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Critical Research Paper | Writing A Critical Research Paper | How to Write a Critical Research Paper | Critical Research Paper Writing | Critical Research

Writing a Critical Paper

Facing the question

Decode the question systematically

If you just glance at a set question and then immediately start to wonder how you will answer it, you are unlikely to produce an interesting essay, let alone a strictly relevant one. To write interesting criticism you need to read well. That means, among many other things, noticing words, exploring their precise implications, and weighing their usefulness in a particular context. You may as well get in some early practice by analysing your title. There are anyway crushingly self-evident advantages in being sure that you do understand a demand before you put effort into trying to fulfil it.

Faced by any question of substantial length, you should make the first entry in your notes a restatement, in your own words, of what your essay is required to do. To this you should constantly refer throughout the process of assembling material, planning your answer's structure, and writing the essay. Since the sole aim of this reformulation is to assist your own understanding and memory, you can adopt whatever method

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Researching an answer

Before you begin to think about the overall shape of your essay, you must gather information and ideas.

Read the whole of each set text

The absolute priority is to investigate any work which the essay title specifies as your subject. You must read every word of it. However long it is and however tedious some passages seem at first glance, there can be no skip-reading. If you find that you have been day-dreaming for a few pages, or even a few lines, go back and read them properly.

The absolute priority is to investigate any work which the essay title specifies as your subject. You must read every word of it. However long it is and however tedious some passages seem at first glance, there can be no skip-reading. If you find that you have been day-dreaming for a few pages, or even a few lines, go back and read them properly.

On some rare and regrettable occasions, other commitments or sheer incompetence in organizing your time may interfere. You may still not have read all the set texts thoroughly when you need to begin your essay if you are to meet the deadline. In such an event, do not start writing. Go to your tutor. Explain or confess. Plead for more time. You may not be popular; but you will cause far greater resentment by producing an essay on texts which you have not fully explored. To do so is a crass waste not only of your own efforts but also of your reader's.

READ AGAIN

Whenever possible, read a work more than once. If your entire essay is to be devoted to a single poem of less than a hundred
Planning an argument

A critical essay should not just express an opinion. It must advance an argument.

Whenever possible, read a work more than once. If your entire essay is to be devoted to a single poem of less than a hundred
Planning an argument

A critical essay should not just express an opinion. It must advance an argument.

A critical essay should not just express an opinion. It must advance an argument.

Often you will have been offered by a title-or discovered in your research-some crucial proposition on which you can centre the entire structure of your essay, examining the relevance and accuracy of that one claim. Your essay may eventually come to a concluding sentence which says little more than 'Yes, I do agree' or 'No, I do not'. Which of these destinations you choose to reach, though it should concern you, may not matter much to your reader. The route, however, certainly will.

Notice the sleeping metaphors of a journey in clauses like 'advancing an argument', 'exploring an issue', 'arriving at a judgement'. You should conduct your reader along a carefully planned path. The route must take in all the most interesting points and yet maintain an overall sense of direction. Good essays make progress.

Sensible essay-writers, like all competent guides, are properly equipped before they embark. They have clear priorities, and have allocated the time available to the different landmarks so that the more puzzling can be adequately explained, and the most interesting sufficiently explored. They have chosen the order in which these points will be reached, and the linking passages which can best connect them into a demonstrably logical itinerary. They also, of course, know the conclusion to which they will finally lead the reader; but they remember that to travel illuminatingly is more important than to arrive.

Making a detailed case

Most O-level questions-and indeed many A-levels ones-spell out the need to go into detail. You might now, however, be faced by a question which sounds more generalized. Do not be misled. Admittedly, as an advanced student, you should be gradually learning how to offer more sophisticated thoughts about a wider range of literature; but you will also be expected to support those ideas by more skilful use of specific evidence. Sometimes a title's phrasing will be deliberately vague in the hope of provoking you into thinking and writing more exactly. Choosing-and using-the most localized moments in a text may now matter more than ever. So acquire the habit of chanting to yourself, at every stage of essay composition, 'Specify; specify; specify'.

Most O-level questions-and indeed many A-levels ones-spell out the need to go into detail. You might now, however, be faced by a question which sounds more generalized. Do not be misled. Admittedly, as an advanced student, you should be gradually learning how to offer more sophisticated thoughts about a wider range of literature; but you will also be expected to support those ideas by more skilful use of specific evidence. Sometimes a title's phrasing will be deliberately vague in the hope of provoking you into thinking and writing more exactly. Choosing-and using-the most localized moments in a text may now matter more than ever. So acquire the habit of chanting to yourself, at every stage of essay composition, 'Specify; specify; specify'. Clarification or proof

In literary criticism, as elsewhere, evidence can involve two distinguishable concepts.

In literary criticism, as elsewhere, evidence can involve two distinguishable concepts.

To make evident is to reveal. References to particular episodes, lines or words show your reader the text as you see it. By citing examples you explain just what the patterns are that you have spotted.

Evidence can also suggest the means of persuasion, the facts and factors by which a case can be proved. You need not only to explain what your contentions are but to demonstrate that they are rational. Evidence proves that you are not guessing at a distance but responding to words that all can find on the

Style

Remember the reader

Never forget that what you are now writing will have to make sense to someone else. If that reader is-however indirectly-your examiner, you will score points not for what you had in mind but only for what your prose manages to say. Inefficient prose simply fails to communicate. Unless your style speaks clearly, no other virtues or skills which you may possess can be recognized.

