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Read Mark Twain's little piece (below) about the troubles he has with his new watch, as another example of narrative writing. (There is very little in the way of paragraphing in this narrative, and as you read along you might want to think about how you would break this piece into smaller units of thought for your reader.) Answer the questions we pose after Twain's essay and apply them as well to Jeffrey Tayler's essay above.
The ability to describe something convincingly will serve a writer well in any kind of essay situation. The most important thing to remember is that your job as writer is to show, not tell. If you say that the tree is beautiful, your readers are put on the defensive: "Wait a minute," they think. "We'll be the judge of that! Show us a beautiful tree and we'll believe." Do not rely, then, on adjectives that attempt to characterize a thing's attributes. these are all useful adjectives in casual speech or when we're pointing to something that is lovely, etc., but in careful writing they don't do much for us; in fact, they sound hollow.
Let nouns and verbs do the work of description for you. With nouns, your readers will see; with verbs, they will feel. In the following paragraph, taken from George Orwell's famous anti-imperialist essay, "Shooting an Elephant," see how the act of shooting the elephant delivers immense emotional impact. What adjectives would you expect to find in a paragraph about an elephant? big? grey? loud? enormous? Do you find them here? Watch the verbs, instead. Notice, too, another truth about description: when time is fleeting, slow down the prose. See how long the few seconds of the shooting can take in this paragraph. You can read the entire text of George Orwell's story by clicking , and you can read additional essays by this famous author of and at
Do not forget that the business of the essay is to make a point. In his essay, Orwell succeeds in portraying the horrors of an imperialist state, showing how the relationship between the oppressed Burmese and the British oppressor is dehumanizing to both. When writing a narrative, it is easy to get caught up in the telling of the story and forget that, eventually, our reader is going to ask So What? and there had better be an answer.
Read Jeffrey Tayler's "The Sacred Grove of Oshogbo" (first published in , used with permission) and try to determine exactly at what passage in the text do you become aware of the point of Tayler's essay. Take note of the rich detailing of the forest, the caretaker, and the minister from the city and try to describe how the details lend themselves toward the purpose of the article. Another Atlantic essay, Jeff Biggers' filled with wonderful details of a remote town in Mexico is also available here.