5 Body Essay

SUMMARY:

  • The body paragraphs are where you present your paper’s main points.
  • Your body paragraphs should contain ample textual evidence, be correctly formatted, and have seamless transitions.

The body is the meat and potatoes of your essay. As such, it needs to contain lots of juicy textual evidence and meaty support, not fluff.

Each body paragraph contains one main idea, backed up by textual evidence and your own analysis. Your analysis should make up the majority of your paragraph.

Remember that (unless your teacher specifically says so), there’s nothing magic about having three body paragraphs. Have as many as you need to get your ideas across. The topic sentences of your body paragraphs should be determined by how you grouped your notes when you were outlining.

With your outline in hand, it’s time to draft your essay.

 

1) What makes a good quote

SUMMARY:

  • The best quotes contain in-depth analysis, opinion, or interpretation, not facts.

LINKS:

When choosing quotes to put in your final paper, keep in mind that some information works better in quote form and some is better as an indirect quote (paraphrased).

Take the following example: According to the CIA Factbook, “all of China falls within one time zone” (CIA Factbook).

How exciting of a quote is that? Not very.

The best quotes contain analysis, opinion, or interpretation. When quoting directly from a source, be sure that the quote is interesting. Take the following example:

According to Lina Song, a professor of economic sociology and social policy at the University of Nottingham, “Local government debt in China is a time bomb waiting to go off” (A Time Bomb, NY Times). In China, local government debt has swelled to 14 trillion yuan (People’s Bank of China).

The opinion part–that local debts in China are a time bomb–is a direct quotation from a credible source (a professor). This makes a good quote since her opinion paints an interesting picture of China’s current economic situation. The fact–that debt is now 14 trillion yuan–is not quoted, since it would be a boring quote. But it does provide substantial factual support to Song’s opinion.

When looking for quotes, look for the most concise parts of the text that explain the author’s points. You don’t want to devote too much of your paper’s length to quoting from your sources.

Try to embed quotes into your writing smoothly by placing them in a sentence of your own, rather than just plopping them in your paper. These ‘lead up’ sentences should contain transitions that give your reader the context behind the quote.

 

2) Making good points

SUMMARY:

  • Good points follow a formula: introduction of evidence + evidence + analysis.
  • The above structure can be modified based on the paper you are writing.

LINKS:

RESOURCES:

  • They Say/I Say: The Moves That Matter in Academic Writing – Gerald Graff and Cathy Birkenstein

Your paper should contain a number of points that make your argument. These points should be substantiated by data–either in the form of direct quotes or paraphrasing. Good points are usually written with the following framework: introduction of evidence + evidence + analysis.
Let’s break down each part:

  1. Introduction of evidence

    – The first part of your point should be a sentence or two that transitions into your quote and explains the topic your quote addresses. Why are you citing this particular evidence? What is the quote adding to your paper?

    For humanities papers, you’ll probably be introducing the work you’re analyzing at the beginning (introductory paragraph) of your essay. Therefore, when you bring up quotes, your ‘introduction of evidence’ will usually contain a transition saying how your quote relates to the rest of your paper.

    Examples:
    “Another example of Healthcliff’s indifference is seen in…”
    “Also, Rowling uses scenic detail to add drama to the book. For example…”
    “Finally, Venus’ frustration comes to a crescendo when the goddess…”
    Notice how each of these examples contains transition words that prepare the reader to hear the quote.

    For social science papers and research papers, you’ll probably be using a lot of sources for support, and as such, you’ll want to introduce each before you quote directly from it. When you bring up a source for the first time, you will want to state its credentials to demonstrate that you are citing an authoritative source (and not just a random person).

    Examples:
    “Further insight into income inequality is provided by Dr. Delaney, an economist at Stanford, who is of the opinion that…” “Malcolm Gladwell, author of Blink: The Power of Thinking Without Thinking, writes that our preconceived notions influence our perceptions…”

    Keep in mind that if you are paraphrasing from a source, it may not be necessary to introduce it. Use your own discretion.

    Example: It sounds funny to say, “The CIA World Factbook, an authority on world statistics, states that “Mali is a landlocked country highly dependent on gold mining and agricultural exports for revenue” (CIA World Factbook).

    Instead, you can just weave the facts about Mali into your essay and provide a parenthetical citation for the Factbook.

  2. Evidence

    – Here is where you substantiate your claim with a direct quote or text that is paraphrased. If you are quoting, be sure to transcribe from your source exactly, word-for-word. If you are paraphrasing, be sure you are doing the citations properly (See our guide to Parenthetical Citations).