Remember the reader

Never forget that what you are now writing will have to make sense to someone else. If that reader is-however indirectly-your examiner, you will score points not for what you had in mind but only for what your prose manages to say. Inefficient prose simply fails to communicate. Unless your style speaks clearly, no other virtues or skills which you may possess can be recognized.

Never forget that what you are now writing will have to make sense to someone else. If that reader is-however indirectly-your examiner, you will score points not for what you had in mind but only for what your prose manages to say. Inefficient prose simply fails to communicate. Unless your style speaks clearly, no other virtues or skills which you may possess can be recognized.

Of course all readers need to be motivated. Tutors, too, want to be interested. They may even hope to be amused. So try also to inject some vigour into your style. You can raise your reader's hopes with a first sentence which is phrased arrestingly. You can leave behind a good impression with a last sentence which is phrased memorably. The more of the intervening sentences which seem well-written and even witty the better. Alertness to any ambiguities and playfulness which may lurk in the language of your own prose should anyway help you to notice and enjoy more of the verbal games that literary texts are themselves playing.

But an over-ambitiously original style may stumble into pretentiousness or wander away into mere eccentricity. Posturing and whimsicality infuriate some tutors, and all resent word-play where it is irrelevant. Ensure that any imaginative expression is indeed designed to express rather than merely impress. If it defines your meaning more precisely or conveys it more economically, use it. If not, settle for a simpler, more direct, phrasing.

Presentation

Rough draft into fair copy

If time allows, you should write out your essay in a two-stage process. First, compose a provisional, but complete, draft of all that you intend to say. Think of this not as a 'rough copy' but as a 'working draft'. Do work at it, making additions, deletions and corrections as you write. Add relevant ideas. Cut obscurities and padding. Substitute clearer terms in which to convey your meaning.

Rough draft into fair copy

If time allows, you should write out your essay in a two-stage process. First, compose a provisional, but complete, draft of all that you intend to say. Think of this not as a 'rough copy' but as a 'working draft'. Do work at it, making additions, deletions and corrections as you write. Add relevant ideas. Cut obscurities and padding. Substitute clearer terms in which to convey your meaning.

If time allows, you should write out your essay in a two-stage process. First, compose a provisional, but complete, draft of all that you intend to say. Think of this not as a 'rough copy' but as a 'working draft'. Do work at it, making additions, deletions and corrections as you write. Add relevant ideas. Cut obscurities and padding. Substitute clearer terms in which to convey your meaning.

A first draft allows you to make as many alterations as spring to mind without your being inhibited by the growing messiness. However inelegant this version may start to look as you cross out some words and squeeze in others, it will still be decipherable by you; and only you need to see it.

When you have written out the last sentence of this working draft, read it all through from the beginning. Thoughtfully review and thoroughly revise. Try to find a friend or relative who is prepared to listen while you read it aloud, to ask questions where puzzled, and to offer constructive advice. At least try reading it aloud to yourself. Then you will be able to hear where it sounds confusing in structure or clumsy in style. When you can find no more opportunities for improvement or when there is simply no more time, write out the essay again as a fair copy.

Think of the adjective 'fair' here as a pun. Good-looking work may find favour. An essay which looks beautiful will not, of course, be forgiven for talking nonsense. Yet an ugly one may be thought to contain less sense than it in fact does.
Bibliography

After the last sentence of your essay and before the space which you must leave for your tutor's comments, add a bibliography. This is a list of all the texts which you have found useful in composing your essay.

After the last sentence of your essay and before the space which you must leave for your tutor's comments, add a bibliography. This is a list of all the texts which you have found useful in composing your essay.

There are only two ways in which you must get the bibliography right. Firstly, make it complete. Include the edition which you have been using to study each of the literary works which your essay mentions. Without this information your reader cannot use the references in the main body of your essay to find each quotation in the original text. Page numbers of works in prose-and often line numbers of those in verse-vary from edition to edition.

Do not forget any work of criticism or scholarship which you have consulted and found relevant. Even the briefest article which supplied only one useful observation must be listed. However, you must not rely upon your bibliography to prove that you are innocent of plagiarism. Merely listing a book or essay at the end cannot define precisely where, and how far, your own argument is indebted to it. Spell that out clearly within the main body of your essay at the precise point where the borrowed material is being used.

The second necessity is that your bibliography should be clear. The reader must be able to see precisely which books you mean, and to understand in exactly what issue of what periodical a given article can be found. Imagine your tutor going to the library in search of some text which you have listed. In the case of a book, have you made the author's full name and the work's title so clear that it can be instantly identified in the library catalogue? In the case of a review in

"For Research Paper Writer no topic is difficult to research, and our writers will always create a great research paper for you in the desired format."

Critical Research Paper | Writing A Critical Research Paper | How to Write a Critical Research Paper | Critical Research Paper Writing | Critical Research

Critical Research Paper | Writing A Critical Research Paper | How to Write a Critical Research Paper | Critical Research Paper Writing | Critical Research