An article is some thing the author creates himself. The personal contact breathes charm and life in to the essay through the character of the essayist. An article could be on a number of subjects but it will most importantly display an interest in life. It will reflect the character of the writer and also change the outlook of the audience. Ergo the composition is just a reverie for the essayist – it’s a loose series of ideas, abnormal in nature which lives on the minute and allows the author to correspond to himself and dwell within.Make sure to learn more about literature essays on the internet. Montaigne used this type of method incredibly while he wrote his essays, infusing appeal by being personal and intimate, and presenting a particular feeling of your brain.
For your composition we possibly may return to Cicero or Plato. Cicero dealt with abstract subjects with an intimate back ground. Plato mentioned speculative and moral issues of life and tried to locate a philosophical interest. They’re also prejudiced, secretive, closely-guarded about their privacy. But Lord Brougham proved that one may maintain privacy in the same time show yourself.
The appeal of the essayist is based on the effort to begin a nice friendship with the audience and in converting a sense of good humour, graciousness, realistic character. One doesn’t browse the article for information or description, but to get a suitable solution to some mass of entangled issues which arise in our daily lives and within our relationships with people. The essayist must understand that most people’s convictions aren’t a direct result reason but scores of jumbled up organizations, practices, half comprehended terms, loyalties, vagaries an such like.
An essayist isn’t a poet. An essayist offers to some degree with humour. But comedy is alien to poetry that will be more of the solemn and sacred feeling. The poet is psychological, reverential, excitable, looking for the elegant and the uplifted. He really wants to transcend the ordinary small everyday frets, the discordant, undignified aspects of life. The similarity of the essayist using the poet is that the essayist may also try to kindle emotion. But an essayist uses the most common products of life and changes basic activities with romantic light and a story book treat. Behind all types of art whether, whether poetry or pro-se lies the concept of question, of arrested attention. The wonder a savage feels on viewing a civilized city isn’t the sense of beauty but the sense of pressure, mysterious sources, amazing items, unintelligible things. He also sees the ridiculous, grotesque, entertaining and jocose. The essayist handles these basic emotions.
Therefore an essayist is just a spectator of life. The essayist chooses his environment, perhaps a road, country or picture gallery. But once he chooses he’s to get involved with the center of it.
The essayist should have largeness of mind. He can’t just enjoy his action whether of a politician or even a thief using the main aim of creating profit. He can’t i.e. he shouldn’t dislike his opponents, be prejudiced in his favours and favour his friends. Despises, disapproves he loses sympathy, if he condemns. Close jacketed individuals such as for instance a bank, social reformer, forensic pleader, lover, turn or puritan can’t be an essayist. The essayist needs to be broad-minded although not moral.
Addison in The Spectator handled fine humor. Charles Lamb handled comfortable and the romantic. While Pater used the composition for beautiful artistic feeling impassioned autobiography was written by de Quincy. In most these writings the common pressure is the personal element, the composition reflects the character of the author.Human weakness must be considered by the essayist, perhaps not human power. But while taking human weakness he should attempt to impress flashes of idealism inside them.People can find out more about literature essays on the web. He must keep in mind that human mind regardless of weakness is effective at idealism, enthusiastic thoughts, reckless comedy which might shoot from dull cloudy minds. The job of the essayist is to help make the reader realize his self-worth, that each human mind is effective at finding some thing big and remote which nevertheless might not always be obvious in our minds.
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People tell me that I write essays. I think they’re probably right—except that I’ve never been exactly sure what an essay is. When I think essay, I think five plodding paragraphs about the use of light as a symbol in The Scarlet Letter. Or I imagine much more experienced, serious writers picking up their pens, like Michel de Montaigne, the 16th-century Frenchman who spent most of his career honing some of the earliest examples of the form. Or at least someone who took things like rhetoric and comp. lit. in college.
So I asked other writers and editors for their thoughts about what essays are, and what makes good ones work. One of my favorite descriptions of the form comes from Janet Hopson, a co-founder of Outside and the inaugural columnist of the magazine’s Natural Acts column. In some ways, she says, the lines are blurry between essays and feature stories. Both can educate, entertain, inform, inspire. Some features include the writer’s own experience, use lyrical language, or support an argument; an essay can brim with facts, quote other people, and the first-person writer can vanish behind a screen of words.
