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Mentor Texts

Writing Comparative Essays: Making Connections to Illuminate Ideas

Breathing new life into a familiar school format, with the help of Times journalism and several winning student essays.

By Katherine Schulten

Our new Mentor Text series spotlights writing from The Times and from our student contests that teenagers can learn from and emulate.

This entry aims to help support those participating in our Third Annual Connections Contest , in which students are invited to take something they are studying in school and show us, via parallels found in a Times article, how it connects to our world today. In other words, we’re asking them to compare ideas in two texts.

For even more on how to help your students make those kinds of connections, please see our related writing unit .

I. Overview

Making connections is a natural part of thinking. We can’t help doing it. If you’re telling a friend about a new song or restaurant or TV show you like, you’ll almost always find yourself saying, “It’s like _________” and referencing something you both know. It’s a simple way of helping your listener get his or her bearings.

Journalists do it too. In fact, it’s one of the main tools of the trade to help explain a new concept or reframe an old one. Here are just a few recent examples:

A science reporter explains the behavior of fossilized marine animals by likening them to humans making conga lines.

A sportswriter describes the current N.B.A. season by framing it in terms of Broadway show tunes.

An Op-Ed contributor compares today’s mainstreaming of contemporary African art to “an urban neighborhood undergoing gentrification.”

Sometimes a journalist will go beyond making a simple analogy and devote a whole piece to an extended comparison between two things. Articles like these are real-world cousins of that classic compare/contrast essay you’ve probably been writing in school since you could first hold a pen.

For example, take a look at how each of the Times articles below focuses on a comparison, weaving back and forth between two things and looking at them from different angles:

Consider a classic sports debate: Jordan vs. James. See how this 2016 piece explores what the two have in common — as well as how they differ.

Or, check out this 2019 piece that argues that “ Friendsgiving Has Become Just as Fraught as Thanksgiving ,” and compares the two to determine which has become “a bigger pain in the wishbone.”

Though written as a list rather than an essay, this fun piece from the Watching section in 2018 contends that “ ‘Die Hard’ Never Died, It Just Turned 30 and Had Cinematic Children ” by comparing the original to heirs like “Speed” and “Home Alone.” Read it to notice how, in just a paragraph per movie, the writer still manages to provide plenty of evidence to make each comparison work.

To find real-world examples that are closer to what you’re asked to do in school, look to Times sections that feature in-depth writing, like the Sunday Review and the Times Magazine . Both often publish pieces that connect some aspect of the past to an event, issue or trend today. For example:

“ What Quakers Can Teach Us About the Politics of Pronouns ” suggests lessons for “today’s egalitarians” by making a link to the 17th-century Quakers, “who also suspected that the rules of grammar stood between them and a society of equals.”

Other recent pieces focus on historical comparisons, including “ Early Motherhood Has Always Been Miserable ,” “ Donald Trump, Meet Your Precursor ” and a satirical video Op-Ed, “ Here’s What Cancel Culture Looked Like in 1283 .”

The 1619 Project , a Times Magazine initiative observing the 400th anniversary of the beginning of American slavery, is an especially rich example of this kind of connection-making. It reframes American history by “placing the consequences of slavery and the contributions of black Americans at the very center of the story we tell ourselves about who we are” — and uses that frame to look at issues including today’s prison system, health care, the wealth gap, the sugar industry and traffic jams in Atlanta.

Now, are all of these pieces structured exactly like that essay you have to write for your English class comparing a contemporary work to “Romeo and Juliet?” Does each have a clear thesis statement in the last line of the first paragraph and three body paragraphs that begin with topic sentences?

Of course not. They were written for an entirely different audience and purpose than the essay you might have to write, and most of them resist easy categorization into a specific “text type.”

But these pieces are full of craft lessons that can make your own writing more artful and interesting. And if you are participating in our annual Connections Contest , the essays we feature below will be especially helpful, since they focus on doing just what you’ll be doing — making a comparison between something you’re studying in school and some event, issue, trend, person, problem or concept in the news today.

First you’ll consider one excellent Times essay that does pretty much exactly what we’re asking you to do.

Next, we’ve supplied examples from over a dozen previous student winners to help guide you through the basic elements of any comparative analysis. Whether you’re writing for our contest or not, we hope you’ll find plenty of strategies to borrow.