  3. Analysis

    – It is important that your evidence isn’t just plopped in your paper. The quote’s relevance to the rest of your paper may seem obvious to you, but you cannot assume that your reader will make the connection. You need to make it explicit. Your analysis should explain why the stated quote helps further an idea promoted in your essay.

    “…This unique rhyming scheme, made famous by Shakespeare, makes the text lighthearted although the poem’s themes of love and timelessness are weighty.” “…The fearful closing lines juxtapose the cheery opening lines, heightening the reader’s sense of unease.”

    “…Abraham Lincoln’s gracious words in this passage indicate his gratitude toward Americans and thankfulness to God.”

    Keep in mind that the above formula can be modified to fit the flow of your paper. For example, if you are comparing two passages of text, you may want to quote them both first before analyzing them. Your analysis might be a discussion of the similarities/differences between the passages.

    Let’s take a look at how this point-making formula works within a paper, provided by George Mason University’s Department of English:

The opening lines of “The Cask of Amontillado” are cunningly crafted to both entice the reader and immediately situate the narrative: “The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat. At length I would be avenged…” (123). With incredible economy we are presented with a troubled relationship between the narrator and Fortunato, which has reached its breaking point. It is also made clear that we are not the intended audience of this narrative. The “you” addressed knows the narrator well; we do not. This and the epistolary tone would suggest that we are looking upon some long forgotten piece of correspondence, which only heightens the atmosphere of mystery and dread already created by this sparse introduction.Here the writer introduces the work, “The Case of Amontillado” and provides a topic sentence. We know what to expect: a discussion on how the opening lines of the text grab the reader and set up the rest of the work. 

The quote is presented. It is cited correctly.

 

 

 

Here, the writer analyzes the the quote. He discusses how the troubled relationship between two people helps frame the book. Notice how he’s building this using this textual evidence to support his topic sentence.

 

 

 

But the writer goes further. He analyzes how details in the text grab the reader through use of literary technique. We are told that this adds to the “atmosphere of mystery and dread” of the short story.

 

E. 3) Formatting quotes and parenthetical citations MLA/APA

SUMMARY:

  • Format your quotes properly, and cite them correctly.

LINKS:

You have done a lot of hard work gathering your sources and selecting quotes. You want to make sure that your quotes are beautifully integrated into your paper. You want the text of the quote to be formatted correctly, and you want your citations to be correct. For that, check out our site for Parenthetical Citations

 

4) Transitioning

SUMMARY:

  • Transitions provide links between ideas of your paper.

LINKS:

Transitions are key to a kick-butt paper. They provide the connections between the major ideas in your paper, and they give the reader cues to tell him where you are going. Remember (from when you researched and outlined) that your transitions should reflect how your notes are grouped. Now is the time to forge your transitions into words!

There should be a transition between each paragraph of the paper that introduces what the new paragraph is about and how it relates to the previous one. An effective way to transition is by using the following format: clause that references the claim in the previous paragraph (making a smooth transition between one claim and the next) + comma + topic sentence of next paragraph:

  • “In contrast to Marsha’s heartfelt feelings toward her sister in the first half of the book, in the second half they dissolve, only to be replaced by anger…”
    Here the words “in contrast” tell the reader that the text after the comma will be in juxtaposition to the text in front of the comma. Marsha’s relationship with her sister has changed, and this transition cues the reader that the next paragraph will be about anger in their relationship.
  • “Similar to how Tom dealt with the dragon the first time, he…”
    The words “similar to” indicate that Tom handled the dragon using the same technique twice Here, the reader is prepared to learn about how Tom dealt with the dragon the second time around, and how that was similar to the first time.
  • “Despite all that Tony did for Robin, she…”
    “Despite” indicates that there will be a shift in the second part of the sentence. The reader is prepared to hear about how Robin verbally abused Tom (or some other negative action) in the latter paragraph despite the fact that Tony did a lot for her.

Transitions should be used within paragraphs too. They help lead your reader down your intended path. Here’s a list of useful transitions (provided by UNC):

Here are a couple examples:

  • “Jay Gatsby spares no expense at his extravagant Saturday night parties, as seen when…”
    Here, the phrase “as seen when” transitions your reader from your statement at the beginning of the sentence to a quote that will fit nicely at the end.
  • Steven’s behavior towards his family members is generally affable, but he treats only his parents with utmost respect.
    Here, the use of the world “but” indicates that the second half of the sentence will modify the first half. In this example, “but” helps the author refine the argument. Steven doesn’t treat everyone in his as best as he can. He treats his parents with his best behavior.

