what is rhetorical devices essay

What Is a Rhetorical Device? Definition, List, Examples

• An Introduction to Punctuation

• B.A., English, Rutgers University

A rhetorical device is a linguistic tool that employs a particular type of sentence structure, sound, or pattern of meaning in order to evoke a particular reaction from an audience. Each rhetorical device is a distinct tool that can be used to construct an argument or make an existing argument more compelling.  

Any time you try to inform, persuade , or argue with someone, you’re engaging in rhetoric. If you’ve ever had an emotional reaction to a speech or changed your mind about an issue after hearing a skilled debater's rebuttal, you've experienced the power of rhetoric. By developing a basic knowledge of rhetorical devices, you can improve your ability to process and convey information while also strengthening your persuasive skills. 

Types of Rhetorical Devices

Rhetorical devices are loosely organized into the following four categories:

• Logos. Devices in this category seek to convince and persuade via logic and reason, and will usually make use of statistics, cited facts, and statements by authorities to make their point and persuade the listener.
• Pathos. These rhetorical devices base their appeal in emotion. This could mean invoking sympathy or pity in the listener, or making the audience angry in the service of inspiring action or changing their mind about something.
• Ethos. Ethical appeals try to convince the audience that the speaker is a credible source, that their words have weight and must be taken seriously because they are serious and have the experience and judgment necessary to decide what’s right.
• Kairos. This is one of the most difficult concepts in rhetoric; devices in this category are dependent on the idea that the time has come for a particular idea or action. The very timeliness of the idea is part of the argument.

Top Rhetorical Devices

Since rhetoric dates back to ancient times, much of the terminology used to discuss it comes from the original Greek. Despite its ancient origins, however, rhetoric is as vital as ever. The following list contains some of the most important rhetorical devices to understand:

• Alliteration , a sonic device, is the repetition of the initial sound of each word (e.g. Alan the antelope ate asparagus).
• Cacophony , a sonic device, is the combination of consonant sounds to create a displeasing effect. 
• Onomatopoeia , a sonic device, refers to a word that emulates the real-life sound it signifies (e.g. using the word "bang" to signify an explosion).
• Humor  creates connection and identification with audience members, thus increasing the likelihood that they will agree with the speaker. Humor can also be used to deflate counter-arguments and make opposing points of view appear ridiculous.
• Anaphora  is the repetition of certain words or phrases at the beginning of sentences to increase the power of a sentiment. Perhaps the best-known example of anaphora is Martin Luther King Jr.'s repetition of the phrase "I have a dream."
• Meiosis is a type of euphemism that intentionally understates the size or importance of its subject. It can be used to dismiss or diminish a debate opponent's argument. 
• Hyperbole  is an exaggerated statement that conveys emotion and raises the bar for other speakers. Once you make a hyperbolic statement like “My idea is going to change the world," other speakers will have to respond in kind or their more measured words may seem dull and uninspiring in comparison.
• Apophasis  is the verbal strategy of bringing up a subject by denying that that very subject should be brought up at all.
• Anacoluthon  is a sudden swerve into a seemingly unrelated idea in the middle of a sentence. It can seem like a grammatical mistake if handled poorly, but it can also put powerful stress onto the idea being expressed.
• Chiasmus  is a technique wherein the speaker inverts the order of a phrase in order to create a pretty and powerful sentence. The best example comes from President John F. Kennedy's inaugural address: "Ask not what your country can do for you — ask what you can do for your country ."
• Anadiplosis  is the use of the same word at the end of one sentence and at the beginning of the subsequent sentence, forming a chain of thought that carries your audience to the point you’ve chosen.
• Dialogismus  refers to moments when the speaker imagines what someone else is thinking, or speaks in the voice of someone else, in order to explain and then subvert or undermine counterpoints to the original argument.
• Eutrepismus , one of the most common rhetorical devices, is simply the act of stating points in the form of a numbered list. Why is it useful? First off, this devices makes information seem official and authoritative. Second, it gives speech a sense of order and clarity. And third, it helps the listener keep track of the speaker's points.
• Hypophora  is the trick of posing a question and then immediately supplying the answer. Do you know why hypophora is useful? It's useful because it stimulates listener interest and creates a clear transition point in the speech.
• Expeditio  is the trick of listing a series of possibilities and then explaining why all but one of those possibilities are non-starters. This device makes it seem as though all choices have been considered, when in fact you've been steering your audience towards the one choice you desired all along.
• Antiphrasis  is another word for irony. Antiphrasis refers to a statement whose actual meaning is the opposite of the literal meaning of the words within it.
• Asterismos. Look, this is the technique of inserting a useless but attention-grabbing word in front of your sentence in order to grab the audience’s attention. It's useful if you think your listeners are getting a bit bored and restless.

Examples of Rhetorical Devices

Rhetoric isn’t just for debates and arguments. These devices are used in everyday speech, fiction and screenwriting, legal arguments, and more. Consider these famous examples and their impact on their audience.

• “ Fear leads to anger. Anger leads to hate. Hate leads to suffering.” – Star Wars: The Empire Strikes Back . Rhetorical Device : Anadiplosis. The pairs of words at the beginning and ending of each sentence give the impression that the logic invoked is unassailable and perfectly assembled.
• “ Ask not what your country can do for you, ask what you can do for your country.” —President John F. Kennedy. Rhetorical Device : Chiasmus. The inversion of the phrase can do and the word country creates a sense of balance in the sentence that reinforces the sense of correctness.
• "I will not make age an issue of this campaign. I am not going to exploit, for political purposes, my opponent’s youth and inexperience." –President Ronald Reagan Rhetorical Device : Apophasis. In this quip from a presidential debate, Reagan expresses mock reluctance to comment on his opponent's age, which ultimately does the job of raising the point of his opponent's age.  
• “ But in a larger sense, we cannot dedicate, we cannot consecrate, we cannot hallow this ground.” —Abraham Lincoln, Gettysburg Address . Rhetorical Device : Anaphora. Lincoln’s use of repetition gives his words a sense of rhythm that emphasizes his message. This is also an example of kairos : Lincoln senses that the public has a need to justify the slaughter of the Civil War, and thus decides to make this statement appealing to the higher purpose of abolishing slavery. 
• “ Ladies and gentlemen, I've been to Vietnam, Iraq, and Afghanistan, and I can say without hyperbole that this is a million times worse than all of them put together.” – The Simpsons . Rhetorical Device : Hyperbole. Here, hyperbole is used to humorous effect in order to undermine the superficial point of the sentence.
• Rhetoric. The discipline of discourse and persuasion via verbal argument.
• Rhetorical Device. A tool used in the course of rhetoric, employing specific sentence structure, sounds, and imagery to attain a desired response.
• Logos. The category of rhetorical devices that appeal to logic and reason. 
• Pathos. The category of rhetorical devices that appeal to emotions.
• Ethos.  The category of rhetorical devices that appeals to a sense of credibility. 
• Kairos.  The concept of “right place, right time” in rhetoric, wherein a specific rhetorical device becomes effective because of circumstances surrounding its use.
• “16 Rhetorical Devices That Will Improve Your Public Speaking.” Duarte , 19 Mar. 2018, www.duarte.com/presentation-skills-resources/rhetoric-isnt-a-bad-thing-16-rhetorical-devices-regularly-used-by-steve-jobs/.
• Home - Ethos, Pathos, and Logos, the Modes of Persuasion ‒ Explanation and Examples , pathosethoslogos.com/ .
• McKean, Erin. “Rhetorical Devices.” Boston.com , The Boston Globe, 23 Jan. 2011, archive.boston.com/bostonglobe/ideas/articles/2011/01/23/rhetorical_devices/ .
• The Top 20 Figures of Speech
• Figure of Speech: Definition and Examples
• Anadiplosis: Definition and Examples
• AP English Exam: 101 Key Terms
• Words, Phrases, and Arguments to Use in Persuasive Writing
• Use Social Media to Teach Ethos, Pathos and Logos
• Artistic Proofs: Definitions and Examples
• Traductio: Rhetorical Repetition
• Pathos in Rhetoric
• Polyptoton (Rhetoric)
• Brief Introductions to Common Figures of Speech
• Chiasmus Figure of Speech
• What Are Tropes in Language?
• Peroration: The Closing Argument
• Persuasion and Rhetorical Definition
• Logos (Rhetoric)

Choose Your Test

Sat / act prep online guides and tips, the 20 most useful rhetorical devices.

General Education

Rhetoric is the art of effective communication; if you communicate with others at all, rhetorical devices are your friends!

Rhetorical devices help you make points more effectively, and help people understand you better. In this article, I'll be covering some important rhetorical devices so you can improve your own writing! 

What Are Rhetorical Devices?

A lot of things that you would think of as just regular everyday modes of communicating are actually rhetorical devices That’s because ‘rhetorical devices’ is more or less a fancy way of saying ‘communication tools.’

Most people don’t plan out their use of rhetorical devices in communication, both because nobody thinks, “now would be a good time to use synecdoche in this conversation with my grocery clerk,” and because we use them so frequently that they don’t really register as “rhetorical devices.”

How often have you said something like, “when pigs fly!” Of those times, how often have you thought, “I’m using a rhetorical device!” That’s how ubiquitous they are!

However, being aware of what they are and how to use them can strengthen your communication , whether you do a lot of big speeches, write persuasive papers, or just argue with your friends about a TV show you all like.

Rhetorical devices can function at all levels: words, sentences, paragraphs, and beyond. Some rhetorical devices are just a single word, such as onomatopoeia. Others are phrases, such as metaphor, while still others can be sentence-length (such as a thesis), paragraph-length (hypophora), or go throughout the entire piece, such as a standard five-paragraph essay.

Many of these (such as the thesis or five-paragraph essay) are so standard and familiar to us that we may not think of them as devices. But because they help us shape and deliver our arguments effectively, they're important to know and understand.

The Most Useful Rhetorical Devices List

It would be impossible to list every single rhetorical device in one blog post. Instead, I've collected a mixture of extremely common devices you may have heard before and some more obscure ones that might be valuable to learn.

Amplification

Amplification is a little similar to parallelism: by using repetition, a writer expands on an original statement and increases its intensity .

Take this example from Roald Dahl’s The Twits :

“If a person has ugly thoughts, it begins to show on the face. And when that person has ugly thoughts every day, every week, every year, the face gets uglier and uglier until you can hardly bear to look at it. A person who has good thoughts cannot ever be ugly. You can have a wonky nose and a crooked mouth and a double chin and stick-out teeth, but if you have good thoughts it will shine out of your face like sunbeams and you will always look lovely.”

In theory, we could have gotten the point with the first sentence. We don’t need to know that the more you think ugly thoughts, the uglier you become, nor that if you think good thoughts you won’t be ugly—all that can be contained within the first sentence. But Dahl’s expansion makes the point clearer, driving home the idea that ugly thoughts have consequences.

Amplification takes a single idea and blows it up bigger, giving the reader additional context and information to better understand your point. You don’t just have to restate the point— use amplification to expand and dive deeper into your argument to show readers and listeners how important it is!

Anacoluthon

Anacoluthon is a fancy word for a disruption in the expected grammar or syntax of a sentence. That doesn’t mean that you misspoke—using anacoluthon means that you’ve deliberately subverted your reader’s expectations to make a point.

For example, take this passage from King Lear :

“I will have such revenges on you both, That all the world shall—I will do such things, What they are, yet I know not…”

In this passage, King Lear interrupts himself in his description of his revenge. This has multiple effects on the reader: they wonder what all the world shall do once he has his revenge (cry? scream? fear him?), and they understand that King Lear has interrupted himself to regain his composure. This tells us something about him—that he’s seized by passion in this moment, but also that he regains control. We might have gathered one of those things without anacoluthon, but the use of this rhetorical device shows us both very efficiently.

Anadiplosis

Anadiplosis refers to purposeful repetition at the end of one sentence or clause and at the beginning of the next sentence or clause. In practice, that looks something like a familiar phrase from Yoda:

“Fear leads to anger. Anger leads to hate. Hate leads to suffering.”

Note the way that the ending word of each sentence is repeated in the following sentence. That’s anadiplosis!

This rhetorical device draws a clear line of thinking for your reader or listener—repetition makes them pay closer attention and follow the way the idea evolves. In this case, we trace the way that fear leads to suffering through Yoda’s purposeful repetition.

Antanagoge is the balancing of a negative with a positive. For example, the common phrase, “When life gives you lemons, make lemonade,” is antanagoge—it suggests a negative (lots of lemons) and follows that up with a positive (make lemonade).

When writing persuasively, this can be a great way to respond to potential detractors of your argument. Suppose you want to convince your neighborhood to add a community garden, but you think that people might focus on the amount of work required. When framing your argument, you could say something like, “Yes, it will be a lot of work to maintain, but working together will encourage us all to get to know one another as well as providing us with fresh fruits, vegetables, and flowers.”

This is a little like procatalepsis, in that you anticipate a problem and respond to it. However, antanagoge is specifically balancing a negative with a positive, just as I did in the example of a garden needing a lot of work, but that work is what ultimately makes the project worth it.

Apophasis is a form of irony relating to denying something while still saying it. You’ll often see this paired with phrases like, “I’m not saying…” or “It goes without saying…”, both of which are followed up with saying exactly what the speaker said they weren’t going to say.

Take this speech from Iron Man 2 :

"I'm not saying I'm responsible for this country's longest run of uninterrupted peace in 35 years! I'm not saying that from the ashes of captivity, never has a phoenix metaphor been more personified! I'm not saying Uncle Sam can kick back on a lawn chair, sipping on an iced tea, because I haven't come across anyone man enough to go toe to toe with me on my best day! It's not about me."

Tony Stark isn’t saying that he’s responsible for all those things… except that’s exactly what he is saying in all of his examples. Though he says it’s not about him, it clearly is—all of his examples relate to how great he is, even as he proclaims that they aren’t.

A scene like this can easily be played for humor, but apophasis can also be a useful (albeit deceptive) rhetorical tool. For example, this argument:

Our neighborhood needs a community garden to foster our relationships with one another. Not only is it great for getting to know each other, but a community garden will also provide us with all kinds of fresh fruit and vegetables. It would be wrong to say that people who disagree aren’t invested in others’ health and wellness, but those who have the neighborhood’s best interests in mind will support a community garden.

That last sentence is all apophasis. Not only did I imply that people who don’t support the community garden are anti-social and uncaring (by outright stating that I wouldn’t say that, but I also implied that they’re also not invested in the neighborhood at all. Stating things like this, by pretending you’re not saying them or saying the opposite, can be very effective.

Assonance and Alliteration

Assonance adds an abundance of attractive accents to all your assertions. That’s assonance—the practice repeating the same vowel sound in multiple words in a phrase or sentence, often at the beginning of a word, to add emphasis or musicality to your work. Alliteration is similar, but uses consonant sounds instead of vowel sounds.

Let’s use Romeo and Juliet as an example again:

“From forth the fatal loins of these two foes; A pair of star-cross’d lovers take their life.”

Here, we have repetition of the sounds ‘f’ and ‘l’ in ‘from forth...fatal...foes,’ and ‘loins...lovers...life.’

Even if you don’t notice the repetition as you’re reading, you can hear the effects in how musical the language sounds. Shakespeare could easily have just written something like, “Two kids from families who hate one another fell in love and died by suicide,” but that’s hardly as evocative as the phrasing he chose.

Both assonance and alliteration give your writing a lyrical sound, but they can do more than that, too. These tools can mimic associated sounds, like using many ‘p’ sounds to sound like rain or something sizzling, or ‘s’ sounds to mimic the sounds of a snake. When you’re writing, think about what alternative meanings you can add by emphasizing certain sounds.

Listen, asterismos is great. Don’t believe me? How did you feel after I began the first sentence with the word ‘listen?’ Even if you didn’t feel more inspired to actually listen, you probably paid a bit more attention because I broke the expected form. That’s what asterismos is—using a word or phrase to draw attention to the thought that comes afterward.

‘Listen’ isn’t the only example of asterismos, either. You can use words like, ‘hey,’ ‘look,’ ‘behold,’ ‘so,’ and so on. They all have the same effect: they tell the reader or listener, “Hey, pay attention—what I’m about to say is important.”

Dysphemism and Euphemism

Euphemism is the substitution of a more pleasant phrase in place of a familiar phrase, and dysphemism is the opposite —an un pleasant phrase substituted in place of something more familiar. These tools are two sides of the same coin. Euphemism takes an unpleasant thing and makes it sound nicer—such as using 'passed away' instead of 'died'—while dysphemism does the opposite, taking something that isn't necessarily bad and making it sound like it is.

We won’t get into the less savory uses of dysphemism, but there are plenty that can leave an impression without being outright offensive. Take ‘snail mail.’ A lot of us call postal mail that without any real malice behind it, but ‘snail’ implies slowness, drawing a comparison between postal mail and faster email. If you’re making a point about how going electronic is faster, better for the environment, and overall more efficient, comparing email to postal mail with the phrase ‘snail mail’ gets the point across quickly and efficiently.

Likewise, if you're writing an obituary, you probably don't want to isolate the audience by being too stark in your details. Using gentler language, like 'passed away' or 'dearly departed' allows you to talk about things that might be painful without being too direct. People will know what you mean, but you won't have to risk hurting anyone by being too direct and final with your language.

You’ve no doubt run into epilogues before, because they’re a common and particularly useful rhetorical device! Epilogues are a conclusion to a story or work that reveals what happens to the characters in the story. This is different from an afterword, which is more likely to describe the process of a book’s creation than to continue and provide closure to a story.

Many books use epilogues to wrap up loose ends, usually taking place in the future to show how characters have changed as a result of their adventures. Both Harry Potter and The Hunger Games series use their epilogues to show the characters as adults and provide some closure to their stories—in Harry Potter , the main characters have gotten married and had children, and are now sending those children to the school where they all met. This tells the reader that the story of the characters we know is over—they’re adults and are settled into their lives—but also demonstrates that the world goes on existing, though it’s been changed forever by the actions of the familiar characters.

Eutrepismus

Eutrepismus is another rhetorical device you’ve probably used before without realizing it. This device separates speech into numbered parts, giving your reader or listener a clear line of thinking to follow.

Eutrepismus is a great rhetorical device—let me tell you why. First, it’s efficient and clear. Second, it gives your writing a great sense of rhythm. Third, it’s easy to follow and each section can be expanded throughout your work.

See how simple it is? You got all my points in an easy, digestible format. Eutrepismus helps you structure your arguments and make them more effective, just as any good rhetorical device should do.

You’ve probably used hypophora before without ever thinking about it. Hypophora refers to a writer or speaker proposing a question and following it up with a clear answer. This is different from a rhetorical question—another rhetorical device—because there is an expected answer, one that the writer or speaker will immediately give to you.

Hypophora serves to ask a question the audience may have (even if they’re not entirely aware of it yet) and provide them with an answer. This answer can be obvious, but it can also be a means of leading the audience toward a particular point.