II. Looking at Structure Over All: One Times Mentor Text

Take a look at the essay the Times book critic Michiko Kakutani wrote in the first weeks of the Trump administration. Just as many of you will do for our contest, she examines how a classic literary work can take on new significance when considered in light of real-world events.

Whether you agree with her analysis or not, notice how “ Why ‘1984’ Is a 2017 Must-Read ” is structured. You might highlight three categories — places where she’s writing chiefly about “1984”; places where she’s writing chiefly about our world today; and places where the two merge.

Here is how her piece, a Critic’s Notebook essay, begins:

The dystopia described in George Orwell’s nearly 70-year-old novel “1984” suddenly feels all too familiar. A world in which Big Brother (or maybe the National Security Agency) is always listening in, and high-tech devices can eavesdrop in people’s homes. (Hey, Alexa, what’s up?) A world of endless war, where fear and hate are drummed up against foreigners, and movies show boatloads of refugees dying at sea. A world in which the government insists that reality is not “something objective, external, existing in its own right” — but rather, “whatever the Party holds to be truth is truth.”

How does the first line set up the comparison?

How does the writer weave back and forth between today’s world and the world of “1984”? For example, what is she doing the two times she uses parentheses?

After you read the full essay, you might then consider:

Over all, what did you notice about the structure of this piece? How does it emphasize the parallels between the world of “1984” and the world of January 2017?

Is it effective? What is this writer’s thesis? Does she make her case, in your opinion? What specific lines, or points of comparison, do that especially well?

What transitional words and phrases does the writer use to move between her two topics? For example, in the second paragraph she writes “It was a phrase chillingly reminiscent …” as a bridge. What other examples can you find?

How does she sometimes merge her two topics — for example in the phrase “make Oceania great again”?

What else do you notice or admire about this review? What lessons might it have for your writing?

III. Elements of Effective Comparative Analyses: Great Examples From Students

Our Connections Contest asks students to find and analyze parallels, just as Ms. Kakutani does in her essay on Orwell — though she had some 1,200 words to build a case and students participating in our contest have only 450.

But if you look at the examples below from our 2017 and 2018 winners, you’ll see that it’s possible to make a rich connection in just a few paragraphs, and you’ll find plenty of specific strategies to borrow in constructing your own.

Here are some tips, with student examples to illustrate each.

1. Make sure you’re focusing on a manageable theme or idea.

One of the first ways to get on the wrong track in writing a comparative essay is to take on something too big for the scope of the assignment. Say, for example, you’re studying the Industrial Revolution and you realize you can compare it to today’s digital revolution in an array of ways, including worker’s rights, the upheaval of traditional industries and the impact on everyday lives. Where do you even begin?

That’s more or less the problem Alex Iyer, a student winner of our 2018 contest, had after reading “The Odyssey” in class, and noticing connections between the tale of that famous wanderer and today’s global refugee crisis. What can you possibly say in 450 words to connect two enormous topics, both of which have been the subject of innumerable scholarly books?

Notice how this student focuses. Instead of starting with a broad thesis like “We can see many parallels between the themes of ‘The Odyssey’ and our world today,” he looks only at how the Greek concept of xenia echoes today — and does so by examining just one article about Uganda. Below are the first two paragraphs, but we suggest you read the entire essay , paying close attention to how he describes both texts solely through this lens.

Try this: Once you choose a manageable focus, make sure all your details and examples support it.

Example: Alex Iyer, Geneva School of Boerne, San Antonio: Homer’s “The Odyssey” and “ As Rich Nations Close the Door on Refugees, Uganda Welcomes Them ”

In literature, we learned that in Homer’s epic poem “The Odyssey,” Homer uses the tribulations of the hero Odysseus to illustrate the Ancient Grecian custom of xenia. This custom focused on extending hospitality to those who found themselves far from home. As Odysseus navigates the treacherous path back to his own home, he encounters both morally upstanding and malevolent individuals. They range from a charitable princess who offers food and clothing, to an evil Cyclops who attempts to murder the hero and his fellow men. In class, we agreed that Homer employs these contrasting characters to exemplify not only proper, but also poor forms of xenia. For the people of its time, “The Odyssey” cemented the idea that xenia was fundamental for good character, resulting in hospitality becoming ingrained in the fabric of Ancient Grecian society. I saw a parallel to this in a New York Times article called “As Rich Nations Close the Door on Refugees, Uganda Welcomes Them” published on October 28, 2018. Similar to the prevalent custom of xenia in Ancient Greece, Uganda has made hosting refugees a national policy. The country is now occupied by up to 1.25 million refugees, many of whom are fleeing the violent unrest of South Sudan.