The underlying structure, Hopson says, is what separates the two. In an essay, the writer directs the movement from idea to idea; a feature’s structure comes from its subject. “An essay can have just as much factual information, but it’s based around this unique, personal, internal logic,” says Hopson, who teaches a science essay course to graduate students in the University of California, Santa Cruz’s Science Communication program.
Bringing this personal, internal logic to an idea can open up previously unexplored territory for readers—and for writers as well. For those already writing about science, an essay can be a way of stepping into an unfamiliar field, whether it’s fluid dynamics or immunology, and exploring the most personally compelling facets.
Essays are, in fact, what got Richard Panek, a journalist and fiction writer, into writing about science. An editor proposed a book about the history of the telescope; when he balked, she suggested he imagine the project as a long essay. “Then I was able to think of it in a personal way. I could focus where it was interesting to me,” he says.
Because essays seem quieter to me than full-throttle features, I sometimes think that I need to grab a reader’s interest by starting smack in the middle of action. But sometimes, when I’m trying to start out an essay, I’m not sure yet where the action is. Panek, co-author of The Autistic Brain, spends a lot of time thinking about beginnings, too. Recently he realized that you don’t necessarily need to start out in media res “because the moment that you start to put something down on paper, the reader is already interested in what came before.”
The beginning of Belle Boggs’ lovely essay “The Art of Waiting” does just that. “It’s spring when I realize that I may never have children,” she writes, “and around that time the thirteen-year cicadas return, burrowing out of neat, round holes in the ground to shed their larval shells, sprout wings, and fly to the treetops, filling the air with the sound of their singular purpose: reproduction.” This first sentence leaves the reader wondering what’s brought the narrator to this moment. And with it, Boggs also sets up the essay’s broader sweep of reproduction across the animal kingdom, from reproductive submission in cooperative marmoset communities to Jamani, a pregnant gorilla that is part of a captive breeding program at the North Carolina Zoo.
Making a Change
What’s also evident in this essay is the writer’s subtle transformation. Boggs contemplates some counterpoints—from a female gorilla on birth control pills to Virginia Woolf, who wrote on one occasion that the thrill of writing well surpassed her longtime desire for children—near the essay’s end. Then in the final graphs, Boggs notes that the cicadas have stopped singing. “The silence is startling at first—I step outside each morning expecting to hear that seashell sound—but it’s also a relief. I wait for some other wave,” she writes.
Transformation is critical to the success of a personal essay, says Evelyn Strauss, a writer and editor who teaches the UCSC essay course in alternating years. Without change, she says, an essay is just something that happened, a topic instead of a story. Change can come through earth-shattering revelation—or, as Boggs shows, through quiet, even tentative steps. Whether big or small, a writer can structure an essay by starting with a problem or question, explaining how it came about, and then calling out the different points that highlight gradual evolution. Strauss says readers keep reading because of the dramatic tension: How will this problem be resolved?
But say you want to write an essay about something and you don’t yet know how transformation fits into your topic. Strauss suggests exploring what’s drawn you to the idea, rambling around what associations you bring to it, and seeing what bubbles up from there.
A writer can also create the tension and release that the arc of transformation brings, without getting too personal. If you can ratchet up the drama—setting up a problem, and making the essay the movement toward a solution—a reader will remain interested. In “Vortex,” an essay that appears in the book Wild Thoughts from Wild Places, writer David Quammen starts out in a bit of a fix: he’s stuck upside down in a “hole,” a churning river feature. What follows is a deep exploration of these holes’ properties and how fluids move. It’s not normally light reading, but it pulls the reader along with a growing understanding of Quammen’s predicament.
Pay (No) Attention to that Man Behind the Curtain
It’s sometimes shocking to suddenly have the freedom to insert yourself into an essay, particularly when you’re used to keeping yourself out of the story in traditional news pieces. But a writer’s presence in the essay can both provide an arc to the essay and guide the reader’s journey through a particular subject.
Writer David Rains Wallace usually uses first-person to some degree in both his essays for Bay Nature and his books, which he considers extended essays. “I like to have a personal relationship with my subject,” he says. “I like to make it pretty clear… who’s behind what I write, to the extent one can be clear about who one is.”