Take this sample from John F. Kennedy’s speech on going to the moon:

But why, some say, the moon? Why choose this as our goal? And they may well ask why climb the highest mountain? Why, 35 years ago, fly the Atlantic? Why does Rice play Texas? We choose to go to the moon. We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too.

In this speech, Kennedy outright states that he’s asking questions others have asked, and then goes on to answer them. This is Kennedy’s speech, so naturally it’s going to reflect his point of view, but he’s answering the questions and concerns others might have about going to the moon. In doing so, he’s reclaiming an ongoing conversation to make his own point. This is how hypophora can be incredibly effective: you control the answer, leaving less room for argument!

Litotes is a deliberate understatement, often using double negatives, that serves to actually draw attention to the thing being remarked upon. For example, saying something like, “It’s not pretty,” is a less harsh way to say “It’s ugly,” or “It’s bad,” that nonetheless draws attention to it being ugly or bad.

In Frederick Douglass’ Narrative of the Life of Frederick Douglass: an American Slave , he writes:

“Indeed, it is not uncommon for slaves even to fall out and quarrel among themselves about the relative goodness of their masters, each contending for the superior goodness of his own over that of the others.”

Notice the use of “not uncommon.” Douglass, by using a double negative to make readers pay closer attention, points out that some slaves still sought superiority over others by speaking out in favor of their owners.

Litotes draws attention to something by understating it. It’s sort of like telling somebody not to think about elephants—soon, elephants becomes all they can think about. The double negative draws our attention and makes us focus on the topic because it’s an unusual method of phrasing.

Onomatopoeia

Onomatopoeia refers to a sound represented within text as a mimicry of what that sound actually sounds like. Think “bang” or “whizz” or “oomph,” all of which can mean that something made that kind of a sound—”the door banged shut”—but also mimic the sound itself—”the door went bang .”

This rhetorical device can add emphasis or a little bit of spice to your writing. Compare, “The gunshot made a loud sound,” to “The gun went bang .” Which is more evocative?

Parallelism

Parallelism is the practice of using similar grammar structure, sounds, meter, and so on to emphasize a point and add rhythm or balance to a sentence or paragraph.

One of the most famous examples of parallelism in literature is the opening of Charles Dickens’ A Tale of Two Cities :

"It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way— in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only."

In the beginning, every phrase begins with “It was,” which is itself a parallelism. But there are also pairs of parallelism within the sentence, too; “It was the ___ of times, it was the ___ of times,” and “it was the age of ___, it was the age of ___.”

Parallelism draws your reader deeper into what you’re saying and provides a nice sense of flow, even if you’re talking about complicated ideas. The ‘epoch of incredulity’ is a pretty meaty phrase, but Dickens’ parallelism sets up a series of dichotomies for us; even if we don’t know quite what it means, we can figure it out by comparing it to ‘belief.’

Personification

Personification is a rhetorical device you probably run into a lot without realizing it. It’s a form of metaphor, which means two things are being compared without the words like or as—in this case, a thing that is not human is given human characteristics.

Personification is common in poetry and literature, as it’s a great way to generate fresh and exciting language, even when talking about familiar subjects. Take this passage from Romeo and Juliet , for example:

“When well-appareled April on the heel Of limping winter treads.”

April can’t wear clothes or step on winter, and winter can’t limp. However, the language Shakespeare uses here is quite evocative. He’s able to quickly state that April is beautiful (“well-appareled”) and that winter is coming to an end (“limping winter”). Through personification, we get a strong image for things that could otherwise be extremely boring, such as if Shakespeare had written, “When beautiful April comes right after winter.”

Procatalepsis

Procatalepsis is a rhetorical device that anticipates and notes a potential objection, heading it off with a follow-up argument to strengthen the point. I know what you’re thinking—that sounds really complicated! But bear with me, because it’s actually quite simple.

See how that works? I imagined that a reader might be confused by the terminology in the first sentence, so I noted that potential confusion, anticipating their argument. Then, I addressed that argument to strengthen my point—procatalepsis is easy, which you can see because I just demonstrated it!

Anticipating a rebuttal is a great way to strengthen your own argument. Not only does it show that you’ve really put thought into what you’re saying, but it also leaves less room for disagreement!

Synecdoche is a rhetorical device that uses a part of something to stand in for the whole. That can mean that we use a small piece of something to represent a whole thing (saying ‘let’s grab a slice’ when we in fact mean getting a whole pizza), or using something large to refer to something small. We often do this with sports teams–for example, saying that New England won the Super Bowl when we in fact mean the New England Patriots, not the entirety of New England.

This style of rhetorical device adds an additional dimension to your language, making it more memorable to your reader. Which sounds more interesting? “Let’s get pizza,” or “let’s grab a slice?”

Likewise, consider this quote from Percy Bysshe Shelly’s “Ozymandias”:

“Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them.”

Here, Shelly uses ‘the hand’ to refer to the sculptor. The hand did not sculpt the lifeless things on its own; it was a tool of the sculptor. But by using just the hand, Shelly avoids repeating ‘the sculptor,’ preserves the poem’s rhythm, and narrows our focus. If he had referred to the sculptor again, he’d still be a big important figure; by narrowing to the hand, Shelly is diminishing the idea of the creator, mirroring the poem’s assertion that the creation will outlast it.

Tautology refers to using words or similar phrases to effectively repeat the same idea with different wording. It’s a form of repetition that can make a point stronger, but it can also be the basis of a flawed argument—be careful that your uses of tautology is the former, not the latter!

For example, take this section of “The Bells” by Edgar Allen Poe:

“Keeping time, time, time, In a sort of Runic rhyme… From the bells, bells, bells, bells.”

Poe’s poetry has a great deal of rhythm already, but the use of ‘time, time, time’ sets us up for the way that ‘bells, bells, bells, bells’ also holds that same rhythm. Keeping time refers to maintaining rhythm, and this poem emphasizes that with repetition, much like the repetitive sound of ringing bells.

An example of an unsuccessful tautology would be something like, “Either we should buy a house, or we shouldn’t.” It’s not a successful argument because it doesn’t say anything at all—there’s no attempt to suggest anything, just an acknowledgment that two things, which cannot both happen, could happen.

If you want to use tautology in your writing, be sure that it’s strengthening your point. Why are you using it? What purpose does it serve? Don’t let a desire for rhythm end up robbing you of your point!

That thing your English teachers are always telling you to have in your essays is an important literary device. A thesis, from the Greek word for ‘a proposition,’ is a clear statement of the theory or argument you’re making in an essay. All your evidence should feed back into your thesis; think of your thesis as a signpost for your reader. With that signpost, they can’t miss your point!

Especially in longer academic writing, there can be so many pieces to an argument that it can be hard for readers to keep track of your overarching point. A thesis hammers the point home so that no matter how long or complicated your argument is, the reader will always know what you’re saying.

Tmesis is a rhetorical device that breaks up a word, phrase, or sentence with a second word, usually for emphasis and rhythm . We often do this with expletives, but tmesis doesn’t have to be vulgar to be effective!

Take this example from Romeo and Juliet :

“This is not Romeo, he’s some other where.”

The normal way we’d hear this phrase is “This is not Romeo, he’s somewhere else.” But by inserting the word ‘other’ between ‘some’ and ‘where,’ it not only forces us to pay attention, but also changes the sentence’s rhythm. It gets the meaning across perfectly, and does so in a way that’s far more memorable than if Shakespeare had just said that Romeo was somewhere else.

For a more common usage, we can turn to George Bernard Shaw’s Pygmalion , which often has Eliza Doolittle using phrases like “fan-bloody-tastic” and “abso-blooming-lutely.” The expletives—though mild by modern standards—emphasize Eliza’s social standing and make each word stand out more than if she had simply said them normally.

What’s Next?

Rhetorical devices and literary devices can both be used to enhance your writing and communication. Check out this list of literary devices to learn more !

Ethos, pathos, logos, and kairos are all modes of persuasion—types of rhetorical devices— that can help you be a more convincing writer !

No matter what type of writing you're doing, rhetorical devices can enhance it! To learn more about different writing styles, check out this list !

Melissa Brinks graduated from the University of Washington in 2014 with a Bachelor's in English with a creative writing emphasis. She has spent several years tutoring K-12 students in many subjects, including in SAT prep, to help them prepare for their college education.

Ask a Question Below

Have any questions about this article or other topics? Ask below and we'll reply!

Improve With Our Famous Guides

• For All Students

The 5 Strategies You Must Be Using to Improve 160+ SAT Points

How to Get a Perfect 1600, by a Perfect Scorer

Series: How to Get 800 on Each SAT Section:

Score 800 on SAT Math

Score 800 on SAT Reading

Score 800 on SAT Writing

Series: How to Get to 600 on Each SAT Section:

Score 600 on SAT Math

Score 600 on SAT Reading

Score 600 on SAT Writing

Free Complete Official SAT Practice Tests

What SAT Target Score Should You Be Aiming For?

15 Strategies to Improve Your SAT Essay

The 5 Strategies You Must Be Using to Improve 4+ ACT Points

How to Get a Perfect 36 ACT, by a Perfect Scorer

Series: How to Get 36 on Each ACT Section:

36 on ACT English

36 on ACT Math

36 on ACT Reading

36 on ACT Science

Series: How to Get to 24 on Each ACT Section:

24 on ACT English

24 on ACT Math

24 on ACT Reading

24 on ACT Science

What ACT target score should you be aiming for?

ACT Vocabulary You Must Know

ACT Writing: 15 Tips to Raise Your Essay Score

How to Get Into Harvard and the Ivy League

How to Get a Perfect 4.0 GPA

How to Write an Amazing College Essay

What Exactly Are Colleges Looking For?

Is the ACT easier than the SAT? A Comprehensive Guide

Should you retake your SAT or ACT?

When should you take the SAT or ACT?

Stay Informed

Get the latest articles and test prep tips!

Looking for Graduate School Test Prep?

Check out our top-rated graduate blogs here:

GRE Online Prep Blog

GMAT Online Prep Blog

TOEFL Online Prep Blog

Holly R. "I am absolutely overjoyed and cannot thank you enough for helping me!”

31 Useful Rhetorical Devices

What is a rhetorical device and why are they used.

As with all fields of serious and complicated human endeavor (that can be considered variously as an art, a science, a profession, or a hobby), there is a technical vocabulary associated with writing. Rhetoric is the name for the study of writing or speaking as a means of communication or persuasion, and though a writer doesn’t need to know the specific labels for certain writing techniques in order to use them effectively, it is sometimes helpful to have a handy taxonomy for the ways in which words and ideas are arranged. This can help to discuss and isolate ideas that might otherwise become abstract and confusing. As with the word rhetoric itself, many of these rhetorical devices come from Greek.

Ready, set, rhetoric.

The repetition of usually initial consonant sounds in two or more neighboring words or syllables

wild and woolly, threatening throngs

Syntactical inconsistency or incoherence within a sentence especially : a shift in an unfinished sentence from one syntactic construction to another

you really should have—well, what do you expect?

Repetition of a prominent and usually the last word in one phrase or clause at the beginning of the next

rely on his honor—honor such as his?

A literary technique that involves interruption of the chronological sequence of events by interjection of events or scenes of earlier occurrence : flashback

Repetition of a word or expression at the beginning of successive phrases, clauses, sentences, or verses especially for rhetorical or poetic effect

we cannot dedicate—we cannot consecrate—we cannot hallow—this ground

The repetition of a word within a phrase or sentence in which the second occurrence utilizes a different and sometimes contrary meaning from the first

we must all hang together or most assuredly we shall all hang separately

The usually ironic or humorous use of words in senses opposite to the generally accepted meanings

this giant of 3 feet 4 inches

The use of a proper name to designate a member of a class (such as a Solomon for a wise ruler) OR the use of an epithet or title in place of a proper name (such as the Bard for Shakespeare)

The raising of an issue by claiming not to mention it

we won't discuss his past crimes

An expression of real or pretended doubt or uncertainty especially for rhetorical effect

to be, or not to be: that is the question

Harshness in the sound of words or phrases

An inverted relationship between the syntactic elements of parallel phrases

working hard, or hardly working?

A disjunctive conclusion inferred from a single premise

gravitation may act without contact; therefore, either some force may act without contact or gravitation is not a force

The substitution of a disagreeable, offensive, or disparaging expression for an agreeable or inoffensive one

greasy spoon is a dysphemism for the word diner

Repetition of a word or expression at the end of successive phrases, clauses, sentences, or verses especially for rhetorical or poetic effect

of the people, by the people, for the people

Emphatic repetition [ this definition is taken from the 1934 edition of Webster's Unabridged dictionary ]

An interchange of two elements in a phrase or sentence from a more logical to a less logical relationship

you are lost to joy for joy is lost to you

A transposition or inversion of idiomatic word order

judge me by my size, do you?

Extravagant exaggeration

mile-high ice-cream cones

The putting or answering of an objection or argument against the speaker's contention [ this definition is taken from the 1934 edition of Webster's Unabridged dictionary ]

Understatement in which an affirmative is expressed by the negative of the contrary

not a bad singer

The presentation of a thing with underemphasis especially in order to achieve a greater effect : UNDERSTATEMENT

A figure of speech in which a word or phrase literally denoting one kind of object or idea is used in place of another to suggest a likeness or analogy between them ( Metaphor vs. Simile )

drowning in money

A figure of speech consisting of the use of the name of one thing for that of another of which it is an attribute or with which it is associated

crown as used in lands belonging to the crown

The naming of a thing or action by a vocal imitation of the sound associated with it

A combination of contradictory or incongruous words

cruel kindness

The use of more words than those necessary to denote mere sense : REDUNDANCY

I saw it with my own eyes

A figure of speech comparing two unlike things that is often introduced by "like" or "as"

cheeks like roses

The use of a word in the same grammatical relation to two adjacent words in the context with one literal and the other metaphorical in sense

she blew my nose and then she blew my mind

A figure of speech by which a part is put for the whole (such as fifty sail for fifty ships ), the whole for a part (such as society for high society ), the species for the genus (such as cutthroat for assassin ), the genus for the species (such as a creature for a man ), or the name of the material for the thing made (such as boards for stage )

The use of a word to modify or govern two or more words usually in such a manner that it applies to each in a different sense or makes sense with only one

opened the door and her heart to the homeless boy

MORE TO EXPLORE: Rhetorical Devices Used in Pop Songs

Word of the Day

See Definitions and Examples »

Get Word of the Day daily email!

Games & Quizzes

Usage Notes

Prepositions, ending a sentence with, 33 transition words and phrases, is 'irregardless' a real word, 8 more grammar terms you used to know: special verb edition, point of view: it's personal, grammar & usage, more words you always have to look up, 'fewer' and 'less', 7 pairs of commonly confused words, more commonly misspelled words, your vs. you're: how to use them correctly, great big list of beautiful and useless words, vol. 4, 9 other words for beautiful, why jaywalking is called jaywalking, the words of the week - may 24, flower etymologies for your spring garden.

• Literary Terms
• Rhetorical Device
• Definition & Examples
• When & How to Write a Rhetorical Device

I. What is a Rhetorical Device?

A rhetorical device is any language that helps an author or speaker achieve a particular purpose (usually  persuasion , since rhetoric is typically defined as the art of persuasion). But “rhetorical device” is an extremely broad term, and can include techniques for generating emotion, beauty, and spiritual significance as well as persuasion.

II. Examples of Rhetorical Devices

Hyperbole is a word- or sentence-level rhetorical device in which the author exaggerates a particular point for dramatic effect. For example:

Berlin was flattened during the bombing.

Because the city was not literally left flat, this is an exaggeration, and therefore hyperbole. But it still helps express the author’s main point, which is that the city of Berlin was very severely damaged.

Analogy is an important device in which the explains one thing by comparing it to another. At the sentence level, this might be as simple as saying “my cat’s fur is as white as a cloud .” But analogies can also function at much higher levels, including paragraphs and whole essays . For example, you might argue against war by drawing an extended analogy between the war on terrorism and World War 2. The success of the whole argument would depend entirely on how well you could persuade readers to accept the analogy!

The counterargument is the most important rhetorical device for college-level essays. A counterargument is a response to your own view – for example, if you’re arguing in favor of an idea, the counterargument is one that goes against that idea. In order to make your own argument perspective, you have to acknowledge, analyze, and answer these counterarguments.

III. Types of Rhetorical Devices

Because the term is so broad, there are countless ways to categorize rhetorical devices. For example, we might group them by function: e.g. persuasive devices, aesthetic devices (for creating beauty), or emotional devices. We could also group them according to the types of writing they belong to: e.g. poetry vs. essays.

The clearest way to categorize, though, is probably by scale: that is, what level of the writing does each device affect?

A. Word Level

Before we even get to full sentences, there are many rhetorical devices that operate at the level of individual words or groups of words. For example, the “metonym” is a rhetorical device in which a part stands in for the whole. For example, you might say that a ship is staffed with “twenty hands,” where each hand stands in for a full human being.

B. Sentence Level

Most rhetorical devices operate at the sentence level. They affect the meaning of a sentence, or a chunk of a sentence. For example, parallelism is an important rhetorical device in which different parts of a sentence have the same grammatical structure: “I am disgusted by your methods , but impressed with your results .” Notice how each underlined portion has the same pattern of adjective, preposition, pronoun, and plural noun.

C. Paragraph Level

Paragraph-level rhetorical techniques are especially important in essays, where they help to signal the structure of the argument. One example would be the topic sentence. Topic sentences open the paragraph and introduce its main idea, which is then supported and explained in the body of the paragraph. This is one of the most important techniques for structuring paragraphs effectively.

D. Structural Level

Some rhetorical devices cover the whole structure of a piece of writing. For example, the 5-paragraph essay is a rhetorical device that many people learn in high school for structuring their essays. The five paragraphs involve an introduction, 3 body paragraphs, and a conclusion. This structure is rejected by many college-level writing instructors (and thus may be thought of as a bad rhetorical device), but it’s a rhetorical device nonetheless.

IV. The Importance of Rhetorical Devices

Rhetorical devices are just like artistic techniques – they become popular because they work. For as long as human beings have been using language, we’ve been trying to persuade one another and evoke emotions. Over time, we’ve developed a huge variety of different techniques for achieving these effects, and the sum total of all such techniques is encapsulated in our modern lists of rhetorical techniques. Each rhetorical device has a different purpose, a different history, and a different effect!

V. Examples of Rhetorical Devices in Literature

“If we shadows have offended , think but this and all is mended : that you have but slumbered here while these visions did appear .” (Shakespeare, A Midsummer Night’s Dream )

This famous quote, like many of Shakespeare’s lines, employs rhyme and meter, the two most basic rhetorical devices in verse. Although not all poetry has rhyme or meter, most classical poems do, and these rhetorical devices were probably important in helping poets memorize their works and sing them in front of audiences.