2. Introduce and briefly explain the significance of the connection.

We know it’s tempting to resort to a generic statement like, “In this essay I will compare and contrast _________ and _________ to show that …”

Not only is that deadly dull, but if you are participating in our contest, you also don’t want to waste any of your 450 words on a sentence that doesn’t say much.

Consider, instead, four more powerful ways to introduce the two things you’ll be connecting, and show right away how they work together.

Try this: Pose a question or questions that both texts are asking.

Example: Connor Stevens, Sunset High School, Portland, Ore.: Comparing “Fahrenheit 451” by Ray Bradbury and “ How Egypt Crowdsources Censorship ” ( Read the full student essay .)

How can you control ideas? In today’s world, you scroll through feeds, finding any information available: government trade deals, local restaurants, movies, and TV shows. We are in an age where the power to find any fact, answer or piece of information that floats into question is available anywhere. If this privilege was stripped by a bodying government, how would freedom of information change?

Try this: Make a statement that is true for both, and then explain why briefly.

Example: Jack Magner, Flint Hill School, Oakton, Va.: Comparing biological feedback loops and homeostasis with “ After #MeToo, the Ripple Effect ” ( Read the full student essay .)

All it takes is a single action to spark innumerable reactions. In the case of Jessica Bennett’s “After #MeToo, the Ripple Effect,” it is the publishing of a 2017 article in the Times that launches a revolution, changing the treatment and recognition of women for the better. In the case of AP Biology, it is the connection of a ligand to a receptor protein or a drastic change to an organism’s environment that sends millions of signals that protect the organism from harm.

Try this: Explain how or why you’ll look at a classic work through a new lens.

Example: Zaria Roller, Verona Area High School, Wis.: Comparing “Things Fall Apart” by Chinua Achebe and “ The Boys Are Not All Right ” ( Read the full student essay .)

Colonial-age Nigeria and modern day Western society have more in common than one would think. Although the buzz phrase “toxic masculinity” did not exist at the time Chinua Achebe’s “Things Fall Apart” was written, its protagonist, Okonkwo, might as well be the poster boy for it.

Try this: Trace your thinking about how you came to connect the two things. Please note: For this contest, use of the word “I” is not only permitted but also encouraged if it helps you explore your ideas.

Example: Alexa Bolnick, Indian Hills High School, Franklin Lakes, N.J.: “Death of a Salesman” by Arthur Miller and “ A Lack of Respect for the Working Class in America Today ” ( Read the full student essay .)

Last year, reading the play “Death of a Salesman,” I couldn’t understand why salesman Willy Loman refused to accept his son’s desire to perform manual labor for a living. If working on a ranch made him happy, then why couldn’t Willy let his son go.

Example: Isabella Picillo, 17, Oceanside High School: “The Scarlet Letter” and “ Judge Partially Lifts Trump Administration Ban on Refugees ” ( Read the full student essay .)

I stumble upon a New York Times article, “Judge Partially Lifts Trump Administration Ban on Refugees,” that makes me wonder if Hawthorne, the literary genius, is wrong.

3. Use transition words and phrases to pivot between the two works.

When you’re discussing two works in the same piece, you’ll find yourself needing to switch gears regularly. How do you do that gracefully?

Try this: Explore a connection by choosing transition words that emphasize commonality.