Tip: The transitions can also be used to transition between paragraphs.

 

5) Avoiding plagiarism

SUMMARY:

  • Make sure that the sources you cite in your paper are quoted or paraphrased correctly.
  • Don’t have too much of your paper’s text be from a source other than yourself.

LINKS:

Your essay should be well supported with credible sources, but you don’t want too much of your paper to be written by another person. Your teacher wants to hear your own insight. The sources you reference in your paper should be cited correctly (paraphrased or directly quoted). If an idea is not your own, don’t take credit for it!

According to the Merriam-Webster Dictionary plagiarizing means to:

  • Steal and pass off the ideas or words of another as one’s own
  • Use another’s production without crediting the source
  • Commit literary theft
  • Present as new and original an idea or product derived from an existing source

All of the following are considered plagiarism:

  • Turning in someone else’s work as your own
  • Copying words or ideas from someone else without giving credit
  • Failing to put a quotation in quotation marks
  • Giving incorrect information about the source of a quotation
  • Changing words but copying the sentence structure of a source without giving credit
  • Copying so many ideas or words from a source that it makes up the majority of your work, whether you give credit or not
A classic format for compositions is the five-paragraph essay. It is not the only format for writing an essay, of course, but it is a useful model for you to keep in mind, especially as you begin to develop your composition skills. The following material is adapted from a handout prepared by Harry Livermore for his high school English classes at Cook High School in Adel, Georgia. It is used here with his permission.

Introduction:

Introductory Paragraph

See, first, Writing Introductory Paragraphs for different ways of getting your reader involved in your essay. The introductory paragraph should also include the thesis statement, a kind of mini-outline for the paper: it tells the reader what the essay is about. The last sentence of this paragraph must also contain a transitional "hook" which moves the reader to the first paragraph of the body of the paper.

Body:

Body — First paragraph:

The first paragraph of the body should contain the strongest argument, most significant example, cleverest illustration, or an obvious beginning point. The first sentence of this paragraph should include the "reverse hook" which ties in with the transitional hook at the end of the introductory paragraph. The topic for this paragraph should be in the first or second sentence. This topic should relate to the thesis statement in the introductory paragraph. The last sentence in this paragraph should include a transitional hook to tie into the second paragraph of the body.

Body — Second paragraph:

The second paragraph of the body should contain the second strongest argument, second most significant example, second cleverest illustration, or an obvious follow up the first paragraph in the body. The first sentence of this paragraph should include the reverse hook which ties in with the transitional hook at the end of the first paragraph of the body. The topic for this paragraph should be in the first or second sentence. This topic should relate to the thesis statement in the introductory paragraph. The last sentence in this paragraph should include a transitional hook to tie into the third paragraph of the body.

Body — Third paragraph:

The third paragraph of the body should contain the weakest argument, weakest example, weakest illustration, or an obvious follow up to the second paragraph in the body. The first sentence of this paragraph should include the reverse hook which ties in with the transitional hook at the end of the second paragraph. The topic for this paragraph should be in the first or second sentence. This topic should relate to the thesis statement in the introductory paragraph. The last sentence in this paragraph should include a transitional concluding hook that signals the reader that this is the final major point being made in this paper. This hook also leads into the last, or concluding, paragraph.

Conclusion:

Concluding paragraph:

This paragraph should include the following:

  1. an allusion to the pattern used in the introductory paragraph,
  2. a restatement of the thesis statement, using some of the original language or language that "echoes" the original language. (The restatement, however, must not be a duplicate thesis statement.)
  3. a summary of the three main points from the body of the paper.
  4. a final statement that gives the reader signals that the discussion has come to an end. (This final statement may be a "call to action" in an persuasive paper.)