The dialogue form is an important structural device used in philosophy and religious scriptures for thousands of years. By putting different arguments in the mouths of different characters , philosophers can present their readers with a broader range of possible views, thus bringing more nuance into the conversation. This device also allows philosophers to make their own arguments more persuasive by responding to the various counterarguments presented by characters in the dialogue.

VI. Examples of Rhetorical Devices in Popular Culture

(adsbygoogle = window.adsbygoogle || []).push({}); “Ah, yes – Zorro! And where is he now, padre? Your masked friend? He hasn’t shown himself in 20 years!” (Don Rafael, The Mask of Zorro )

A rhetorical question is a question that the audience is not supposed to answer – either because the answer is obvious, or because the speaker is about to answer it for them. It’s one of the most common techniques in oratory (speeches) and essays. In this case, Don Rafael is using a rhetorical question to undermine the crowd’s confidence in Zorro, their legendary defender.

“The microphone explodes, || shattering the mold.” (Rage Against the Machine, Bulls on Parade )

The two vertical lines (||) represent a caesura , or pause. This is a common rhetorical device in poetry, but is also found in music. In the recording of the song, there’s a beat’s pause in between “explodes” and “shattering.”

VII. Related Terms

Rhetoric is the art of persuasion, either through speaking or writing. In ancient Greece, the concept of rhetoric was given huge cultural importance, and philosophers like Aristotle wrote whole books on rhetoric and the techniques of convincing others.

Today, people sometimes view rhetoric in a negative light (as when someone says of a politician’s speech that it was “all rhetoric and no substance”). But this is a shame, since we are very much in need of leaders who have mastered the art of persuasive reasoning and respectful argumentation. Rhetoric has fallen from its former place of honor, and perhaps this explains the lack of productive dialogue in our political arena, driven as it is by sound bites and personal attacks.

Figure of Speech

When a rhetorical device departs from literal truth, this is called a “figure of speech.” The most common figure of speech is a metaphor, in which one thing stands for another (e.g. “he unleashed a hurricane of criticism”). However, many rhetorical devices employ literal truth and therefore should not be thought of as figures of speech.

List of Terms

• Alliteration
• Amplification
• Anachronism
• Anthropomorphism
• Antonomasia
• APA Citation
• Aposiopesis
• Autobiography
• Bildungsroman
• Characterization
• Circumlocution
• Cliffhanger
• Comic Relief
• Connotation
• Deus ex machina
• Deuteragonist
• Doppelganger
• Double Entendre
• Dramatic irony
• Equivocation
• Extended Metaphor
• Figures of Speech
• Flash-forward
• Foreshadowing
• Intertextuality
• Juxtaposition
• Literary Device
• Malapropism
• Onomatopoeia
• Parallelism
• Pathetic Fallacy
• Personification
• Point of View
• Polysyndeton
• Protagonist
• Red Herring
• Rhetorical Question
• Science Fiction
• Self-Fulfilling Prophecy
• Synesthesia
• Turning Point
• Understatement
• Urban Legend
• Verisimilitude
• Essay Guide
• Cite This Website

9.5 Writing Process: Thinking Critically about Rhetoric

Learning outcomes.

By the end of this section, you will be able to:

• Develop a rhetorical analysis through multiple drafts.
• Identify and analyze rhetorical strategies in a rhetorical analysis.
• Demonstrate flexible strategies for generating ideas, drafting, reviewing, collaborating, revising, rewriting, and editing.
• Give and act on productive feedback for works in progress.

The ability to think critically about rhetoric is a skill you will use in many of your classes, in your work, and in your life to gain insight from the way a text is written and organized. You will often be asked to explain or to express an opinion about what someone else has communicated and how that person has done so, especially if you take an active interest in politics and government. Like Eliana Evans in the previous section, you will develop similar analyses of written works to help others understand how a writer or speaker may be trying to reach them.

Summary of Assignment: Rhetorical Analysis

The assignment is to write a rhetorical analysis of a piece of persuasive writing. It can be an editorial, a movie or book review, an essay, a chapter in a book, or a letter to the editor. For your rhetorical analysis, you will need to consider the rhetorical situation—subject, author, purpose, context, audience, and culture—and the strategies the author uses in creating the argument. Back up all your claims with evidence from the text. In preparing your analysis, consider these questions:

• What is the subject? Be sure to distinguish what the piece is about.
• Who is the writer, and what do you know about them? Be sure you know whether the writer is considered objective or has a particular agenda.
• Who are the readers? What do you know or what can you find out about them as the particular audience to be addressed at this moment?
• What is the purpose or aim of this work? What does the author hope to achieve?
• What are the time/space/place considerations and influences of the writer? What can you know about the writer and the full context in which they are writing?
• What specific techniques has the writer used to make their points? Are these techniques successful, unsuccessful, or questionable?

For this assignment, read the following opinion piece by Octavio Peterson, printed in his local newspaper. You may choose it as the text you will analyze, continuing the analysis on your own, or you may refer to it as a sample as you work on another text of your choosing. Your instructor may suggest presidential or other political speeches, which make good subjects for rhetorical analysis.

When you have read the piece by Peterson advocating for the need to continue teaching foreign languages in schools, reflect carefully on the impact the letter has had on you. You are not expected to agree or disagree with it. Instead, focus on the rhetoric—the way Peterson uses language to make his point and convince you of the validity of his argument.

Another Lens. Consider presenting your rhetorical analysis in a multimodal format. Use a blogging site or platform such as WordPress or Tumblr to explore the blogging genre, which includes video clips, images, hyperlinks, and other media to further your discussion. Because this genre is less formal than written text, your tone can be conversational. However, you still will be required to provide the same kind of analysis that you would in a traditional essay. The same materials will be at your disposal for making appeals to persuade your readers. Rhetorical analysis in a blog may be a new forum for the exchange of ideas that retains the basics of more formal communication. When you have completed your work, share it with a small group or the rest of the class. See Multimodal and Online Writing: Creative Interaction between Text and Image for more about creating a multimodal composition.

Quick Launch: Start with a Thesis Statement

After you have read this opinion piece, or another of your choice, several times and have a clear understanding of it as a piece of rhetoric, consider whether the writer has succeeded in being persuasive. You might find that in some ways they have and in others they have not. Then, with a clear understanding of your purpose—to analyze how the writer seeks to persuade—you can start framing a thesis statement : a declarative sentence that states the topic, the angle you are taking, and the aspects of the topic the rest of the paper will support.

Complete the following sentence frames as you prepare to start:

• The subject of my rhetorical analysis is ________.
• My goal is to ________, not necessarily to ________.
• The writer’s main point is ________.
• I believe the writer has succeeded (or not) because ________.
• I believe the writer has succeeded in ________ (name the part or parts) but not in ________ (name the part or parts).
• The writer’s strongest (or weakest) point is ________, which they present by ________.

Drafting: Text Evidence and Analysis of Effect

As you begin to draft your rhetorical analysis, remember that you are giving your opinion on the author’s use of language. For example, Peterson has made a decision about the teaching of foreign languages, something readers of the newspaper might have different views on. In other words, there is room for debate and persuasion.

The context of the situation in which Peterson finds himself may well be more complex than he discusses. In the same way, the context of the piece you choose to analyze may also be more complex. For example, perhaps Greendale is facing an economic crisis and must pare its budget for educational spending and public works. It’s also possible that elected officials have made budget cuts for education a part of their platform or that school buildings have been found obsolete for safety measures. On the other hand, maybe a foreign company will come to town only if more Spanish speakers can be found locally. These factors would play a part in a real situation, and rhetoric would reflect that. If applicable, consider such possibilities regarding the subject of your analysis. Here, however, these factors are unknown and thus do not enter into the analysis.

Introduction

One effective way to begin a rhetorical analysis is by using an anecdote, as Eliana Evans has done. For a rhetorical analysis of the opinion piece, a writer might consider an anecdote about a person who was in a situation in which knowing another language was important or not important. If they begin with an anecdote, the next part of the introduction should contain the following information:

• Author’s name and position, or other qualification to establish ethos
• Title of work and genre
• Author’s thesis statement or stance taken (“Peterson argues that . . .”)
• Brief introductory explanation of how the author develops and supports the thesis or stance
• If relevant, a brief summary of context and culture

Once the context and situation for the analysis are clear, move directly to your thesis statement. In this case, your thesis statement will be your opinion of how successful the author has been in achieving the established goal through the use of rhetorical strategies. Read the sentences in Table 9.1 , and decide which would make the best thesis statement. Explain your reasoning in the right-hand column of this or a similar chart.

The introductory paragraph or paragraphs should serve to move the reader into the body of the analysis and signal what will follow.

Your next step is to start supporting your thesis statement—that is, how Octavio Peterson, or the writer of your choice, does or does not succeed in persuading readers. To accomplish this purpose, you need to look closely at the rhetorical strategies the writer uses.

First, list the rhetorical strategies you notice while reading the text, and note where they appear. Keep in mind that you do not need to include every strategy the text contains, only those essential ones that emphasize or support the central argument and those that may seem fallacious. You may add other strategies as well. The first example in Table 9.2 has been filled in.

When you have completed your list, consider how to structure your analysis. You will have to decide which of the writer’s statements are most effective. The strongest point would be a good place to begin; conversely, you could begin with the writer’s weakest point if that suits your purposes better. The most obvious organizational structure is one of the following:

• Go through the composition paragraph by paragraph and analyze its rhetorical content, focusing on the strategies that support the writer’s thesis statement.
• Address key rhetorical strategies individually, and show how the author has used them.

As you read the next few paragraphs, consult Table 9.3 for a visual plan of your rhetorical analysis. Your first body paragraph is the first of the analytical paragraphs. Here, too, you have options for organizing. You might begin by stating the writer’s strongest point. For example, you could emphasize that Peterson appeals to ethos by speaking personally to readers as fellow citizens and providing his credentials to establish credibility as someone trustworthy with their interests at heart.

Following this point, your next one can focus, for instance, on Peterson’s view that cutting foreign language instruction is a danger to the education of Greendale’s children. The points that follow support this argument, and you can track his rhetoric as he does so.

You may then use the second or third body paragraph, connected by a transition, to discuss Peterson’s appeal to logos. One possible transition might read, “To back up his assertion that omitting foreign languages is detrimental to education, Peterson provides examples and statistics.” Locate examples and quotes from the text as needed. You can discuss how, in citing these statistics, Peterson uses logos as a key rhetorical strategy.

In another paragraph, focus on other rhetorical elements, such as parallelism, repetition, and rhetorical questions. Moreover, be sure to indicate whether the writer acknowledges counterclaims and whether they are accepted or ultimately rejected.

The question of other factors at work in Greendale regarding finances, or similar factors in another setting, may be useful to mention here if they exist. As you continue, however, keep returning to your list of rhetorical strategies and explaining them. Even if some appear less important, they should be noted to show that you recognize how the writer is using language. You will likely have a minimum of four body paragraphs, but you may well have six or seven or even more, depending on the work you are analyzing.

In your final body paragraph, you might discuss the argument that Peterson, for example, has made by appealing to readers’ emotions. His calls for solidarity at the end of the letter provide a possible solution to his concern that the foreign language curriculum “might vanish like a puff of smoke.”

Use Table 9.3 to organize your rhetorical analysis. Be sure that each paragraph has a topic sentence and that you use transitions to flow smoothly from one idea to the next.

As you conclude your essay, your own logic in discussing the writer’s argument will make it clear whether you have found their claims convincing. Your opinion, as framed in your conclusion, may restate your thesis statement in different words, or you may choose to reveal your thesis at this point. The real function of the conclusion is to confirm your evaluation and show that you understand the use of the language and the effectiveness of the argument.

In your analysis, note that objections could be raised because Peterson, for example, speaks only for himself. You may speculate about whether the next edition of the newspaper will feature an opposing opinion piece from someone who disagrees. However, it is not necessary to provide answers to questions you raise here. Your conclusion should summarize briefly how the writer has made, or failed to make, a forceful argument that may require further debate.

For more guidance on writing a rhetorical analysis, visit the Illinois Writers Workshop website or watch this tutorial .

Peer Review: Guidelines toward Revision and the “Golden Rule”

Now that you have a working draft, your next step is to engage in peer review, an important part of the writing process. Often, others can identify things you have missed or can ask you to clarify statements that may be clear to you but not to others. For your peer review, follow these steps and make use of Table 9.4 .

• Quickly skim through your peer’s rhetorical analysis draft once, and then ask yourself, What is the main point or argument of my peer’s work?
• Highlight, underline, or otherwise make note of statements or instances in the paper where you think your peer has made their main point.
• Look at the draft again, this time reading it closely.
• Ask yourself the following questions, and comment on the peer review sheet as shown.

The Golden Rule

An important part of the peer review process is to keep in mind the familiar wisdom of the “Golden Rule”: treat others as you would have them treat you. This foundational approach to human relations extends to commenting on others’ work. Like your peers, you are in the same situation of needing opinion and guidance. Whatever you have written will seem satisfactory or better to you because you have written it and know what you mean to say.

However, your peers have the advantage of distance from the work you have written and can see it through their own eyes. Likewise, if you approach your peer’s work fairly and free of personal bias, you’re likely to be more constructive in finding parts of their writing that need revision. Most important, though, is to make suggestions tactfully and considerately, in the spirit of helping, not degrading someone’s work. You and your peers may be reluctant to share your work, but if everyone approaches the review process with these ideas in mind, everyone will benefit from the opportunity to provide and act on sincerely offered suggestions.

Revising: Staying Open to Feedback and Working with It

Once the peer review process is complete, your next step is to revise the first draft by incorporating suggestions and making changes on your own. Consider some of these potential issues when incorporating peers’ revisions and rethinking your own work.

• Too much summarizing rather than analyzing
• Too much informal language or an unintentional mix of casual and formal language
• Too few, too many, or inappropriate transitions
• Illogical or unclear sequence of information
• Insufficient evidence to support main ideas effectively
• Too many generalities rather than specific facts, maybe from trying to do too much in too little time

In any case, revising a draft is a necessary step to produce a final work. Rarely will even a professional writer arrive at the best point in a single draft. In other words, it’s seldom a problem if your first draft needs refocusing. However, it may become a problem if you don’t address it. The best way to shape a wandering piece of writing is to return to it, reread it, slow it down, take it apart, and build it back up again. Approach first-draft writing for what it is: a warm-up or rehearsal for a final performance.

Suggestions for Revising

When revising, be sure your thesis statement is clear and fulfills your purpose. Verify that you have abundant supporting evidence and that details are consistently on topic and relevant to your position. Just before arriving at the conclusion, be sure you have prepared a logical ending. The concluding statement should be strong and should not present any new points. Rather, it should grow out of what has already been said and return, in some degree, to the thesis statement. In the example of Octavio Peterson, his purpose was to persuade readers that teaching foreign languages in schools in Greendale should continue; therefore, the conclusion can confirm that Peterson achieved, did not achieve, or partially achieved his aim.

When revising, make sure the larger elements of the piece are as you want them to be before you revise individual sentences and make smaller changes. If you make small changes first, they might not fit well with the big picture later on.

One approach to big-picture revising is to check the organization as you move from paragraph to paragraph. You can list each paragraph and check that its content relates to the purpose and thesis statement. Each paragraph should have one main point and be self-contained in showing how the rhetorical devices used in the text strengthen (or fail to strengthen) the argument and the writer’s ability to persuade. Be sure your paragraphs flow logically from one to the other without distracting gaps or inconsistencies.

As an Amazon Associate we earn from qualifying purchases.

This book may not be used in the training of large language models or otherwise be ingested into large language models or generative AI offerings without OpenStax's permission.

Want to cite, share, or modify this book? This book uses the Creative Commons Attribution License and you must attribute OpenStax.

Access for free at https://openstax.org/books/writing-guide/pages/1-unit-introduction

• Authors: Michelle Bachelor Robinson, Maria Jerskey, featuring Toby Fulwiler
• Publisher/website: OpenStax
• Book title: Writing Guide with Handbook
• Publication date: Dec 21, 2021
• Location: Houston, Texas
• Book URL: https://openstax.org/books/writing-guide/pages/1-unit-introduction
• Section URL: https://openstax.org/books/writing-guide/pages/9-5-writing-process-thinking-critically-about-rhetoric

© Dec 19, 2023 OpenStax. Textbook content produced by OpenStax is licensed under a Creative Commons Attribution License . The OpenStax name, OpenStax logo, OpenStax book covers, OpenStax CNX name, and OpenStax CNX logo are not subject to the Creative Commons license and may not be reproduced without the prior and express written consent of Rice University.

• Features for Creative Writers
• Features for Work
• Features for Higher Education
• Features for Teachers
• Features for Non-Native Speakers
• Learn Blog Grammar Guide Community Events FAQ
• Grammar Guide

What Is a Rhetorical Analysis and How to Write a Great One

Helly Douglas

Do you have to write a rhetorical analysis essay? Fear not! We’re here to explain exactly what rhetorical analysis means, how you should structure your essay, and give you some essential “dos and don’ts.”

What is a Rhetorical Analysis Essay?

How do you write a rhetorical analysis, what are the three rhetorical strategies, what are the five rhetorical situations, how to plan a rhetorical analysis essay, creating a rhetorical analysis essay, examples of great rhetorical analysis essays, final thoughts.

A rhetorical analysis essay studies how writers and speakers have used words to influence their audience. Think less about the words the author has used and more about the techniques they employ, their goals, and the effect this has on the audience.

In your analysis essay, you break a piece of text (including cartoons, adverts, and speeches) into sections and explain how each part works to persuade, inform, or entertain. You’ll explore the effectiveness of the techniques used, how the argument has been constructed, and give examples from the text.

A strong rhetorical analysis evaluates a text rather than just describes the techniques used. You don’t include whether you personally agree or disagree with the argument.

Structure a rhetorical analysis in the same way as most other types of academic essays . You’ll have an introduction to present your thesis, a main body where you analyze the text, which then leads to a conclusion.

Think about how the writer (also known as a rhetor) considers the situation that frames their communication:

• Topic: the overall purpose of the rhetoric
• Audience: this includes primary, secondary, and tertiary audiences
• Purpose: there are often more than one to consider
• Context and culture: the wider situation within which the rhetoric is placed

Back in the 4th century BC, Aristotle was talking about how language can be used as a means of persuasion. He described three principal forms —Ethos, Logos, and Pathos—often referred to as the Rhetorical Triangle . These persuasive techniques are still used today.

Rhetorical Strategy 1: Ethos

Are you more likely to buy a car from an established company that’s been an important part of your community for 50 years, or someone new who just started their business?

Reputation matters. Ethos explores how the character, disposition, and fundamental values of the author create appeal, along with their expertise and knowledge in the subject area.

Aristotle breaks ethos down into three further categories:

• Phronesis: skills and practical wisdom
• Arete: virtue
• Eunoia: goodwill towards the audience

Ethos-driven speeches and text rely on the reputation of the author. In your analysis, you can look at how the writer establishes ethos through both direct and indirect means.