No matter how much a writer reveals himself, he has to find a way to make his experience resonate with others. High Country News contributing editor Michelle Nijhuis, who edits essays for the biweekly, looks for writers who can get journalistic distance on themselves. “No matter how long you’ve been doing it, it’s easy to get lost in your own experience,” she says. She points to a successful essay about two women getting married in rural Washington. Although it’s the story of one couple, the writer bridges the personal and the universal, relating not only a special wedding day but the joys and challenges faced by anyone getting married, along with insights into life in the rural West.
Combining the personal and the universal in an essay that’s about science can give readers a more intimate connection to science and its process, a connection that’s often hard to create in a news story, or even a feature. In a post at The Last Word On Nothing, Panek begins by explaining that his father was older than the universe—older, anyway, than when Edwin Hubble confirmed that there were galaxies beyond our own and gave the world a glimpse into the vastness of the universe. Panek chronicles further discoveries about the universe alongside the enjoyment he had in sharing the unfolding universe with his father. The post, along with being a tribute to a unique man, connects a reader (this reader, anyway) both inward and outward—with my own father, and our own universe.
Even without including direct personal experience in an essay, a writer’s fingerprints are un-erasable. The way a writer moves from idea to idea and the detours and tangents that draw her attention make each essay unique. And all of this is wrapped in a writer’s voice—everything from her word choice to the way she shapes her dialogue. Nijhuis is always looking for compelling voices. “That’s the thing that, as an editor, you can’t fix,” she says. “The voice has to come from the writer’s personality and the writer’s experience.”
One of these unmistakable voices comes from Amy Leach, who writes about science and nature in essays that are lyrical, funny, and oddly touching. Her essay, “Sail On, My Little Honeybee” (which later appeared in the 2009 edition of Best American Essays), never uses first-person, but the writer is unmistakably present in this exploration of the moon’s place in our sky. Here’s an example: “For an idea of how long your light takes to reach Earth, sing one line from a song, such as ‘Sail on, my little honey bee,’ and that is how long moonlight takes…As for the Sun, he should sing as lustily as sunlight; have him discharge the song ‘I Gave Her Cakes and I Gave Her Ale,’ which is eight minutes long, which is how long sunlight takes to reach the Earth.”
If you compare this to another of her essays, such as “Warbler Delight,” you’ll see the same use of slightly gilded language with terrific images, a sprinkling of wild fantasy that gets at a greater truth, and a tone that’s both authoritative and impressionable.
There are two things that the essay writers I talked with suggested: more reading and more writing. Essay collections like the Best American series, that draw from a wide range of venues (whether literary journal, blog, or science magazine), can give a reader examples of structure, voice, and other craft elements. Finding a reason to do regular essay-writing—whether a personal blog or even a deadline with another writer—can move essays from vague ideas to words on the page.
Even when you’re not working on essays, “you can take the opportunity in almost any kind of nonfiction writing to amp up your own voice,” Hopson says. “It doesn’t leave you, once you create a strong, personalized voice as a writer. It just winds up in things.”
A long time ago, in that same high school English class where I struggled to say something interesting about The Scarlet Letter, I learned that the word essay comes from a French word which means “to try.” And perhaps the unspoken corollary: sometimes, to fail. But when a writer succeeds, an essay feels that much more satisfying, because that precipice is always hovering there in the background. When a writer leaps, and lands safely and gracefully, all I can do is applaud.
BONUS! You ask, “Now that I’m all fired up on writing essays, where can I publish them?” Here are a few markets for personal and science-related essays:
- High Country News, up to 800-word essays on life in the West, including science and environmental themes
- Orion, 1,200 to 5,000-word pieces about “the nexus of ecology and the human spirit”
- Bay Nature, articles and essays generally 700-3,000 words on the San Francisco Bay Area’s natural and human history
- The American Scholar, approx. 4,000-word essays on a range of subjects
- The Christian Science Monitor, Home Forum: 400- to 800-word personal essays
- The New York Times Magazine, Lives: approx. 800-word essays
- The New York Times, Modern Love: 1,200- to 1,500-word personal essays
- (There’s also a parallel site, Modern Love Rejects, which publishes rejected Modern Love Essays).
- Terrain.org, 6,000 words or less on the built and natural environments, often based on a theme.
You can find additional essay markets here (not all information is current). Also, check the Best American Essay series for additional market ideas.
Cameron Walker writes about science, travel, and curiosities of the Pacific coast. Her essays have appeared in High Country News and The Last Word On Nothing.
Photo at top by Signature Message via Shutterstock.
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