Examples of effective hooks include relevant quotations "no man is an island" or surprising statistics "three out of four doctors report that…".
Following the thesis, you should provide a mini-outline which previews the examples you will use to support your thesis in the rest of the essay. Not only does this tell the reader what to expect in the paragraphs to come but it also gives them a clearer understanding of what the essay is about.
Finally, designing the last sentence in this way has the added benefit of seamlessly moving the reader to the first paragraph of the body of the paper. In this way we can see that the basic introduction does not need to be much more than three or four sentences in length. If yours is much longer you might want to consider editing it down a bit! Here, by way of example, is an introductory paragraph to an essay in response to the following question:.
Because this is the first paragraph of your essay it is your opportunity to give the reader the best first impression possible. The introductory paragraph not only gives the reader an idea of what you will talk about but also shows them how you will talk about it. At the same time, unless it is a personal narrative, avoid personal pronouns like I, My, or Me.
Try instead to be more general and you will have your reader hooked. The middle paragraphs of the essay are collectively known as the body paragraphs and, as alluded to above, the main purpose of a body paragraph is to spell out in detail the examples that support your thesis.
For the first body paragraph you should use your strongest argument or most significant example unless some other more obvious beginning point as in the case of chronological explanations is required. The first sentence of this paragraph should be the topic sentence of the paragraph that directly relates to the examples listed in the mini-outline of introductory paragraph.
A one sentence body paragraph that simply cites the example of "George Washington" or "LeBron James" is not enough, however. No, following this an effective essay will follow up on this topic sentence by explaining to the reader, in detail, who or what an example is and, more importantly, why that example is relevant.
Even the most famous examples need context. The reader needs to know this and it is your job as the writer to paint the appropriate picture for them. To do this, it is a good idea to provide the reader with five or six relevant facts about the life in general or event in particular you believe most clearly illustrates your point. Having done that, you then need to explain exactly why this example proves your thesis.
The importance of this step cannot be understated although it clearly can be underlined ; this is, after all, the whole reason you are providing the example in the first place. Seal the deal by directly stating why this example is relevant. The first sentence — the topic sentence - of your body paragraphs needs to have a lot individual pieces to be truly effective.
Not only should it open with a transition that signals the change from one idea to the next but also it should ideally also have a common thread which ties all of the body paragraphs together. For example, if you used "first" in the first body paragraph then you should used "secondly" in the second or "on the one hand" and "on the other hand" accordingly.
Examples should be relevant to the thesis and so should the explanatory details you provide for them. It can be hard to summarize the full richness of a given example in just a few lines so make them count. If you are trying to explain why George Washington is a great example of a strong leader, for instance, his childhood adventure with the cherry tree though interesting in another essay should probably be skipped over.
You may have noticed that, though the above paragraph aligns pretty closely with the provided outline, there is one large exception: These words are example of a transitional phrase — others include "furthermore," "moreover," but also "by contrast" and "on the other hand" — and are the hallmark of good writing.
Transitional phrases are useful for showing the reader where one section ends and another begins. It may be helpful to see them as the written equivalent of the kinds of spoken cues used in formal speeches that signal the end of one set of ideas and the beginning of another. In essence, they lead the reader from one section of the paragraph of another.
Hopefully this example not only provides another example of an effective body paragraph but also illustrates how transitional phrases can be used to distinguish between them. Although the conclusion paragraph comes at the end of your essay it should not be seen as an afterthought.
As the final paragraph is represents your last chance to make your case and, as such, should follow an extremely rigid format. One way to think of the conclusion is, paradoxically, as a second introduction because it does in fact contain many of the same features.
While it does not need to be too long — four well-crafted sentence should be enough — it can make or break and essay. Effective conclusions open with a concluding transition "in conclusion," "in the end," etc.
After that you should immediately provide a restatement of your thesis statement. This should be the fourth or fifth time you have repeated your thesis so while you should use a variety of word choice in the body paragraphs it is a acceptable idea to use some but not all of the original language you used in the introduction.
And she analyses what has gone wrong with politics in Australia, arguing that successful leaders know what they want to do, and create the space and time to do it. Throughout history, artists and philosophers have cultivated the deep self, and seen value in solitude and reflection.
But today, through social media, wall-to-wall marketing, reality television and the agitation of modern life, everything feels illuminated, made transparent. We feel bereft without our phones and their cameras and the feeling of instant connectivity. It gets hard to pick up a book, harder still to stay with it.
In this eloquent and profound essay, renowned critic Sebastian Smee brings to the surface the idea of inner life — the awareness one may feel in front of a great painting or while listening to extraordinary music by a window at dusk or in a forest at night.
No nostalgic lament, this essay evokes what is valuable and worth cultivating — a connection to our true selves, and a feeling of agency in the mystery of our own lives.
At the same time, such contemplation puts us in an intensely charged relationship with things, people or works of art that are outside us.
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She is the author of Chasing the Future: Recession, Recovery and the New Politics in Australia and two acclaimed Quarterly Essays, Great Expectations and .
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