Rhetorical Strategy 2: Pathos

Pathos-driven rhetoric hooks into our emotions. You’ll often see it used in advertisements, particularly by charities wanting you to donate money towards an appeal.

Common use of pathos includes:

• Vivid description so the reader can imagine themselves in the situation
• Personal stories to create feelings of empathy
• Emotional vocabulary that evokes a response

By using pathos to make the audience feel a particular emotion, the author can persuade them that the argument they’re making is compelling.

Rhetorical Strategy 3: Logos

Logos uses logic or reason. It’s commonly used in academic writing when arguments are created using evidence and reasoning rather than an emotional response. It’s constructed in a step-by-step approach that builds methodically to create a powerful effect upon the reader.

Rhetoric can use any one of these three techniques, but effective arguments often appeal to all three elements.

The rhetorical situation explains the circumstances behind and around a piece of rhetoric. It helps you think about why a text exists, its purpose, and how it’s carried out.

The rhetorical situations are:

• 1) Purpose: Why is this being written? (It could be trying to inform, persuade, instruct, or entertain.)
• 2) Audience: Which groups or individuals will read and take action (or have done so in the past)?
• 3) Genre: What type of writing is this?
• 4) Stance: What is the tone of the text? What position are they taking?
• 5) Media/Visuals: What means of communication are used?

Understanding and analyzing the rhetorical situation is essential for building a strong essay. Also think about any rhetoric restraints on the text, such as beliefs, attitudes, and traditions that could affect the author's decisions.

Before leaping into your essay, it’s worth taking time to explore the text at a deeper level and considering the rhetorical situations we looked at before. Throw away your assumptions and use these simple questions to help you unpick how and why the text is having an effect on the audience.

1: What is the Rhetorical Situation?

• Why is there a need or opportunity for persuasion?
• How do words and references help you identify the time and location?
• What are the rhetoric restraints?
• What historical occasions would lead to this text being created?

2: Who is the Author?

• How do they position themselves as an expert worth listening to?
• What is their ethos?
• Do they have a reputation that gives them authority?
• What is their intention?
• What values or customs do they have?

3: Who is it Written For?

• Who is the intended audience?
• How is this appealing to this particular audience?
• Who are the possible secondary and tertiary audiences?

4: What is the Central Idea?

• Can you summarize the key point of this rhetoric?
• What arguments are used?
• How has it developed a line of reasoning?

5: How is it Structured?

• What structure is used?
• How is the content arranged within the structure?

6: What Form is Used?

• Does this follow a specific literary genre?
• What type of style and tone is used, and why is this?
• Does the form used complement the content?
• What effect could this form have on the audience?

7: Is the Rhetoric Effective?

• Does the content fulfil the author’s intentions?
• Does the message effectively fit the audience, location, and time period?

Once you’ve fully explored the text, you’ll have a better understanding of the impact it’s having on the audience and feel more confident about writing your essay outline.

A great essay starts with an interesting topic. Choose carefully so you’re personally invested in the subject and familiar with it rather than just following trending topics. There are lots of great ideas on this blog post by My Perfect Words if you need some inspiration. Take some time to do background research to ensure your topic offers good analysis opportunities.

Remember to check the information given to you by your professor so you follow their preferred style guidelines. This outline example gives you a general idea of a format to follow, but there will likely be specific requests about layout and content in your course handbook. It’s always worth asking your institution if you’re unsure.

Make notes for each section of your essay before you write. This makes it easy for you to write a well-structured text that flows naturally to a conclusion. You will develop each note into a paragraph. Look at this example by College Essay for useful ideas about the structure.

1: Introduction

This is a short, informative section that shows you understand the purpose of the text. It tempts the reader to find out more by mentioning what will come in the main body of your essay.

• Name the author of the text and the title of their work followed by the date in parentheses
• Use a verb to describe what the author does, e.g. “implies,” “asserts,” or “claims”
• Briefly summarize the text in your own words
• Mention the persuasive techniques used by the rhetor and its effect

Create a thesis statement to come at the end of your introduction.

After your introduction, move on to your critical analysis. This is the principal part of your essay.

• Explain the methods used by the author to inform, entertain, and/or persuade the audience using Aristotle's rhetorical triangle
• Use quotations to prove the statements you make
• Explain why the writer used this approach and how successful it is
• Consider how it makes the audience feel and react

Make each strategy a new paragraph rather than cramming them together, and always use proper citations. Check back to your course handbook if you’re unsure which citation style is preferred.

3: Conclusion

Your conclusion should summarize the points you’ve made in the main body of your essay. While you will draw the points together, this is not the place to introduce new information you’ve not previously mentioned.

Use your last sentence to share a powerful concluding statement that talks about the impact the text has on the audience(s) and wider society. How have its strategies helped to shape history?

Before You Submit

Poor spelling and grammatical errors ruin a great essay. Use ProWritingAid to check through your finished essay before you submit. It will pick up all the minor errors you’ve missed and help you give your essay a final polish. Look at this useful ProWritingAid webinar for further ideas to help you significantly improve your essays. Sign up for a free trial today and start editing your essays!

You’ll find countless examples of rhetorical analysis online, but they range widely in quality. Your institution may have example essays they can share with you to show you exactly what they’re looking for.

The following links should give you a good starting point if you’re looking for ideas:

Pearson Canada has a range of good examples. Look at how embedded quotations are used to prove the points being made. The end questions help you unpick how successful each essay is.

Excelsior College has an excellent sample essay complete with useful comments highlighting the techniques used.

Brighton Online has a selection of interesting essays to look at. In this specific example, consider how wider reading has deepened the exploration of the text.

Writing a rhetorical analysis essay can seem daunting, but spending significant time deeply analyzing the text before you write will make it far more achievable and result in a better-quality essay overall.

It can take some time to write a good essay. Aim to complete it well before the deadline so you don’t feel rushed. Use ProWritingAid’s comprehensive checks to find any errors and make changes to improve readability. Then you’ll be ready to submit your finished essay, knowing it’s as good as you can possibly make it.

Try ProWritingAid's Editor for Yourself

Be confident about grammar

Check every email, essay, or story for grammar mistakes. Fix them before you press send.

Helly Douglas is a UK writer and teacher, specialising in education, children, and parenting. She loves making the complex seem simple through blogs, articles, and curriculum content. You can check out her work at hellydouglas.com or connect on Twitter @hellydouglas. When she’s not writing, you will find her in a classroom, being a mum or battling against the wilderness of her garden—the garden is winning!

Get started with ProWritingAid

Drop us a line or let's stay in touch via :

• Affiliate Program

• UNITED STATES
• 台灣 (TAIWAN)
• TÜRKIYE (TURKEY)
• Academic Editing Services
• - Research Paper
• - Journal Manuscript
• - Dissertation
• - College & University Assignments
• Admissions Editing Services
• - Application Essay
• - Personal Statement
• - Recommendation Letter
• - Cover Letter
• - CV/Resume
• Business Editing Services
• - Business Documents
• - Report & Brochure
• - Website & Blog
• Writer Editing Services
• - Script & Screenplay
• Our Editors
• Client Reviews
• Editing & Proofreading Prices
• Wordvice Points
• Partner Discount
• Plagiarism Checker
• APA Citation Generator
• MLA Citation Generator
• Chicago Citation Generator
• Vancouver Citation Generator
• - APA Style
• - MLA Style
• - Chicago Style
• - Vancouver Style
• Writing & Editing Guide
• Academic Resources
• Admissions Resources

How to Write a Rhetorical Analysis Essay–Examples & Template

What is a Rhetorical Analysis Essay?

A rhetorical analysis essay is, as the name suggests, an analysis of someone else’s writing (or speech, or advert, or even cartoon) and how they use not only words but also rhetorical techniques to influence their audience in a certain way. A rhetorical analysis is less interested in what the author is saying and more in how they present it, what effect this has on their readers, whether they achieve their goals, and what approach they use to get there. 

Its structure is similar to that of most essays: An Introduction presents your thesis, a Body analyzes the text you have chosen, breaks it down into sections and explains how arguments have been constructed and how each part persuades, informs, or entertains the reader, and a Conclusion section sums up your evaluation. 

Note that your personal opinion on the matter is not relevant for your analysis and that you don’t state anywhere in your essay whether you agree or disagree with the stance the author takes.

In the following, we will define the key rhetorical concepts you need to write a good rhetorical analysis and give you some practical tips on where to start.

Key Rhetorical Concepts

Your goal when writing a rhetorical analysis is to think about and then carefully describe how the author has designed their text so that it has the intended effect on their audience. To do that, you need to consider a number of key rhetorical strategies: Rhetorical appeals (“Ethos”, “Logos”, and “Pathos”), context, as well as claims, supports, and warrants.

Ethos, Logos, and Pathos were introduced by Aristotle, way back in the 4th century BC, as the main ways in which language can be used to persuade an audience. They still represent the basis of any rhetorical analysis and are often referred to as the “rhetorical triangle”. 

These and other rhetorical techniques can all be combined to create the intended effect, and your job as the one analyzing a text is to break the writer’s arguments down and identify the concepts they are based on.

Rhetorical Appeals

Rhetorical appeal #1: ethos.

Ethos refers to the reputation or authority of the writer regarding the topic of their essay or speech and to how they use this to appeal to their audience. Just like we are more likely to buy a product from a brand or vendor we have confidence in than one we don’t know or have reason to distrust, Ethos-driven texts or speeches rely on the reputation of the author to persuade the reader or listener. When you analyze an essay, you should therefore look at how the writer establishes Ethos through rhetorical devices.

Does the author present themselves as an authority on their subject? If so, how? 

Do they highlight how impeccable their own behavior is to make a moral argument? 

Do they present themselves as an expert by listing their qualifications or experience to convince the reader of their opinion on something?

Rhetorical appeal #2: Pathos

The purpose of Pathos-driven rhetoric is to appeal to the reader’s emotions. A common example of pathos as a rhetorical means is adverts by charities that try to make you donate money to a “good cause”. To evoke the intended emotions in the reader, an author may use passionate language, tell personal stories, and employ vivid imagery so that the reader can imagine themselves in a certain situation and feel empathy with or anger towards others.

Rhetorical appeal #3: Logos

Logos, the “logical” appeal, uses reason to persuade. Reason and logic, supported by data, evidence, clearly defined methodology, and well-constructed arguments, are what most academic writing is based on. Emotions, those of the researcher/writer as well as those of the reader, should stay out of such academic texts, as should anyone’s reputation, beliefs, or personal opinions. 

Text and Context

To analyze a piece of writing, a speech, an advertisement, or even a satirical drawing, you need to look beyond the piece of communication and take the context in which it was created and/or published into account. 

Who is the person who wrote the text/drew the cartoon/designed the ad..? What audience are they trying to reach? Where was the piece published and what was happening there around that time? 

A political speech, for example, can be powerful even when read decades later, but the historical context surrounding it is an important aspect of the effect it was intended to have. 

Claims, Supports, and Warrants

To make any kind of argument, a writer needs to put forward specific claims, support them with data or evidence or even a moral or emotional appeal, and connect the dots logically so that the reader can follow along and agree with the points made.

The connections between statements, so-called “warrants”, follow logical reasoning but are not always clearly stated—the author simply assumes the reader understands the underlying logic, whether they present it “explicitly” or “implicitly”. Implicit warrants are commonly used in advertisements where seemingly happy people use certain products, wear certain clothes, accessories, or perfumes, or live certain lifestyles – with the connotation that, first, the product/perfume/lifestyle is what makes that person happy and, second, the reader wants to be as happy as the person in the ad. Some warrants are never clearly stated, and your job when writing a rhetorical analysis essay is therefore to identify them and bring them to light, to evaluate their validity, their effect on the reader, and the use of such means by the writer/creator. 

What are the Five Rhetorical Situations?

A “rhetorical situation” refers to the circumstance behind a text or other piece of communication that arises from a given context. It explains why a rhetorical piece was created, what its purpose is, and how it was constructed to achieve its aims.

Rhetorical situations can be classified into the following five categories:

Asking such questions when you analyze a text will help you identify all the aspects that play a role in the effect it has on its audience, and will allow you to evaluate whether it achieved its aims or where it may have failed to do so.

Rhetorical Analysis Essay Outline

Analyzing someone else’s work can seem like a big task, but as with every assignment or writing endeavor, you can break it down into smaller, well-defined steps that give you a practical structure to follow. 

To give you an example of how the different parts of your text may look when it’s finished, we will provide you with some excerpts from this rhetorical analysis essay example (which even includes helpful comments) published on the Online Writing Lab website of Excelsior University in Albany, NY. The text that this essay analyzes is this article on why one should or shouldn’t buy an Ipad. If you want more examples so that you can build your own rhetorical analysis template, have a look at this essay on Nabokov’s Lolita and the one provided here about the “Shitty First Drafts” chapter of Anne Lamott’s writing instruction book “Bird by Bird”.

Analyzing the Text

When writing a rhetorical analysis, you don’t choose the concepts or key points you think are relevant or want to address. Rather, you carefully read the text several times asking yourself questions like those listed in the last section on rhetorical situations to identify how the text “works” and how it was written to achieve that effect.

Start with focusing on the author : What do you think was their purpose for writing the text? Do they make one principal claim and then elaborate on that? Or do they discuss different topics? 

Then look at what audience they are talking to: Do they want to make a group of people take some action? Vote for someone? Donate money to a good cause? Who are these people? Is the text reaching this specific audience? Why or why not?

What tone is the author using to address their audience? Are they trying to evoke sympathy? Stir up anger? Are they writing from a personal perspective? Are they painting themselves as an authority on the topic? Are they using academic or informal language?

How does the author support their claims ? What kind of evidence are they presenting? Are they providing explicit or implicit warrants? Are these warrants valid or problematic? Is the provided evidence convincing?  

Asking yourself such questions will help you identify what rhetorical devices a text uses and how well they are put together to achieve a certain aim. Remember, your own opinion and whether you agree with the author are not the point of a rhetorical analysis essay – your task is simply to take the text apart and evaluate it.

If you are still confused about how to write a rhetorical analysis essay, just follow the steps outlined below to write the different parts of your rhetorical analysis: As every other essay, it consists of an Introduction , a Body (the actual analysis), and a Conclusion .

Rhetorical Analysis Introduction

The Introduction section briefly presents the topic of the essay you are analyzing, the author, their main claims, a short summary of the work by you, and your thesis statement . 

Tell the reader what the text you are going to analyze represents (e.g., historically) or why it is relevant (e.g., because it has become some kind of reference for how something is done). Describe what the author claims, asserts, or implies and what techniques they use to make their argument and persuade their audience. Finish off with your thesis statement that prepares the reader for what you are going to present in the next section – do you think that the author’s assumptions/claims/arguments were presented in a logical/appealing/powerful way and reached their audience as intended?

Have a look at an excerpt from the sample essay linked above to see what a rhetorical analysis introduction can look like. See how it introduces the author and article , the context in which it originally appeared , the main claims the author makes , and how this first paragraph ends in a clear thesis statement that the essay will then elaborate on in the following Body section:

Cory Doctorow ’s article on BoingBoing is an older review of the iPad , one of Apple’s most famous products. At the time of this article, however, the iPad was simply the latest Apple product to hit the market and was not yet so popular. Doctorow’s entire career has been entrenched in and around technology. He got his start as a CD-ROM programmer and is now a successful blogger and author. He is currently the co-editor of the BoingBoing blog on which this article was posted. One of his main points in this article comes from Doctorow’s passionate advocacy of free digital media sharing. He argues that the iPad is just another way for established technology companies to control our technological freedom and creativity . In “ Why I Won’t Buy an iPad (and Think You Shouldn’t, Either) ” published on Boing Boing in April of 2010, Cory Doctorow successfully uses his experience with technology, facts about the company Apple, and appeals to consumer needs to convince potential iPad buyers that Apple and its products, specifically the iPad, limit the digital rights of those who use them by controlling and mainstreaming the content that can be used and created on the device . 

Doing the Rhetorical Analysis

The main part of your analysis is the Body , where you dissect the text in detail. Explain what methods the author uses to inform, entertain, and/or persuade the audience. Use Aristotle’s rhetorical triangle and the other key concepts we introduced above. Use quotations from the essay to demonstrate what you mean. Work out why the writer used a certain approach and evaluate (and again, demonstrate using the text itself) how successful they were. Evaluate the effect of each rhetorical technique you identify on the audience and judge whether the effect is in line with the author’s intentions.

To make it easy for the reader to follow your thought process, divide this part of your essay into paragraphs that each focus on one strategy or one concept , and make sure they are all necessary and contribute to the development of your argument(s).

One paragraph of this section of your essay could, for example, look like this:

One example of Doctorow’s position is his comparison of Apple’s iStore to Wal-Mart. This is an appeal to the consumer’s logic—or an appeal to logos. Doctorow wants the reader to take his comparison and consider how an all-powerful corporation like the iStore will affect them. An iPad will only allow for apps and programs purchased through the iStore to be run on it; therefore, a customer must not only purchase an iPad but also any programs he or she wishes to use. Customers cannot create their own programs or modify the hardware in any way. 

As you can see, the author of this sample essay identifies and then explains to the reader how Doctorow uses the concept of Logos to appeal to his readers – not just by pointing out that he does it but by dissecting how it is done.

Rhetorical Analysis Conclusion

The conclusion section of your analysis should restate your main arguments and emphasize once more whether you think the author achieved their goal. Note that this is not the place to introduce new information—only rely on the points you have discussed in the body of your essay. End with a statement that sums up the impact the text has on its audience and maybe society as a whole:

Overall, Doctorow makes a good argument about why there are potentially many better things to drop a great deal of money on instead of the iPad. He gives some valuable information and facts that consumers should take into consideration before going out to purchase the new device. He clearly uses rhetorical tools to help make his case, and, overall, he is effective as a writer, even if, ultimately, he was ineffective in convincing the world not to buy an iPad . 

Frequently Asked Questions about Rhetorical Analysis Essays 

What is a rhetorical analysis essay.

A rhetorical analysis dissects a text or another piece of communication to work out and explain how it impacts its audience, how successfully it achieves its aims, and what rhetorical devices it uses to do that. 

While argumentative essays usually take a stance on a certain topic and argue for it, a rhetorical analysis identifies how someone else constructs their arguments and supports their claims.

What is the correct rhetorical analysis essay format?

Like most other essays, a rhetorical analysis contains an Introduction that presents the thesis statement, a Body that analyzes the piece of communication, explains how arguments have been constructed, and illustrates how each part persuades, informs, or entertains the reader, and a Conclusion section that summarizes the results of the analysis. 

What is the “rhetorical triangle”?

The rhetorical triangle was introduced by Aristotle as the main ways in which language can be used to persuade an audience: Logos appeals to the audience’s reason, Ethos to the writer’s status or authority, and Pathos to the reader’s emotions. Logos, Ethos, and Pathos can all be combined to create the intended effect, and your job as the one analyzing a text is to break the writer’s arguments down and identify what specific concepts each is based on.

