpret your evidence; General Hints; Contributors ...
On Familiar Style Analysis
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Guide: How to write a familiar essay

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Tone and Audience

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Writing the Familiar Essay

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Familiar Essay: Definition and Writing Recommendations

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The rhetoric of the familiar essay: E. B. White and personal discourse Show simple item record

Extended Essay: Formal vs. Informal Writing

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On the Familiar Essay

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Hamsun, Knut: Essays zur Literatur

Essays zur französischen Literatur

Table of contents (10 chapters)

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Familiar Essay Writing: 10 Tips That Will Make Your Work Easier

1. Get a Familiar Essay Example to Get You Started

2. Look at Familiar Essay Topics That Are Acceptable

3. Use a Proper Familiar Essay Structure

4. Talk to Your Reader While Writing a Familiar Essay

5. Use the Simple Language, but Don’t Oversimplify

6. Try Freewriting as a Good Method of Preparation

7. Prepare an Essay Outline

8. Try Finishing Your Work in One Session

9. Use of Some References in Your Familiar Essays

10. Don’t Forget to Revise and Proofread

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Definition and Recommendations on Writing a Familiar Essay

10 tips for your familiar essay

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At Large and At Small: Familiar Essays Hardcover – June 12, 2007

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