A Sample Paper

1Stephen King, creator of such stories as Carrie and Pet Sematary, stated that the Edgar Allan Poe stories he read as a child gave him the inspiration and instruction he needed to become the writer that he is. 2Poe, as does Stephen King, fills the reader's imagination with the images that he wishes the reader to see, hear, and feel. 3His use of vivid, concrete visual imagery to present both static and dynamic settings and to describe people is part of his technique. 4Poe's short story "The Tell-Tale Heart" is a story about a young man who kills an old man who cares for him, dismembers the corpse, then goes mad when he thinks he hears the old man's heart beating beneath the floor boards under his feet as he sits and discusses the old man's absence with the police. 5In "The Tell-Tale Heart," a careful reader can observe Poe's skillful manipulation of the senses. The introductory paragraph includes a paraphrase of something said by a famous person in order to get the reader's attention. The second sentence leads up to the thesis statement which is the third sentence. The thesis statement (sentence 3) presents topic of the paper to the reader and provides a mini- outline. The topic is Poe's use of visual imagery. The mini- outline tells the reader that this paper will present Poe's use of imagery in three places in his writing: (1) description of static setting; (2) description of dynamic setting; and (3) description of a person. The last sentence of the paragraph uses the words "manipulation" and "senses" as transitional hooks.
1The sense of sight, the primary sense, is particularly susceptible to manipulation. 2In "The Tell-Tale Heart," Poe uses the following image to describe a static scene: "His room was as black as pitch with the thick darkness . . ." Poe used the words "black," "pitch," and "thick darkness" not only to show the reader the condition of the old man's room, but also to make the reader feel the darkness." 3"Thick" is a word that is not usually associated with color (darkness), yet in using it, Poe stimulates the reader's sense of feeling as well as his sense of sight. In the first sentence of the second paragraph (first paragraph of the body) the words "sense" and "manipulation" are used to hook into the end of the introductory paragraph. The first part of the second sentence provides the topic for this paragraph--imagery in a static scene. Then a quotation from "The Tell-Tale Heart" is presented and briefly discussed. The last sentence of this paragraph uses the expressions "sense of feeling" and "sense of sight" as hooks for leading into the third paragraph.
1Further on in the story, Poe uses a couple of words that cross not only the sense of sight but also the sense of feeling to describe a dynamic scene. 2The youth in the story has been standing in the open doorway of the old man's room for a long time, waiting for just the right moment to reveal himself to the old man in order to frighten him. 3Poe writes: "So I opened it [the lantern opening]--you cannot imagine how stealthily, stealthily--until, at length, a single dim ray, like the thread of the spider, shot from out the crevice and fell full upon the vulture eye." 4By using the metaphor of the thread of the spider (which we all know is a creepy creature) and the word "shot," Poe almost makes the reader gasp, as surely did the old man whose one blind eye the young man describes as "the vulture eye." The first sentence of the third paragraph (second paragraph of the body) uses the words "sense of sight" and "sense of feeling" to hook back into the previous paragraph. Note that in the second paragraph "feeling" came first, and in this paragraph "sight" comes first. The first sentence also includes the topic for this paragraph--imagery in a dynamic scene. Again, a quotation is taken from the story, and it is briefly discussed. The last sentence uses the words "one blind eye" which was in the quotation. This expression provides the transitional hook for the last paragraph in the body of the paper.
1The reader does not know much about what the old man in this story looks like except that he has one blind eye. 2In the second paragraph of "The Tell-Tale Heart," Poe establishes the young man's obsession with that blind eye when he writes: "He had the eye of the vulture--a pale blue eye, with a film over it." 3This "vulture eye" is evoked over and over again in the story until the reader becomes as obsessed with it as does the young man. 4His use of the vivid, concrete word "vulture" establishes a specific image in the mind of the reader that is inescapable. In the first sentence of the fourth paragraph (third paragraph in the body), "one blind eye" is used that hooks into the previous paragraph. This first sentence also lets the reader know that this paragraph will deal with descriptions of people: ". . . what the old man looks like . . .." Once again Poe is quoted and discussed. The last sentence uses the word "image" which hooks into the last paragraph. (It is less important that this paragraph has a hook since the last paragraph is going to include a summary of the body of the paper.)
1"Thick darkness," "thread of the spider," and "vulture eye" are three images that Poe used in "The Tell-Tale Heart" to stimulate a reader's senses. 2Poe wanted the reader to see and feel real life. 3He used concrete imagery rather than vague abstract words to describe settings and people. 4If Edgar Allan Poe was one of Stephen King's teachers, then readers of King owe a debt of gratitude to that nineteenth-century creator of horror stories. The first sentence of the concluding paragraph uses the principal words from the quotations from each paragraph of the body of the paper. This summarizes those three paragraph. The second and third sentences provide observations which can also be considered a summary, not only of the content of the paper, but also offers personal opinion which was logically drawn as the result of this study. The last sentence returns to the Edgar Allan Poe-Stephen King relationship which began this paper. This sentence also provides a "wrap-up" and gives the paper a sense of finality.

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