Let Wordvice help you write a flawless rhetorical analysis essay! 

Whether you have to write a rhetorical analysis essay as an assignment or whether it is part of an application, our professional proofreading services feature professional editors are trained subject experts that make sure your text is in line with the required format, as well as help you improve the flow and expression of your writing. Let them be your second pair of eyes so that after receiving paper editing services or essay editing services from Wordvice, you can submit your manuscript or apply to the school of your dreams with confidence.

And check out our editing services for writers (including blog editing , script editing , and book editing ) to correct your important personal or business-related work.

What are your chances of acceptance?

Calculate for all schools, your chance of acceptance.

Your chancing factors

Extracurriculars.

How to Use Rhetorical Devices in Your College Essay

←Essential Grammar Rules for Your College Applications

Developing a Personalized Metaphor for Your College Applications→

Writing the personal statement is one of the most important, yet difficult aspects of the college application process. The elusive perfect personal statement is deeply moving, expertly written, rich with details of accomplishments or inspiring life stories, and fits neatly into the word limit. These constraints can leave many struggling to fit what they want to say in so few words. But what many fail to realize when writing personal statements is that admissions officers are evaluating more than just the story you have to tell. They’re also examining your writing style and ability to convey the abstract qualities in an eloquent way.

Long story short: you should be focused on not only what you’re saying, but also how you’re saying it.

Presenting Your Case: The Seed of a Personal Statement

It’s crucial to acknowledge that a personal statement should contain, at its core, an argument. We don’t mean an argument in the same way you might write a debate or an SAT essay – there’s no need for a rigid evidence and analysis structure here. However, you are setting forth a case to the office of undergraduate admissions at your school of choice that you’ll contribute substantially to their community; by telling your story, highlighting your personal strengths, and displaying how you’ve grown into the person you are today, you are essentially arguing that you’re a great candidate for admission. Like any great argument, your personal statement should contain the same rhetorical strategies you would employ when trying to write a persuasive essay or speech. The difference is that the subject matter isn’t some topic your teacher assigned – it’s you!

An exceptionally written personal statement that successfully employs rhetorical strategies can elevate your application enormously; it’s an opportunity to display creativity, strong writing skills, and personal depth that can’t be conveyed through a stellar GPA or strong test scores. Additionally, a personal statement is not a piece of academic writing. It’s meant to be personal – it should give the reader as clear an idea of who you are in the word count given. So don’t agonize over grammar conventions, formal speech, and populating your essay with as many vocabulary words as possible. Rather, take the opportunity to showcase your creativity and make the most of it!

Rhetorical Devices to Use in Your College Essay

While any rhetorical devices used in your essay will elevate the quality of your writing and strengthen your argument, there are some that work particularly well for the purpose of the personal statement. Below are a few of our favorite rhetorical devices and how you can use them to set your essay apart.

A conceit is a metaphor that extends throughout the length of a piece of writing. A well-developed conceit will leave a strong impression on readers and immediately make your essay distinctive and memorable. If you can assign a metaphor to the narrative of your personal essay that you can extend throughout, it will make your essay not only more interesting to read, but also more unique; standing out is, of course, of utmost importance in the college admissions process. For example, if you’re struggling to explain a powerful emotional experience like depression, consider using a conceit to develop the idea:

“In television and magazine advertisements, depression is often depicted as a small, feeble raincloud, showering its sufferer with negative thoughts and tiny anxieties. In reality, however, depression is more like a vast ocean; expansive, terrifying, impossibly powerful and seemingly invincible. Depression thrashes one mercilessly against the rocks one moment, only to suffocate one with silent, infinite waves the next. I spent two years of my life lost at sea, but through the turbulent journey, I have come to…”

Comparisons to natural entities like water, fire, storms, etc., work well (if you manage to avoid clichés), but be as creative and authentic as you can be; what’s most important is that whatever comparison you draw is logical and does not seem contrived, nonsensical, or immature. Consider opening and closing your essay with 2-4 sentences relating to your conceit, and make sure the tone throughout your essay is consistent too.

Another engaging, memorable way to open an essay is with a personal anecdote, or story. Specific sensory details setting a scene immediately capture the reader’s interest and immerse them in your story. For instance, if you plan to write about how being captain of the varsity soccer team has shaped you, try opening your essay with a vivid description of your state of mind when you’re playing a game:

“As I sprint across the field, savoring the sensation of my cleats cutting through the earth beneath me, I notice a gap in the opposing team’s defense that’s practically begging me to take the shot. The raucous soundtrack of the game – parents screaming, players shouting to one another, children crying – fades into white noise as I focus solely on the black and white ball stained with bright green grass, the glaring red of the goalkeeper’s gloves. The moment I kick, time seems to slow and then stop entirely; the ball hangs suspended in the air for a brief moment, hanging high above the players’ heads like the sun, before grazing just past the tips of the goalkeeper’s fingers…”

Beginning essays with anecdotes heavy with sensory language like the one above provide you with an opportunity to display both your writing skills and your passion about a specific topic. Anecdotes can be intense, humorous, tragic, joyful – no matter what they describe, they are a guaranteed way to catch a reader’s attention and offer an alternative to beginning with a sentence like, “all my life, I’ve loved playing soccer.”

Using anecdotes becomes crucial in light of one of the paradoxical truths about writing: people are always more able to relate their own experiences to detailed and personal writing rather than universal and bland writing, despite the fact that universal writing will apply to an audience in a more literal sense.

Anaphora is the repeated use of a certain word or phrase at the beginning of separate sentences or clauses. Consider the example below:

“Today, I am immensely proud of my family’s culture. Today, I can speak publicly with my parents in our native language without fear of judgment from others.”

Anaphora is extremely effective in emphasizing a specific emotion or idea. The deliberate repetition is dramatic and emotionally moving, an obvious superior alternative to the awkwardness and dullness of rewording the same idea in different ways repeatedly in order to avoid reusing the same words. Anaphora is also useful when highlighting a transition into a new mindset or environment, as in the sample above.

Still, using anaphora can be surprisingly tricky, and picking the right moment to use it is crucial. If there hasn’t been adequate build-up to create a dense and moving point in the essay, anaphora might come off as more redundant than anything. Anaphora, as with many rhetorical devices, can be watered down through overuse. Make sure that you’re balancing original and variegated writing with this rhetorical device if you want to maximize your impact.

Allusion is a reference to something that is well known, whether that be a person, place, thing, or event. Using allusion can help you to communicate large ideas quickly:

With an uncanny genius for hope, she was the Gatsby of our school; she could look to the past, present, and future, and see only possibility. 

Allusion can help you to draw on your reader’s knowledge of popular culture, history, and more, in order to avoid long and cumbersome descriptions that would ruin your word count. In the example above, the author alludes to F. Scott Fitzgerald’s widely known novel, The Great Gatsby, in order to emphasize the point they were making. Allusion can be especially useful when you want to give the reader extra insight into your meaning without leveraging an entire anecdote. In this way, anecdote and allusion can work together to help you give meaning to primary and secondary events, characters, and insights while still maintaining certain section’s primacy within the essay.

Be careful not to use too many allusions in one essay, though, as they are designed to stretch your essay outwards towards general social and historical knowledge. While this is immensely useful, and allows you to leverage details and feelings without actually explaining them, overuse runs the risk of pulling your essay apart entirely. Allusions are strongest when they are used in tandem with anecdotes that keep your essay in intensely personal territory.

Parallelism:

Parallelism is used to bring rhythm to a sentence or highlight a certain point, accomplished by repeating similar sentence structure, sounds, meter, or meaning.

I was sweaty, I was breathless, and I was hot. The humid air weighed down on my skin and my heavy thoughts weighed down on my mind. Maybe I just didn’t have it in me to be a runner.

In this excerpt, the writer emphasizes their physical state through parallelism. Repeating “I was” highlights their exhaustion. It feels like a more dramatic sentence than “I was sweaty, breathless, and hot.” Similarly, the parallelism of the humid air and their thoughts weighing down evoke an especially uncomfortable, almost suffocating feeling for the writer’s thoughts. 

Since parallelism can make a sentence more dramatic, it can be a powerful addition to the beginning or end of your essay. You can also use it at any other point in your essay, if you want to draw attention to a particular section. 

Personification:

Personification is when you give human-like qualities to inanimate objects. This can make your writing feel more descriptive, poetic, and emotive:

The brilliant fall leaves whispered a goodbye as we left our beloved forest and treehouse for the last time. 

Leaves can’t whisper, but by giving them this human action, the writer evokes a sense of longing. The personification highlights that the forest was so meaningful to the writer that it seemed like even the trees were saying goodbye.

That being said, personification should be used judiciously and viewed with a critical eye, as the wrong comparison can easily sound cheesy. Be sure to get a second or third opinion if you’re not sure whether your personification works.

Wrapping Up

These are only a select few of the vast array of rhetorical devices that can be used to enhance an essay. Try browsing a list of devices and attempting to incorporate several into the latest draft of your personal statement. The greatest advantage of rhetorical devices is that they are incredibly effective in lending an essay a strong emotional appeal, also known as pathos. The ability to skillfully appeal to emotion in an essay while also clearly communicating your accomplishments and personality will be invaluable as you complete your applications.

Want help with your college essays to improve your admissions chances? Sign up for your free CollegeVine account and get access to our essay guides and courses. You can also get your essay peer-reviewed and improve your own writing skills by reviewing other students’ essays.

Related CollegeVine Blog Posts

• school Campus Bookshelves
• menu_book Bookshelves
• perm_media Learning Objects
• login Login
• how_to_reg Request Instructor Account
• hub Instructor Commons

Margin Size

• Download Page (PDF)
• Download Full Book (PDF)
• Periodic Table
• Physics Constants
• Scientific Calculator
• Reference & Cite
• Tools expand_more
• Readability

selected template will load here

This action is not available.

6.2: Rhetorical Analysis

• Last updated
• Save as PDF
• Page ID 250454

\( \newcommand{\vecs}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

\( \newcommand{\vecd}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash {#1}}} \)

\( \newcommand{\id}{\mathrm{id}}\) \( \newcommand{\Span}{\mathrm{span}}\)

( \newcommand{\kernel}{\mathrm{null}\,}\) \( \newcommand{\range}{\mathrm{range}\,}\)

\( \newcommand{\RealPart}{\mathrm{Re}}\) \( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

\( \newcommand{\Argument}{\mathrm{Arg}}\) \( \newcommand{\norm}[1]{\| #1 \|}\)

\( \newcommand{\inner}[2]{\langle #1, #2 \rangle}\)

\( \newcommand{\Span}{\mathrm{span}}\)

\( \newcommand{\id}{\mathrm{id}}\)

\( \newcommand{\kernel}{\mathrm{null}\,}\)

\( \newcommand{\range}{\mathrm{range}\,}\)

\( \newcommand{\RealPart}{\mathrm{Re}}\)

\( \newcommand{\ImaginaryPart}{\mathrm{Im}}\)

\( \newcommand{\Argument}{\mathrm{Arg}}\)

\( \newcommand{\norm}[1]{\| #1 \|}\)

\( \newcommand{\Span}{\mathrm{span}}\) \( \newcommand{\AA}{\unicode[.8,0]{x212B}}\)

\( \newcommand{\vectorA}[1]{\vec{#1}}      % arrow\)

\( \newcommand{\vectorAt}[1]{\vec{\text{#1}}}      % arrow\)

\( \newcommand{\vectorB}[1]{\overset { \scriptstyle \rightharpoonup} {\mathbf{#1}} } \)

\( \newcommand{\vectorC}[1]{\textbf{#1}} \)

\( \newcommand{\vectorD}[1]{\overrightarrow{#1}} \)

\( \newcommand{\vectorDt}[1]{\overrightarrow{\text{#1}}} \)

\( \newcommand{\vectE}[1]{\overset{-\!-\!\rightharpoonup}{\vphantom{a}\smash{\mathbf {#1}}}} \)

This chapter builds on the rhetorical concepts introduced in the section, Reading and Writing Rhetorically.

What Is “Rhetorical Analysis”?

Rhetoric : The art of persuasion

Analysis : Breaking down the whole into pieces for the purpose of examination

Unlike a straightforward summary, a rhetorical analysis does not only require a restatement of ideas; instead, you must recognize rhetorical moves that an author is making in an attempt to persuade his or her audience to do or to think something. In the 21st century’s abundance of information, it can sometimes be difficult to discern what is a rhetorical strategy and what is simple manipulation; however, an understanding of rhetoric and rhetorical moves will help you become more savvy with the information surrounding you on a day-to-day basis. In other words, rhetorical moves can be a form of manipulation, but if one can recognize those moves, then one can be a more critical consumer of information rather than blindly accepting whatever one reads, sees, hears, etc.

The goal of a rhetorical analysis is to explain what is happening in the text, why the author might have chosen to use a particular move or set of rhetorical moves, and how those choices might affect the audience. The text you analyze might be explanatory, although there will be aspects of argument because you must negotiate with what the author is trying to do and what you think the author is doing. As Edward P.J. Corbett observes, rhetorical analysis “is more interested in a literary work for what it does than for what it is” (qtd. in Nordqvist).

One of the elements of doing a rhetorical analysis is looking at a text’s rhetorical situation. The rhetorical situation is the context out of a which a text is created.

Another element of rhetorical analysis is simply reading and summarizing the text. You have to be able to describe the basics of the author’s thesis and main points before you can begin to analyze it.

To do rhetorical analysis, you will connect the rhetorical situation to the text. You will go beyond summarizing and instead look at how the author shapes his or her text based on its context. In developing your reading and analytical skills, allow yourself to think about what you’re reading, to question the text and your responses to it, as you read. Use the following questions to help you to take the text apart—dissecting it to see how it works:

• Does the author successfully support the thesis or claim? Is the point held consistently throughout the text, or does it wander at any point?
• Is the evidence the author used effective for the intended audience? How might the intended audience respond to the types of evidence that the author used to support the thesis/claim?
• What rhetorical moves do you see the author making to help achieve his or her purpose? Are there word choices or content choices that seem to you to be clearly related to the author’s agenda for the text?
• Describe the style and tone in the piece. Is it friendly? Authoritative? Does it lecture? Is it biting or sarcastic? Does the author use simple language, or is it full of jargon? Does the language feel positive or negative? Point to aspects of the text that create the tone; spend some time examining these and considering how and why they work.
• Is the author objective, or does he or she try to convince you to have a certain opinion? Why does the author try to persuade you to adopt this viewpoint? If the author is biased, does this interfere with the way you read and understand the refer to the written word: “Proofread your text before submitting the paper.”
• A text refers to any form of communication, primarily written or oral, that forms a coherent unit, often as an object of study. A book can be a text, and a speech can be a text, but television commercials, magazine ads, website, and emails can also be texts: “Dieting advertisements formed one of the texts we studied in my Sociology class.”“?
• Do you feel like the author knows who you are? Does the text seem to be aimed at readers like you or at a different audience? What assumptions does the author make about their audience? Would most people find these reasonable, acceptable, or accurate?
• Does the text’s flow make sense? Is the line of reasoning logical? Are there any gaps? Are there any spots where you feel the reasoning is flawed in some way?
• Does the author try to appeal to your emotions? Does the author use any controversial words in the headline or the article? Do these affect your reading or your interest?
• Do you believe the author? Do you accept their thoughts and ideas? Why or why not?

Once you have done this basic, rhetorical, critical reading of your text, you are ready to think about how the rhetorical situation–the context out of which the text arises–influences certain rhetorical appeals (logos, pathos, ethos) that appear in it.

A Guide to Rhetoric, Genre, and Success in First-Year Writing by Melanie Gagich & Emilie Zickel is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

Linked in this textbook is Laura Bolin Carroll’s essay. Click here to read Caroll’s essay: Backpacks vs. Briefcases: Steps Toward Rhetorical Analysis

Professional Examples of Rhetorical Analysis

Hooks, Bell. Cultural Criticism & Transformation . video. LCSC Library

Kilbourne, Jean. 20 Oct 2015. “ Jesus is a Brand of Jeans .” The Humanist .

Kilbourne, Jean. Killing Us Softly video series. LCSC Library.

Kilbourne, Jean. Deadly Persuasion video series. LCSC Library.

Meslin, Dave. 2010. Antidote to Apathy . TED Talk.

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

III. Rhetorical Situation

3.7 Rhetorical Modes of Writing

Kathryn Crowther; Lauren Curtright; Nancy Gilbert; Barbara Hall; Tracienne Ravita; Kirk Swenson; Ann Inoshita; Karyl Garland; Kate Sims; Jeanne K. Tsutsui Keuma; Tasha Williams; Susan Wood; and Terri Pantuso

Rhetorical modes simply mean the ways we can effectively communicate through language. Each day people interact with others to tell a story about a new pet, describe a transportation problem, explain a solution to a science experiment, evaluate the quality of an information source, persuade a customer that a brand is the best, or even reveal what has caused a particular medical issue. We speak in a manner that is purposeful to each situation, and writing is no different. While rhetorical modes can refer to both speaking and writing, in this section we discuss the ways in which we shape our writing according to our purpose or intent. Your purpose for writing determines the mode you choose.

Typically speaking, the four major categories of rhetorical modes are narration, description, exposition, and persuasion.

• The narrative essay tells a relevant story or relates an event.
• The descriptive essay uses vivid, sensory details to draw a picture in words.
• The writer’s purpose in expository writing is to explain or inform. Oftentimes, exposition is subdivided into other modes: classification, evaluation, process, definition, comparison/contrast, and cause/effect.
• In the persuasive essay, the writer’s purpose is to persuade or convince the reader by presenting one idea against another and clearly taking a stand on one side of the issue. We often use several of these modes in everyday and professional writing situations, so we will also consider special examples of these modes such as personal statements and other common academic writing assignments.

Whether you are asked to write a cause/effect essay in a history class, a comparison/contrast report in biology, or a narrative email recounting the events in a situation on the job, you will be equipped to express yourself precisely and communicate your message clearly. Learning these rhetorical modes will also help you to become a more effective writer.

Narration means the art of storytelling, and the purpose of narrative writing is to tell stories. Any time you tell a story to a friend or family member about an event or incident in your day, you engage in a form of narration. A narrative can be factual or fictional. A factual story is one that is based on, and tries to be faithful to, actual events as they unfolded in real life. A fictional story is a made-up, or imagined, story. When writing a fictional story, we can create characters and events to best fit our story.

The big distinction between factual and fictional narratives is determined by a writer’s purpose. The writers of factual stories try to recount events as they actually happened, but writers of fictional stories can depart from real people and events because their intentions are not to retell a real-life event. Biographies and memoirs are examples of factual stories, whereas novels and short stories are examples of fictional stories.

Because the line between fact and fiction can often blur, it is helpful to understand what your purpose is from the beginning. Is it important that you recount history, either your own or someone else’s? Or does your interest lie in reshaping the world in your own image—either how you would like to see it or how you imagine it could be? Your answers will go a long way in shaping the stories you tell.

Ultimately, whether the story is fact or fiction, narrative writing tries to relay a series of events in an emotionally engaging way. You want your audience to be moved by your story, which could mean through laughter, sympathy, fear, anger, and so on. The more clearly you tell your story, the more emotionally engaged your audience is likely to be.

The Structure of a Narrative Essay

Major narrative events are most often conveyed in chronological order, the order in which events unfold from first to last. Stories typically have a beginning, a middle, and an end, and these events are typically organized by time. However, sometimes it can be effective to begin with an exciting moment from the climax of the story (“flash-forward”) or a pivotal event from the past (“flash-back”) before returning to a chronological narration. Certain transitional words and phrases aid in keeping the reader oriented in the sequencing of a story.

The following are the other basic components of a narrative:

• Plot: The events as they unfold in sequence.
• Characters:  The people who inhabit the story and move it forward. Typically, there are minor characters and main characters. The minor characters generally play supporting roles to the main character, or the protagonist.
• Conflict:  The primary problem or obstacle that unfolds in the plot that the protagonist must solve or overcome by the end of the narrative. The way in which the protagonist resolves the conflict of the plot results in the theme of the narrative.
• Theme:  The ultimate message the narrative is trying to express; it can be either explicit or implicit.
• Write the narrative of a typical Saturday in your life.
• Write a narrative of your favorite movie.

Description

Writers use description in writing to make sure that their audience is fully immersed in the words on the page. This requires a concerted effort by the writer to describe the world through the use of sensory details.

As mentioned earlier, sensory details are descriptions that appeal to our sense of sight, sound, smell, taste, and touch. The use of sensory details provides you the greatest possibility of relating to your audience and thus engaging them in your writing, making descriptive writing important not only during your education but also during everyday situations. To make your writing vivid and appealing, avoid empty descriptors if possible. Empty descriptors are adjectives that can mean different things to different people. Good, beautiful, terrific, and nice are examples. The use of such words in descriptions can lead to misreads and confusion. A good day, for instance, can mean far different things depending on one’s age, personality, or tastes.

The Structure of a Description Essay

Description essays typically describe a person, a place, or an object using sensory details. The structure of a descriptive essay is more flexible than in some of the other rhetorical modes. The introduction of a description essay should set up the tone and focus of the essay. The thesis should convey the writer’s overall impression of the person, place, or object described in the body paragraphs.

The organization of the essay may best follow spatial order, which means an arrangement of ideas according to physical characteristics or appearance. Depending on what the writer describes, the organization could move from top to bottom, left to right, near to far, warm to cold, frightening to inviting, and so on. For example, if the subject were a client’s kitchen in the midst of renovation, you might start at one side of the room and move slowly across to the other end, describing appliances, cabinetry, and so on. Or you might choose to start with older remnants of the kitchen and progress to the new installations. Or maybe start with the floor and move up toward the ceiling.

• Describe various objects found in your room.
• Describe an analog clock.

Classification

The purpose of classification is to break down broad subjects into smaller, more manageable, more specific parts. We classify things in our daily lives all the time, often without even thinking about it. For example, cars can be classified by type (convertible, sedan, station-wagon, or SUV) or by the fuel they use (diesel, petrol, electric, or hybrid). Smaller categories, and the way in which these categories are created, help us make sense of the world. Keep both of these elements in mind when writing a classification essay. It’s best to choose topics that you know well when writing classification essays. The more you know about a topic, the more you can break it into smaller, more interesting parts. Adding interest and insight will enhance your classification essays.

The Structure of a Classification Essay

The classification essay opens with a paragraph that introduces the broader topic. The thesis should then explain how that topic is divided into subgroups and why. Take the following introductory paragraph, for example:

When people think of New York, they often think of only New York City. But New York is actually a diverse state with a full range of activities to do, sights to see, and cultures to explore. In order to better understand the diversity of New York State, it is helpful to break it into these five separate regions: Long Island, New York City, Western New York, Central New York, and Northern New York.

The underlined thesis explains not only the category and subcategory, but also the rationale for breaking the topic into those categories. Through this classification essay, the writer hopes to show the readers a different way of considering the state of New York.

Each body paragraph of a classification essay is dedicated to fully illustrating each of the subcategories. In the previous example, then, each region of New York would have its own paragraph. To avoid settling for an overly simplistic classification, make sure you break down any given topic at least three different ways. This will help you think outside the box and perhaps even learn something entirely new about a subject.

The conclusion should bring all of the categories and subcategories back together again to show the reader the big picture. In the previous example, the conclusion might explain how the various sights and activities of each region of New York add to its diversity and complexity.

• Classify your college by majors (i.e. biology, chemistry, physics, etc.).
• Classify the variety of fast food places available to you by types of foods sold in each location.

Writers evaluate arguments in order to present an informed and well-reasoned judgment about a subject. While the evaluation will be based on their opinion, it should not seem opinionated. Instead, it should aim to be reasonable and unbiased. This is achieved through developing a solid judgment, selecting appropriate criteria to evaluate the subject, and providing clear evidence to support the criteria.

Evaluation is a type of writing that has many real-world applications. Anything can be evaluated. For example, evaluations of movies, restaurants, books, and technology ourselves are all real-world evaluations.

The Structure of an Evaluation Essay

Evaluation essays are typically structured as follows.

Subject : First, the essay will present the subject. What is being evaluated? Why? The essay begins with the writer giving any details needed about the subject.

Judgement : Next, the essay needs to provide a judgment about a subject. This is the thesis of the essay, and it states whether the subject is good or bad based on how it meets the stated criteria.

Criteria : The body of the essay will contain the criteria used to evaluate the subject. In an evaluation essay, the criteria must be appropriate for evaluating the subject under consideration. Appropriate criteria will help to keep the essay from seeming biased or unreasonable. If authors evaluated the quality of a movie based on the snacks sold at the snack bar, that would make them seem unreasonable, and their evaluation may be disregarded because of it.

Evidence : The evidence of an evaluation essay consists of the supporting details authors provide based on their judgment of the criteria. For example, if the subject of an evaluation is a restaurant, a judgment could be “Kay’s Bistro provides an unrivaled experience in fine dining.” Some authors evaluate fine dining restaurants by identifying appropriate criteria in order to rate the establishment’s food quality, service, and atmosphere. The examples are the evidence.

Another example of evaluation is literary analysis; judgments may be made about a character in the story based on the character’s actions, characteristics, and past history within the story. The scenes in the story are evidence for why readers have a certain opinion of the character.

Job applications and interviews are more examples of evaluations. Based on certain criteria, management and hiring committees determine which applicants will be considered for an interview and which applicant will be hired.

• Evaluate a restaurant. What do you expect in a good restaurant? What criteria determines whether a restaurant is good?
• List three criteria that you will use to evaluate a restaurant. Then dine there. Afterwards, explain whether or not the restaurant meets each criteria, and include evidence (qualities from the restaurant) that backs your evaluation.
• Give the restaurant a star rating. (5 Stars: Excellent, 4 Stars: Very Good, 3 Stars: Good, 2 Stars: Fair, 1 Star: Poor). Explain why the restaurant earned this star rating.

The purpose of a process essay is to explain how to do something (directional) or how something works (informative). In either case, the formula for a process essay remains the same. The process is articulated into clear, definitive steps.

Almost everything we do involves following a step-by-step process. From learning to ride a bike as a child to starting a new job as an adult, we initially needed instructions to effectively execute the task. Likewise, we have likely had to instruct others, so we know how important good directions are—and how frustrating it is when they are poorly put together.

The Structure of a Process Essay

The process essay opens with a discussion of the process and a thesis statement that states the goal of the process. The organization of a process essay typically follows chronological order. The steps of the process are conveyed in the order in which they usually occur, and so your body paragraphs will be constructed based on these steps. If a particular step is complicated and needs a lot of explaining, then it will likely take up a paragraph on its own. But if a series of simple steps is easy to understand, then the steps can be grouped into a single paragraph. Words such as first, second, third, next, and finally are cues to orient readers and organize the content of the essay.

Finally, it’s a good idea to always have someone else read your process analysis to make sure it makes sense. Once we get too close to a subject, it is difficult to determine how clearly an idea is coming across. Having a peer read over your analysis will serve as a good way to troubleshoot any confusing spots.

• Describe the process for applying to college.
• Describe the process of your favorite game (board, card, video, etc.).

The purpose of a definition essay may seem self-explanatory: to write an extended definition of a word or term. But defining terms in writing is often more complicated than just consulting a dictionary. In fact, the way we define terms can have far-reaching consequences for individuals as well as collective groups. Take, for example, a word like alcoholism. The way in which one defines alcoholism depends on its legal, moral, and medical contexts. Lawyers may define alcoholism in terms of its legality; parents may define alcoholism in terms of its morality; and doctors will define alcoholism in terms of symptoms and diagnostic criteria. Think also of terms that people tend to debate in our broader culture. How we define words, such as marriage and climate change, has an enormous impact on policy decisions and even on daily decisions. Debating the definition of a word or term might have an impact on your relationship or your job, or it might simply be a way to understand an unfamiliar phrase in popular culture or a technical term in a new profession.

Defining terms within a relationship, or any other context, can be difficult at first, but once a definition is established between two people or a group of people, it is easier to have productive dialogues. Definitions, then, establish the way in which people communicate ideas. They set parameters for a given discourse, which is why they are so important.

When writing definition essays, avoid terms that are too simple, that lack complexity. Think in terms of concepts, such as hero, immigration, or loyalty, rather than physical objects. Definitions of concepts, rather than objects, are often fluid and contentious, making for a more effective definition essay. For definition essays, try to think of concepts in which you have a personal stake. You are more likely to write a more engaging definition essay if you are writing about an idea that has value and importance to you.

The Structure of a Definition Essay

The definition essay opens with a general discussion of the term to be defined. You then state your definition of the term as your thesis. The rest of the essay should explain the rationale for your definition. Remember that a dictionary’s definition is limiting, so you should not rely strictly on the dictionary entry. Indeed, unless you are specifically addressing an element of the dictionary definition (perhaps to dispute or expand it), it is best to avoid quoting the dictionary in your paper. Instead, consider the context in which you are using the word. Context identifies the circumstances, conditions, or setting in which something exists or occurs. Often words take on different meanings depending on the context in which they are used. For example, the ideal leader in a battlefield setting could likely be very different from a leader in an elementary school setting. If a context is missing from the essay, the essay may be too short or the main points could be vague and confusing.

The remainder of the essay should explain different aspects of the term’s definition. For example, if you were defining a good leader in an elementary classroom setting, you might define such a leader according to personality traits: patience, consistency, and flexibility. Each attribute would be explained in its own paragraph. Be specific and detailed: flesh out each paragraph with examples and connections to the larger context.

• Define what is meant by the word local.
• Define what is meant by the word community.

Comparison and Contrast

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

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

The Structure of a Comparison-and-Contrast Essay

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

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

Here the thesis sets up the two subjects to be compared and contrasted (organic versus conventional vegetables), and it makes a claim about the results that might prove useful to the reader. You may organize compare-and-contrast essays in one of the following two ways:

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

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

• Compare two types of fruit, then
• Contrast how they are different from each other

Cause and Effect

It is often considered human nature to ask, “why?” and “how?” We want to know how our child got sick so we can better prevent it from happening in the future, or why our colleague received a pay raise because we want one as well. We want to know how much money we will save over the long term if we buy a hybrid car. These examples identify only a few of the relationships we think about in our lives, but each shows the importance of understanding cause and effect.

A cause is something that produces an event or condition; an effect is what results from an event or condition. The purpose of the cause-and-effect essay is to determine how various phenomena relate in terms of origins and results. Sometimes the connection between cause and effect is clear, but often determining the exact relationship between the two is very difficult. For example, the following effects of a cold may be easily identifiable: a sore throat, runny nose, and a cough. But determining the cause of the sickness can be far more difficult. A number of causes are possible, and to complicate matters, these possible causes could have combined to lead to the sickness. That is, more than one cause may be responsible for any given effect. Therefore, cause-and effect discussions are often complicated and frequently lead to debates and arguments.

Indeed, you can use the complex nature of cause and effect to your advantage. Often it is not necessary, or even possible, to find the exact cause of an event or to name the exact effect. So, when formulating a thesis, you can claim one of a number of causes or effects to be the primary, or main, cause or effect. As soon as you claim that one cause or one effect is more crucial than the others, you have developed a thesis.

The Structure of a Cause-and-Effect Essay

The cause-and-effect essay opens with a general introduction to the topic, which then leads to a thesis that states the main cause, main effect, or various causes and effects of a condition or event. The cause-and-effect essay can be organized in one of the following two primary ways:

• Start with the cause and then talk about the effects.
• Start with the effect and then talk about the causes.

For example, if your essay were on childhood obesity, you could start by talking about the effect of childhood obesity and then discuss the cause, or you could start the same essay by talking about the cause of childhood obesity and then move to the effect.

Regardless of which structure you choose, be sure to explain each element of the essay fully and completely. Explaining complex relationships requires the full use of evidence, such as scientific studies, expert testimony, statistics, and anecdotes . Be careful of resorting to empty speculation. In writing, speculation amounts to unsubstantiated guessing. Writers are particularly prone to such trappings in cause-and-effect arguments due to the complex nature of finding links between phenomena. Be sure to have clear evidence to support the claims that you make. Because cause-and-effect essays determine how phenomena are linked, they make frequent use of certain words and phrases that denote such linkage.

• Discuss the cause/effect relationship between studying and good grades
• Discuss the cause/effect impact of sleep deprivation

The purpose of persuasion in writing is to convince, motivate, or move readers toward a certain point of view, or opinion. The act of trying to persuade automatically implies that more than one opinion on the subject can be argued. The idea of an argument often conjures up images of two people yelling and screaming in anger. In writing, however, an argument is very different. An argument is a reasoned opinion supported and explained by evidence. To argue in writing is to advance knowledge and ideas in a positive way. Written arguments often fail when they employ ranting rather than reasoning.

Most of us feel inclined to try to win the arguments we enter. On some level, we all want to be right, and we want others to see the error of their ways. More times than not, however, arguments in which both sides try to win end up producing losers all around. The more productive approach is to persuade your audience to consider your opinion as a valid one, not simply the right one.

The Structure of a Persuasive Essay

The following five features make up the structure of a persuasive essay:

• Introduction and thesis
• Opposing and qualifying ideas
• Strong evidence in support of claim
• Style and tone of language
• A compelling conclusion

Creating an Introduction and Thesis

The persuasive essay begins with an engaging introduction that presents the general topic. The thesis typically appears somewhere in the introduction and clearly states the writer’s point of view.

Acknowledging Opposing Ideas and Limits to Your Argument

Because an argument implies differing points of view on the subject, you must be sure to acknowledge those opposing ideas. Avoiding ideas that conflict with your own gives the reader the impression that you may be uncertain, fearful, or unaware of opposing ideas. Thus it is essential that you not only address counterarguments but also do so respectfully.

Try to address opposing arguments earlier rather than later in your essay. Rhetorically speaking, ordering your positive arguments last allows you to better address ideas that conflict with your own because it allows you to focus on countering those arguments. This way, you leave your reader thinking about your argument rather than someone else’s. You have the last word.

Acknowledging points of view different from your own also has the effect of fostering more credibility between you and the audience. Readers will know from the outset that you are aware of opposing ideas and that you are not afraid to give them space. It is also helpful to establish the limits of your argument and what you are trying to accomplish. In effect, you are conceding early on that your argument is not the ultimate authority on a given topic. Such humility can go a long way toward earning credibility and trust with an audience (“ethos”). Audience members will know from the beginning that you are a reasonable writer, and they will trust your argument as a result. For example, in the following concessionary statement, the writer advocates for stricter gun control laws, but she admits it will not solve all of our problems with crime:

Although tougher gun control laws are a powerful first step in decreasing violence in our streets, such legislation alone cannot end these problems since guns are not the only problem we face.

Such a concession will be welcome by those who might disagree with this writer’s argument in the first place. To effectively persuade their readers, writers need to be realistic in their goals and humble in their approach to get readers to listen to their ideas.

• Write a paragraph where you persuade readers to drink water rather than soda
• Write a paragraph persuading your professors to adopt Open Educational Resources (free textbooks) for all classes

This section contains material from:

Crowther, Kathryn, Lauren Curtright, Nancy Gilbert, Barbara Hall, Tracienne Ravita, and Kirk Swenson. Successful College Composition . 2nd edition. Book 8. Georgia: English Open Textbooks, 2016. http://oer.galileo.usg.edu/english-textbooks/8 . Licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License .

Inoshita, Ann, Karyl Garland, Kate Sims, Jeanne K. Tsutsui Keuma, Tasha Williams, and Susan Wood. “Evaluation.” In English Composition: Connect, Collaborate, Communicate , by Ann Inoshita, Karyl Garland, Kate Sims, Jeanne K. Tsutsui Keuma, and Tasha Williams. Honolulu, 2019. http://pressbooks.oer.hawaii.edu/englishcomposition/chapter/evaluation/ . Licensed under a Creative Commons Attribution 4.0 International License .

The highest or most intense point in a sequence of events that lead to some resolution, settlement, judgement, or ending; the peak or culmination. In fiction, the climax of a story usually occurs when the characters make the decisions, fight the battle, or enter into the romantic relationship that will impact the ending of that story.

The feeling or attitude of the writer which can be inferred by the reader, usually conveyed through vocabulary, word choice, and phrasing; associated with emotion.

A statement, usually one sentence, that summarizes an argument that will later be explained, expanded upon, and developed in a longer essay or research paper. In undergraduate writing, a thesis statement is often found in the introductory paragraph of an essay. The plural of thesis is theses .

The standards or rules of judgement, grading, or other types of scrutiny.

The sequence of events that occur linearly or consecutively in time.

The explanation, justification, or motivation for something; the reasons why something was done.

Delicate, faint, or mild; requiring discernment, perception, or awareness to detect.

To be different, diverse, or dissimilar; to deviate from a plan or practice.

A remarkable or notable occurrence or event, especially one that is rare or exceptional in nature. The plural of phenomenon is phenomena .

A short account or telling of an incident or story, either personal or historical; anecdotal evidence is frequently found in the form of a personal experience rather than objective data or widespread occurrence.

To produce, seemingly out of thin air, an object, idea, or being.

3.7 Rhetorical Modes of Writing Copyright © 2022 by Kathryn Crowther; Lauren Curtright; Nancy Gilbert; Barbara Hall; Tracienne Ravita; Kirk Swenson; Ann Inoshita; Karyl Garland; Kate Sims; Jeanne K. Tsutsui Keuma; Tasha Williams; Susan Wood; and Terri Pantuso is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Using Rhetorical Strategies for Persuasion

Welcome to the Purdue OWL

This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice.

Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

There are three types of rhetorical appeals, or persuasive strategies, used in arguments to support claims and respond to opposing arguments. A good argument will generally use a combination of all three appeals to make its case.

Logos or the appeal to reason relies on logic or reason. Logos often depends on the use of inductive or deductive reasoning.

Inductive reasoning takes a specific representative case or facts and then draws generalizations or conclusions from them. Inductive reasoning must be based on a sufficient amount of reliable evidence. In other words, the facts you draw on must fairly represent the larger situation or population. Example:

In this example the specific case of fair trade agreements with coffee producers is being used as the starting point for the claim. Because these agreements have worked the author concludes that it could work for other farmers as well.

Deductive reasoning begins with a generalization and then applies it to a specific case. The generalization you start with must have been based on a sufficient amount of reliable evidence.Example:

In this example the author starts with a large claim, that genetically modified seeds have been problematic everywhere, and from this draws the more localized or specific conclusion that Mexico will be affected in the same way.

Avoid Logical Fallacies

These are some common errors in reasoning that will undermine the logic of your argument. Also, watch out for these slips in other people's arguments.

Slippery slope: This is a conclusion based on the premise that if A happens, then eventually through a series of small steps, through B, C,..., X, Y, Z will happen, too, basically equating A and Z. So, if we don't want Z to occur A must not be allowed to occur either. Example:

In this example the author is equating banning Hummers with banning all cars, which is not the same thing.

Hasty Generalization: This is a conclusion based on insufficient or biased evidence. In other words, you are rushing to a conclusion before you have all the relevant facts. Example:

In this example the author is basing their evaluation of the entire course on only one class, and on the first day which is notoriously boring and full of housekeeping tasks for most courses. To make a fair and reasonable evaluation the author must attend several classes, and possibly even examine the textbook, talk to the professor, or talk to others who have previously finished the course in order to have sufficient evidence to base a conclusion on.

Post hoc ergo propter hoc: This is a conclusion that assumes that if 'A' occurred after 'B' then 'B' must have caused 'A.' Example:

In this example the author assumes that if one event chronologically follows another the first event must have caused the second. But the illness could have been caused by the burrito the night before, a flu bug that had been working on the body for days, or a chemical spill across campus. There is no reason, without more evidence, to assume the water caused the person to be sick.

Genetic Fallacy: A conclusion is based on an argument that the origins of a person, idea, institute, or theory determine its character, nature, or worth. Example:

In this example the author is equating the character of a car with the character of the people who built the car.

Begging the Claim: The conclusion that the writer should prove is validated within the claim. Example:

Arguing that coal pollutes the earth and thus should be banned would be logical. But the very conclusion that should be proved, that coal causes enough pollution to warrant banning its use, is already assumed in the claim by referring to it as "filthy and polluting."

Circular Argument: This restates the argument rather than actually proving it. Example:

In this example the conclusion that Bush is a "good communicator" and the evidence used to prove it "he speaks effectively" are basically the same idea. Specific evidence such as using everyday language, breaking down complex problems, or illustrating his points with humorous stories would be needed to prove either half of the sentence.

Either/or: This is a conclusion that oversimplifies the argument by reducing it to only two sides or choices. Example:

In this example where two choices are presented as the only options, yet the author ignores a range of choices in between such as developing cleaner technology, car sharing systems for necessities and emergencies, or better community planning to discourage daily driving.

Ad hominem: This is an attack on the character of a person rather than their opinions or arguments. Example:

In this example the author doesn't even name particular strategies Green Peace has suggested, much less evaluate those strategies on their merits. Instead, the author attacks the characters of the individuals in the group.

Ad populum: This is an emotional appeal that speaks to positive (such as patriotism, religion, democracy) or negative (such as terrorism or fascism) concepts rather than the real issue at hand. Example:

In this example the author equates being a "true American," a concept that people want to be associated with, particularly in a time of war, with allowing people to buy any vehicle they want even though there is no inherent connection between the two.

Red Herring: This is a diversionary tactic that avoids the key issues, often by avoiding opposing arguments rather than addressing them. Example:

In this example the author switches the discussion away from the safety of the food and talks instead about an economic issue, the livelihood of those catching fish. While one issue may affect the other, it does not mean we should ignore possible safety issues because of possible economic consequences to a few individuals.

Ethos or the ethical appeal is based on the character, credibility, or reliability of the writer. There are many ways to establish good character and credibility as an author:

• Use only credible, reliable sources to build your argument and cite those sources properly.
• Respect the reader by stating the opposing position accurately.
• Establish common ground with your audience. Most of the time, this can be done by acknowledging values and beliefs shared by those on both sides of the argument.
• If appropriate for the assignment, disclose why you are interested in this topic or what personal experiences you have had with the topic.
• Organize your argument in a logical, easy to follow manner. You can use the Toulmin method of logic or a simple pattern such as chronological order, most general to most detailed example, earliest to most recent example, etc.
• Proofread the argument. Too many careless grammar mistakes cast doubt on your character as a writer.

Pathos , or emotional appeal, appeals to an audience's needs, values, and emotional sensibilities.  Pathos can also be understood as an appeal to audience's disposition to a topic, evidence, or argument (especially appropriate to academic discourse). 

Argument emphasizes reason, but used properly there is often a place for emotion as well. Emotional appeals can use sources such as interviews and individual stories to paint a more legitimate and moving picture of reality or illuminate the truth. For example, telling the story of a single child who has been abused may make for a more persuasive argument than simply the number of children abused each year because it would give a human face to the numbers.  Academic arguments in particular ​benefit from understanding pathos as appealing to an audience's academic disposition.

Only use an emotional appeal if it truly supports the claim you are making, not as a way to distract from the real issues of debate. An argument should never use emotion to misrepresent the topic or frighten people.

Chapter 6: Thinking and Analyzing Rhetorically

6.4 Rhetorical Appeals: Logos, Pathos, and Ethos Defined

Melanie Gagich & Emilie Zickel

Rhetoric, as the previous chapters have discussed, is the way that authors use and manipulate language in order to persuade an audience. Once we understand the rhetorical situation out of which a text is created (why it was written, for whom it was written, by whom it was written, how the medium in which it was written creates certain constraints, or perhaps freedoms of expression), we can look at how all of those contextual elements shape the author’s creation of the text.

We can look first at the classical rhetorical appeals, which are the three ways to classify authors’ intellectual, moral, and emotional approaches to getting the audience to have the reaction that the author hopes for.

Rhetorical Appeals

Rhetorical appeals refer to ethos, pathos, and logos. These are classical Greek terms, dating back to Aristotle, who is traditionally seen as the father of rhetoric. To be rhetorically effective (and thus persuasive), an author must engage the audience in a variety of compelling ways, which involves carefully choosing how to craft his or her argument so that the outcome, audience agreement with the argument or point, is achieved. Aristotle defined these modes of engagement and gave them the terms that we still use today: logos, pathos, and ethos.

Logos: Appeal to Logic

Logic. Reason. Rationality. Logos is brainy and intellectual, cool, calm, collected, objective.

When an author relies on logos, it means that he or she is using logic, careful structure, and objective evidence to appeal to the audience. An author can appeal to an audience’s intellect by using information that can be fact checked (using multiple sources) and thorough explanations to support key points. Additionally, providing a solid and non-biased explanation of one’s argument is a great way for an author to invoke logos.

For example, if I were trying to convince my students to complete their homework, I might explain that I understand everyone is busy and they have other classes (non-biased), but the homework will help them get a better grade on their test (explanation). I could add to this explanation by providing statistics showing the number of students who failed and didn’t complete their homework versus the number of students who passed and did complete their homework (factual evidence).

Logical appeals rest on rational modes of thinking , such as

• Comparison –  a comparison between one thing (with regard to your topic) and another, similar thing to help support your claim. It is important that the comparison is fair and valid – the things being compared must share significant traits of similarity.
• Cause/effect thinking –  you argue that X has caused Y, or that X is likely to cause Y to help support your claim. Be careful with the latter – it can be difficult to predict that something “will” happen in the future.
• Deductive reasoning –  starting with a broad, general claim/example and using it to support a more specific point or claim
• Inductive reasoning –  using several specific examples or cases to make a broad generalization
• Exemplification –  use of many examples or a variety of evidence to support a single point
• Elaboration – moving beyond just including a fact, but explaining the significance or relevance of that fact
• Coherent thought – maintaining a well organized line of reasoning; not repeating ideas or jumping around

Pathos: Appeal to Emotions

When an author relies on pathos, it means that he or she is trying to tap into the audience’s emotions to get them to agree with the author’s claim. An author using pathetic appeals wants the audience to feel something: anger, pride, joy, rage, or happiness.  For example, many of us have seen the ASPCA commercials that use photographs of injured puppies, or sad-looking kittens, and slow, depressing music to emotionally persuade their audience to donate money.

Pathos-based rhetorical strategies are any strategies that get the audience to “open up” to the topic, the argument, or to the author. Emotions can make us vulnerable, and an author can use this vulnerability to get the audience to believe that his or her argument is a compelling one.

Pathetic appeals might include

• Expressive descriptions of people, places, or events that help the reader to feel or experience those events
• Vivid imagery  of people, places or events that help the reader to feel like he or she is seeing  those events
• Sharing  personal stories that make the reader feel a connection to, or empathy for, the person being described
• Using emotion-laden   vocabulary  as a way to put the reader into that specific emotional mindset (what is the author trying to make the audience feel? and how is he or she doing that?)
• Using any information that will evoke an emotional response from the audience . This could involve making the audience feel empathy or disgust for the person/group/event being discussed, or perhaps connection to or rejection of the person/group/event being discussed.

When reading a text, try to locate when the author is trying to convince the reader using emotions because, if used to excess, pathetic appeals can indicate a lack of substance or emotional manipulation of the audience. See the links below about fallacious pathos for more information.

Ethos: Appeal to Values/Trust

Ethical appeals have two facets: audience values and authorial credibility/character.

On the one hand, when an author makes an ethical appeal, he or she is attempting to  tap into the  values or ideologies that the audience holds , for example, patriotism, tradition, justice, equality, dignity for all humankind, self preservation, or other specific social, religious or philosophical values (Christian values, socialism, capitalism, feminism, etc.). These values can sometimes feel very close to emotions, but they are felt on a social level rather than only on a personal level. When an author evokes the values that the audience cares about as a way to justify or support his or her argument, we classify that as ethos. The audience will feel that the author is making an argument that is “right” (in the sense of moral “right”-ness, i.e., “My argument rests upon that values that matter to you. Therefore, you should accept my argument”). This first part of the definition of ethos, then, is focused on the audience’s values.

On the other hand, this sense of referencing what is “right” in an ethical appeal connects to the other sense of ethos: the  author. Ethos that is centered on the author revolves around two concepts: the credibility of the author and his or her character.

Credibility of the speaker/author is determined by his or her knowledge and expertise in the subject at hand. For example, if you are learning about Einstein’s Theory of Relativity, would you rather learn from a professor of physics or a cousin who took two science classes in high school thirty years ago? It is fair to say that, in general, the professor of physics would have more credibility to discuss the topic of physics. To establish his or her credibility, a n author may draw attention to who he or she is or what kinds of experience he or she has with the topic being discussed as an ethical appeal (i.e., “Because I have experience with this topic –  and I know my stuff! – you should trust what I am saying about this topic”). Some authors do not have to establish their credibility because the audience already knows who they are and that they are credible.

Character  is another aspect of ethos, and it   is different from credibility because it involves personal history and even personality traits. A person can be credible but lack character or vice versa. For example, in politics, sometimes the most experienced candidates – those who might be the most credible candidates – fail to win elections because voters do not accept their character. Politicians take pains to shape their character as leaders who have the interests of the voters at heart. The candidate who successfully proves to the voters (the audience) that he or she has the type of character that they can trust is more likely to win.

Thus, ethos comes down to trust. How can the author get the audience to trust him or her so that they will accept his or her argument? How can the the author make him or herself appear as a credible speaker who embodies the character traits that the audience values?

In building ethical appeals, we see authors

• Referring either directly or indirectly to the values that matter to the intended audience (so that the audience will trust the speaker)
• Using language, phrasing, imagery, or other writing styles common to people who hold those values, thereby “talking the talk” of people with those values (again, so that the audience is inclined to trust the speaker)
• Referring to their experience and/or authority with the topic (and therefore demonstrating their credibility)
• Referring to their own character, or making an effort to build their character in the text

When reading, you should always think about the author’s credibility regarding the subject as well as his or her character. Here is an example of a rhetorical move that connects with ethos: when reading an article about abortion, the author mentions that she has had an abortion. That is an example of an ethical move because the author is creating credibility via anecdotal evidence and first person narrative. In a rhetorical analysis project, it would be up to you, the analyzer, to point out this move and associate it with a rhetorical strategy.

 When writers misuse Logos, Pathos, or Ethos, arguments can be weakened

Above, we defined and described what logos, pathos, and ethos are and why authors may use those strategies. Sometimes, using a combination of logical, pathetic, and ethical appeals leads to a sound, balanced, and persuasive argument. It is important to understand, though, that using rhetorical appeals does not always lead to a sound, balanced argument.

In fact, any of the appeals could be misused or overused. When that happens, arguments can be weakened.

To see what a misuse of logical appeals might consist of, see the next chapter,   Logical Fallacies.

To see how authors can overuse emotional appeals and turn-off their target audience, visit the following link from WritingCommons.org :   Fallacious Pathos . 

To see how ethos can be misused or used in a manner that may be misleading, visit the following link to WritingCommons.org :  Fallacious Ethos

A Guide to Rhetoric, Genre, and Success in First-Year Writing by Melanie Gagich & Emilie Zickel is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

Feedback/Errata

Comments are closed.

Rhetorical Essay

Rhetorical essay generator.

In the realm of persuasive writing, rhetorical essays stand as powerful demonstrations of linguistic artistry. By employing a variety of literary devices, carefully selected words, and strategic communication techniques, these essays are designed to sway the minds and emotions of readers. Delving into the heart of rhetoric, this article will delve into the essence of rhetorical essays, guiding you through their creation while offering illuminating examples and practical tips. Whether you’re a seasoned writer or new to the craft, understanding the dynamics of a rhetorical essay can enhance your ability to communicate effectively and convincingly.

1. Rhetorical Analysis Essay Template

• Google Docs

2. Rhetorical Essay Outline

Size: 345 KB

3. Structure of Rhetorical Analysis Essay

Size: 315 KB

4. Rhetorical Analysis Thesis Statement Essay

Size: 342 KB

5. Editable Rhetorical Essay

Size: 133 KB

6. Rhetorical Analysis Essay Outline

Size: 60 KB

7. Sample Rhetorical Essay

Size: 341 KB

8. Rhetorical Essay Template

Size: 77 KB

9. Rhetorical Essay Ethos

Size: 544 KB

10. Rhetorical Essay Layout

Size: 424 KB

11. Rhetorical Essay Paper

Size: 666 KB

12. Organizing and Outlining Rhetorical Essay

Size: 23 KB

13. Rhetorical Essay Rubric

Size: 10 KB

14. Rhetorical Grading Essay

Size: 134 KB

15. Rhetorical Essay Informative Writing

Size: 350 KB

16. Simple Rhetorical Essay

Size: 35 KB

17. Critical Rhetorical Essay

Size: 61 KB

18. Research Rhetorical Essay

Size: 112 KB

19. Rhetorical Essay Reference

Size: 174 KB

20. Rhetorical Essay Worksheet

Size: 303 KB

21. Rhetorical Essay on Gender Equality

Size: 224 KB

22. Formal Rhetorical Essay

Size: 82 KB

23. Rhetorical Essay Format

Size: 128 KB

24. Professional Rhetorical Essay

Size: 26 KB

What is a Rhetorical Essay?

A rhetorical essay is a unique form of discourse that employs persuasive techniques to communicate a particular message or viewpoint. This literary device operates by leveraging linguistic elements to convince an audience of the validity of a certain argument or perspective. Unlike traditional essays that primarily focus on information and analysis, rhetorical essays emphasize the art of persuasion. By dissecting the behaviors of words, examining their impact within a specific context , and avoiding clichés , a rhetorical essay creates an objective and compelling narrative that leaves a lasting impression.

How to write a Rhetorical Essay

Creating a compelling rhetorical essay requires a meticulous approach that blends creativity with strategic communication. To navigate this intricate process, let’s break it down into several key steps that will help you weave together a convincing and impactful piece.

Step 1: Choosing a Subject and Objectives

Begin by selecting a topic that resonates with your audience and aligns with your objectives. Consider the behaviors you intend to evoke and the elements you wish to emphasize. Craft an overarching objective that defines the purpose of your essay, whether it’s to inform, persuade, or provoke thought.

Step 2: Mastering Language and Syntax

Leverage the power of verbs , adjectives, and proper nouns to create a vivid and captivating narrative. Use observation to your advantage, painting a detailed picture that engages your readers’ senses. Employ simple sentences to convey your ideas clearly and concisely, ensuring that your message remains accessible.

Step 3: Employing Rhetorical Devices

Rhetorical essays thrive on the skillful use of literary devices . Incorporate metaphors, similes, and analogies to add depth and resonance to your arguments. Harness the strength of repetition and parallelism to reinforce key points and create a rhythmic flow that captivates your audience.

Step 4: Structuring for Impact

Organize your essay with a clear structure that guides your readers through a logical progression of ideas. Begin with a strong introduction that sets the tone and context, followed by well-organized body paragraphs that present evidence, analysis, and persuasive elements. Conclude with a compelling ending that reinforces your main points and leaves a lasting impression.

What is the most important element of a successful rhetorical essay?

The choice and skillful implementation of rhetorical devices, such as metaphors and analogies, can significantly enhance the impact of your essay.

Can I use humor in a rhetorical essay?

Yes, humor can be a powerful tool in persuasion, but ensure it aligns with your objective and doesn’t undermine the seriousness of your message.

How do I avoid sounding manipulative in my rhetorical essay?

Focus on transparency and authenticity. Present your arguments with integrity and provide solid evidence to support your claims, avoiding any overt manipulation.

In the realm of persuasive writing, rhetorical essays serve as a testament to the power of words. By delving into the behaviors of language, harnessing the art of rhetoric, and crafting a narrative that engages and convinces, you can create essays that leave a lasting impact. So, whether you’re aiming to provoke thought, inspire action, or challenge perceptions, remember that a well-crafted rhetorical essay can be your most potent tool in the realm of written persuasion.

Text prompt

• Instructive
• Professional

Write a rhetorical essay analyzing the speech given by Martin Luther King Jr.,

Examine the use of ethos, pathos, and logos in a popular advertisement of your choice in a rhetorical essay.

• Share full article

Advertisement

Supported by

Guest Essay

The View Within Israel Turns Bleak

By Megan K. Stack

Ms. Stack is a contributing Opinion writer who has reported from the Middle East.

It was the pictures of Palestinians swimming and sunning at a Gaza beach that rubbed Yehuda Shlezinger, an Israeli journalist, the wrong way. Stylish in round red glasses and a faint scruff of beard, Mr. Shlezinger unloaded his revulsion at the “disturbing” pictures while appearing on Israel’s Channel 12.

“These people there deserve death, a hard death, an agonizing death, and instead we see them enjoying on the beach and having fun,” complained Mr. Shlezinger, the religious affairs correspondent for the widely circulated right-wing Israel Hayom newspaper. “We should have seen a lot more revenge there,” Mr. Shlezinger unrepentantly added. “A lot more rivers of Gazans’ blood.”

It would be nice to think that Mr. Shlezinger is a fringe figure or that Israelis would be shocked by his bloody fantasies. But he’s not, and many wouldn’t be.

Israel has hardened, and the signs of it are in plain view. Dehumanizing language and promises of annihilation from military and political leaders. Polls that found wide support for the policies that have wreaked devastation and starvation in Gaza. Selfies of Israeli soldiers preening proudly in bomb-crushed Palestinian neighborhoods. A crackdown on even mild forms of dissent among Israelis.

The Israeli left — the factions that criticize the occupation of Palestinian lands and favor negotiations and peace instead — is now a withered stump of a once-vigorous movement. In recent years, the attitudes of many Israelis toward the “Palestinian problem” have ranged largely from detached fatigue to the hard-line belief that driving Palestinians off their land and into submission is God’s work.

This bleak ideological landscape emerged slowly and then, on Oct. 7, all at once.

The massacre and kidnappings of that day, predictably, brought a public thirst for revenge. But in truth, by the time Hamas killers rampaged through the kibbutzim — in a bitter twist, home to some of the holdout peaceniks — many Israelis had long since come to regard Palestinians as a threat best locked away. America’s romantic mythology and wishful thinking about Israel encourage a tendency to see Prime Minister Benjamin Netanyahu as the main cause of the ruthlessness in Gaza, where Israel has killed more than 35,000 people. The unpopular, scandal-ridden premier makes a convincing ogre in an oversimplified story.

But Israel’s slaughter in Gaza, the creeping famine, the wholesale destruction of neighborhoods — this, polling suggests, is the war the Israeli public wanted. A January survey found that 94 percent of Jewish Israelis said the force being used against Gaza was appropriate or even insufficient. In February, a poll found that most Jewish Israelis opposed food and medicine getting into Gaza. It was not Mr. Netanyahu alone but also his war cabinet members (including Benny Gantz, often invoked as the moderate alternative to Mr. Netanyahu) who unanimously rejected a Hamas deal to free Israeli hostages and, instead, began an assault on the city of Rafah, overflowing with displaced civilians.

“It’s so much easier to put everything on Netanyahu, because then you feel so good about yourself and Netanyahu is the darkness,” said Gideon Levy, an Israeli journalist who has documented Israel’s military occupation for decades. “But the darkness is everywhere.”

Like most political evolutions, the toughening of Israel is partly explained by generational change — Israeli children whose earliest memories are woven through with suicide bombings have now matured into adulthood. The rightward creep could be long-lasting because of demographics, with modern Orthodox and ultra-Orthodox Jews (who disproportionately vote with the right) consistently having more babies than their secular compatriots.

Most crucially, many Israelis emerged from the second intifada with a jaundiced view of negotiations and, more broadly, Palestinians, who were derided as unable to make peace. This logic conveniently erased Israel’s own role in sabotaging the peace process through land seizures and settlement expansion. But something broader had taken hold — a quality that Israelis described to me as a numb, disassociated denial around the entire topic of Palestinians.

“The issues of settlements or relations with Palestinians were off the table for years,” Tamar Hermann told me. “The status quo was OK for Israelis.”

Ms. Hermann, a senior research fellow at the Israel Democracy Institute, is one of the country’s most respected experts on Israeli public opinion. In recent years, she said, Palestinians hardly caught the attention of Israeli Jews. She and her colleagues periodically made lists of issues and asked respondents to rank them in order of importance. It didn’t matter how many choices the pollsters presented, she said — resolving the Israeli-Palestinian conflict came in last in almost all measurements.

“It was totally ignored,” she said.

The psychological barrier between Israelis and Palestinians was hardened when Israel built the snaking West Bank barrier, which helped to forestall attacks on Israelis toward the end of the second intifada — the five-year Palestinian uprising that erupted in 2000, killing about 1,000 Israelis and roughly three times as many Palestinians. The wall helped keep West Bank suicide bombers from penetrating Israel and piled extra misery on ever-more-constrained Palestinian civilians, many of whom refer to it as the apartheid wall.

Many Israelis, Ms. Hermann told me, are at a loss when asked to identify the border where Israel ends and the West Bank begins. Her research from 2016 found that only a small percentage of Israelis knew for sure that the Green Line was the border delineated by the 1949 Armistice. The question of whether this border should even be depicted on Israeli school maps has been a heated topic of debate within Israel; with a rueful laugh, Ms. Hermann described many of the classroom maps as “from the river to the sea.”

Such ignorance is a luxury exclusive to Israelis. Palestinians make it their business to know exactly where the border between Israel and the West Bank lies, which checkpoints are open on a given day, which roads they may and may not use. These are not abstract ideas; they dictate the daily movements of Palestinians, and confusing them could be fatal.

Israel’s uneasy detachment turned to rage on Oct. 7.

A handful of songs with lyrics calling for the annihilation of a dehumanized enemy have been circulated in Israel these past months, including “Launch,” a hip-hop glorification of the military promising “from kisses to guns, until Gaza is erased” and suggesting that the West Bank city of Jenin is under the “plague of the firstborn,” a reference to the biblical story in which God smites the eldest sons of Egypt. The smash hit “ Harbu Darbu ,” addressed to “you sons of Amalek,” promises “another X on the rifle, ’cause every dog will get what’s coming to him.”

“There is no forgiveness for swarms of rats,” another song goes . “They will die in their rat holes.”

Israeli shops hawk trendy products like a bumper sticker that reads, “Finish them,” and a pendant cut into the shape of Israel, with East Jerusalem, the West Bank and Gaza seamlessly attached.

Israeli protesters have repeatedly taken to the streets in anguish over the hostages held in Gaza and rage at Mr. Netanyahu (who faced intense domestic opposition long before Oct. 7) for failing to save them. But the demonstrations should not be conflated with international calls to protect civilians in Gaza. Many Israelis want a cease-fire to free the hostages, followed by the ouster of Mr. Netanyahu — but the protests do not reflect a groundswell of sympathy for Palestinians or a popular desire to rethink the status quo ante of occupation and long-silenced peace talks.

If anything, with the world’s attention fixed on Gaza, Israel’s far-right government has intensified the domination of Palestinians. The single largest Israeli land grab in more than 30 years happened in March , when Finance Minister Bezalel Smotrich announced the state seizure of 10 square kilometers of the West Bank. The land takeovers are accompanied by a bloody campaign of terror , with an ever-less-distinguishable mix of soldiers and settlers killing at least 460 Palestinians in the West Bank since Oct. 7, the Palestinian health ministry says.

Meanwhile, inside Israel, the police have handed out guns to civilians and set up de facto militias in the name of self-defense. But questions about whom these newly armed groups are meant to defend, and from whom, have created a creeping unease.

The weapons have gone not only to West Bank settlements or towns adjacent to Palestinian territories and Lebanon but also to communities set deep in Israel’s interior, particularly places that are home to a mix of Arab and Jewish residents . An analysis published in January by the newspaper Haaretz found that while the national security ministry wouldn’t disclose which communities got gun licenses or the criteria used to decide, Arab communities — even those on Israel’s frontier — did not seem to be eligible.

The guns sent a chill through Palestinian citizens of Israel, who have often been invoked in defense of the state. Look, Israel’s advocates often say, Arabs live more freely in Israel than anywhere else in the Middle East.

Hassan Jabareen, a prominent Palestinian lawyer who founded Adalah, Israel’s main legal center for Arab rights, told me that many Arab citizens of Israel — who constitute one-fifth of the population — live in fear.

Israel’s attacks on Gaza have in the past provoked community protests, riots and clashes among Arabs and Jews in Israel. After Oct. 7, though, the message was clear: Stay quiet.

“The police left no doubt that we were enemies of the state,” Mr. Jabareen said, “when they started arming the Jewish citizens of Israel and called Jewish citizens to come to the station and take your arms to defend yourself from your Palestinian neighbor.”

Diana Buttu, a Palestinian lawyer who lives with her family in the Israeli city of Haifa, told me that these past months have been thick with unease. She has long imagined herself as a living holdover from the once-thriving Arab population that was largely displaced from what is now Israel. A “remnant,” she calls herself, who for years moved through Israel feeling invisible.

Now the sense of invisibility has melted. Both Ms. Buttu and Mr. Jabareen said that the current atmosphere in Israel had drawn closer and sharpened in their minds the mass displacement known in Arabic as the nakba, or catastrophe, as if history might yet loop back. Mr. Netanyahu evoked the same era when he referred to Israel’s current onslaught as “Israel’s second war of independence.”

“They didn’t see us,” Ms. Buttu said. “We were the ghosts; we were just there. And now it’s like, ‘Wow, they’re here.’ There is an interest in trying to get rid of Palestinians. We’re on the rhetorical front lines.”

Long before this current storm of violence, Mr. Netanyahu’s far-right government had worked to strengthen Jewish supremacy. The 2018 “nation-state law” codified the right to national self-determination as “unique to the Jewish people,” removed Arabic as an official language and established “Jewish settlement as a national value” that the government must support. Palestinian members of the Knesset famously shredded copies of the bill in Parliament and yelled, “Apartheid,” but it passed all the same.

In 2022, Israel reauthorized its controversial family unification law, largely barring Palestinians who marry Israeli citizens from receiving legal status — or living with their spouses in Israel — if they are from the West Bank or Gaza. The law also applies to people from the “enemy states” of Lebanon, Syria and Iraq (homes to Palestinian refugee communities), as well as Iran.

With legal disadvantages and social pressures mounting, Palestinian citizens of Israel have started to look abroad for support. Mr. Jabareen told me that his organization is preparing an application to the United Nations to request international legal protections for Palestinians inside Israel. In March a Palestinian citizen of Israel was granted asylum in Britain after arguing that returning would very likely expose him to persecution because of his political views and activism for Palestinian rights and Israel’s “apartheid system of racial control of its Jewish citizens over its Palestinian citizens.”

Another stark sign of Israel’s hardening is the hundreds of Israelis — mostly Arabs, but some Jews, too — who have been arrested, fired or otherwise punished for statements or actions regarded as endangering national security or undermining Israel’s war efforts. Even a social media post expressing concern for Palestinians in Gaza is enough to draw police scrutiny.

Nadera Shalhoub-Kevorkian, a scholar who lectures at Hebrew University of Jerusalem and Queen Mary University of London, said on a podcast that Zionism should be abolished, that Israel may be lying about the extent of sexual assault that took place on Oct. 7 and that Israelis were “criminals” who “cannot kill and not be afraid, so they better be afraid.” Israeli police responded in April by jailing Ms. Shalhoub-Kevorkian overnight and asking a judge to keep her locked up while they investigated her on suspicion of incitement. The judge decided to release her but acknowledged that she “may have crossed the line from free expression to incitement.”

For nearly two decades — starting with the quieting of the second intifada and ending calamitously on Oct. 7 — Israel was remarkably successful at insulating itself from the violence of the occupation. Rockets fired from Gaza periodically rained down on Israeli cities, but since 2011 , Israel’s Iron Dome defense system has intercepted most of them. The mathematics of death heavily favored Israel: From 2008 until Oct. 7, more than 6,000 Palestinians were killed in what the United Nations calls “the context of occupation and conflict”; during that time, more than 300 Israelis were killed.

Human rights organizations — including Israeli groups — wrote elaborate reports explaining why Israel is an apartheid state. That was embarrassing for Israel, but nothing really came of it. The economy flourished. Once-hostile Arab states showed themselves willing to sign accords with Israel after just a little performative pestering about the Palestinians.

Those years gave Israelis a taste of what may be the Jewish state’s most elusive dream — a world in which there simply did not exist a Palestinian problem.

Daniel Levy, a former Israeli negotiator who is now president of the U.S./Middle East Project think tank, describes “the level of hubris and arrogance that built up over the years.” Those who warned of the immorality or strategic folly of occupying Palestinian territories “were dismissed,” he said, “like, ‘Just get over it.’”

If U.S. officials understand the state of Israeli politics, it doesn’t show. Biden administration officials keep talking about a Palestinian state. But the land earmarked for a state has been steadily covered in illegal Israeli settlements, and Israel itself has seldom stood so unabashedly opposed to Palestinian sovereignty.

There’s a reason Mr. Netanyahu keeps reminding everyone that he’s spent his career undermining Palestinian statehood: It’s a selling point. Mr. Gantz, who is more popular than Mr. Netanyahu and is often mentioned as a likely successor, is a centrist by Israeli standards — but he, too, has pushed back against international calls for a Palestinian state.

Daniel Levy describes the current divide among major Israeli politicians this way: Some believe in “managing the apartheid in a way that gives Palestinians more freedom — that’s [Yair] Lapid and maybe Gantz on some days,” while hard-liners like Mr. Smotrich and Security Minister Itamar Ben Gvir “are really about getting rid of the Palestinians. Eradication. Displacement.”

The carnage and cruelty suffered by Israelis on Oct. 7 should have driven home the futility of sealing themselves off from Palestinians while subjecting them to daily humiliations and violence. As long as Palestinians are trapped under violent military occupation, deprived of basic rights and told that they must accept their lot as inherently lower beings, Israelis will live under the threat of uprisings, reprisals and terrorism. There is no wall thick enough to suppress forever a people who have nothing to lose.

Israelis did not, by and large, take that lesson. Now apathy has been replaced by vengeance.

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

Follow the New York Times Opinion section on Facebook , Instagram , TikTok , WhatsApp , X and Threads .

Megan K. Stack is a contributing Opinion writer and author. She has been a correspondent in China, Russia, Egypt, Israel, Afghanistan and the U.S.-Mexico border area. Her first book, a narrative account of the post-Sept. 11 wars, was a finalist for the National Book Award in nonfiction. @ Megankstack

If any body is a beach body, any book is a beach read. Try on these books this summer.

Just like any body can be a beach body, any book can be a beach read. 

When you’re packing a travel bag this summer and mulling over the Beach Reads ! display at your local independent bookstore , stop and ask yourself: What do I really want to read? What do I enjoy reading?

The category “beach read,” as best as anyone can tell, came into fashion in the 1990s, according to The Guardian. It’s a marketing trick, not a mandate. 

As a marketing term, it’s successful because it’s aspirational. We see ourselves on a beach, relaxed and lazily reading that fun book with the bright cover, one that looks nothing like spreadsheets or reports, a book that entertains but doesn’t ask too much. 

But not everyone relaxes the same way.

Check out: USA TODAY's weekly Best-selling Booklist

Maybe you really do want to spend time with the light contemporary fiction, steamy romance, or compulsive thriller that generally gets labeled “beach read.” Totally fine. We’ve got some suggestions for you.

On the other hand, lazy days and long flights mean vacation can be a perfect time to tackle the books you’ve always meant to read. Classics, essays, literary fiction — if you’re a reader who considers heavy reading light work, we’ve got some less conventional recommendations, too. 

Is it a body on the beach? Yes: Beach body. Is it a book on a beach? Yes: Beach read. 

Find your next read USA TODAY's Best-selling booklist

Smart romance

"The Other Side of Disappearing," Kate Clayborn (Kensington, pp 432.. Out now)

What does “smart romance” mean? This book gave me a definition: a romance in which a happy-ever-after ending happens but doesn’t feel required because the characters all had emotional growth. Here, Clayborn sends a true crime podcast producer and a tough-as-nails older sister on a road trip that will change their lives. 

More like this: "Summer Romance," Annabel Monaghan; "When I Think of You," Myah Ariel; "Funny Story," Emily Henry

Literary Larks

"Martyr!," Kaveh Akbar (Penguin Random House, pp.352, out now)

Akbar is a poet, and you can see that in the lyrical writing of his debut novel. The story dips in and out of time and memory and points of view, always twisting around the idea of love. Fun and touching and a little weird, this book is made for hot summer nights. 

More like this: "Help Wanted," Adelle Waldman ; "Come and Get It," Kiley Reid; "Family Meal," Bryan Washington

Literary Adventures

"James," Percival Everett (Doubleday, pp 320, out now)

Consider this retelling of "Huck Finn" your summer reading assignment. Told from the perspective of clever and compassionate Jim, the dangerous Mississippi River raft trip includes familiar stops and characters (no need to read the original), but is sharper and comes with higher stakes as our hero tries to reunite his family. 

More like this: "The Vaster Wilds ," Lauren Groff; "Lies & Weddings", Kevin Kwan; "Lone Women," Victor Lavalle

"While We Were Burning," Sara Koffi (Penguin, pp. 304, out now)

Unreliable narrators and blurry relationship boundaries make this story, examining race and class in Memphis, especially twisty. 

More like this : "First Lie Wins," Ashley Elston; "A Line in The Sand," Kevin Powers; "Bright Young Women," Jessica Knoll 

"The Count of Monte Cristo," Alexander Dumas (Penguin, pp. 1,276, out now)

Don’t be intimidated by size. Many classics, including this one, were written in installments, which means short chapters and built-in cliffhangers. And no matter the time period, people are the same, loving and scheming and struggling. Think of this classic revenge story like your latest binge watch. 

More like this : "Their Eyes Were Watching God," Zora Neale Hurston; "Anna Karenina," Leo Tolstoy; "Jane Eyre," Charlotte Bronte 

"Bite by Bite ," Aimee Nezhukumatathil (HarperCollins, pp. 224, out now)

Essay collections are excellent vacation reads, able to be picked up and put down without interrupting a narrative. Each of these short essays is a perfect little bite, exploring the ways food sparks memory and meaning in our lives. 

More like this: "Divine Might," Natalie Haynes; "The Comfort of Crows," Margaret Renkl; "A Praise Song for Kitchen Ghosts," Crystal Wilkinson

"There’s Always This Year," Hanif Abdurraqib (Random House, pp. 352 out now)

If you want nonfiction that requires you to go a little deeper, Abdurraqib delivers. This is a book about basketball. It’s also about belonging and grief, ambition and America. And all of it is delivered in a structure that perfectly, brilliantly mimics a basketball game. Everything comes down to the final two minutes. 

More like this: "A Map of Future Ruins," Lauren Markham; "Grief Is for People," Sloane Crosley; "This Is What It Sounds Like," Susan Rogers & Ogi Ogas

Hillary Copsey is the book advisor at The Mercantile Library in Cincinnati, Ohio.