Here are some sentences, all from our 2018 winners , with examples of those words in bold:

— “ Similar to the prevalent custom of xenia in Ancient Greece, Uganda has made hosting refugees a national policy.” — “John Steinbeck’s classic novel ‘The Grapes of Wrath,’ which chronicles the struggles of the Joad family during the Great Depression, documents a similar reality.” — “Republican anti-Trump attitudes echo those of their nineteenth century counterparts, such as Carl Schulz, who wrote, ‘Our duty to the country … is … paramount to any duty we may owe to the party.’” — “ Paralleling the same theme, the short story ‘Harrison Bergeron’ by Kurt Vonnegut describes a future in which absolute equality has become the obsession of society.” — “This phenomenon mirrors that of negative feedback loops in biology, in which a stimulus triggers a biological response designed to keep a biological system at equilibrium.”

4. Acknowledge important contrasts between the two things you are connecting.

Part of comparing two things is contrasting them — showing where the commonalities end and explaining why the differences are significant.

But your essay shouldn’t just be a list of all the things the two texts have in common vs. all the things they don’t. Instead, you need to use the contrasts to acknowledge obvious differences, but still further your point about how and why the two ideas work together.

For example, the article comparing LeBron James and Michael Jordan makes the crucial distinction that they played in different eras — and thus it’s hard to compare them since we remember Jordan through “rose-colored” memories, while James, playing today, is considered by many “the most scrutinized and criticized American athlete, much of the naysaying unwarranted and aggravated by the polarizing effects of social media” that didn’t exist in Jordan’s heyday.

Keep in mind that since our contest emphasizes connections, not all of our previous winners have done this — but those who did only strengthened their cases.

Try this: Point out that surface differences are less important than the underlying message.

Example: Megan Lee, West Windsor Plainsboro High School North, Plainsboro, N.J.: “Harrison Bergeron” by Kurt Vonnegut and “ The Curse of Affirmative Action ” ( Read the full student essay .)

Although the “Harrison Bergeron” is a heavily exaggerated piece of fiction writing while “The Curse of Affirmative Action” was written to denounce a real world policy, both allude to the delicacy of equality.

Try this: Use a contrast to illuminate a bigger point — in this case that the ways in which the #MeToo movement is different than a biological feedback loop is also what makes it so “revolutionary.”

Example: Jack Magner, Flint Hill School, Oakton, Va.: Biological feedback loops and homeostasis and “ After #MeToo, the Ripple Effect ” ( Read the full student essay .)

#MeToo and feedback loops are extremely interconnected, but there is one key difference in the #MeToo movement that makes it so dynamic and revolutionary. In biology, feedback responses are developed slowly and organically over millions of years of evolution. Environments select for these responses, and a species’s fitness increases as a result. The #MeToo movement is the exact opposite, attacking the perceived natural order that our environment has selected for at the expense the “fittest” members of society: powerful men. This positive feedback loop does not run in concurrence with the already-established negative feedback loop. It instead serves as its foil, aiming to topple the destructive systems for which hyper-masculine society has selected for over thousands of years.

5. End in a way that sums up and says something new.

We could repeat this piece of advice in every edition of our Mentor Text series regardless of genre: No matter what you’re writing about, don’t waste your conclusion by just lazily restating what you’ve already said.

Instead, keep your readers thinking. Pose a new question, use a fresh quote that sums up your main idea, give some surprising new information, or tell a fitting final story.

In other words, no “In conclusion, I have shown how _________ and _________ have many similarities and many differences.”

Instead you could …

Try this: Draw a final lesson, takeaway or “moral” that the two together express.

Example: Samantha Jones, 16, Concord Carlisle Regional High School: “Walden” and “ Dropping Out of College Into Life ” ( Read the full student essay .)

The moral is clear: there are gaps in our education system, and because of these gaps students aren’t adequately prepared for their own futures. In his book Walden, Thoreau elaborates on the ideas Stauffer touches on in her article. As stated before, he believed learning through experience was exponentially better than a in classroom. When a rigid curriculum with expectations is set in place, students aren’t given the same hands on learning as they would be without one. Just as Stauffer embraced this learning style in the New School, Thoreau did so in Walden Woods …

Example: Robert McCoy, Whippany Park High School, Whippany, N.J.: Gilded Age Mugwumps and “ Republicans for Democrats ” ( Read the full student essay .)

The parallels in the Mugwump and Never Trump movements demonstrate the significance of adhering to a strict moral standard, despite extreme partisan divides …

Try this: Raise a new question or idea suggested by the comparison.

In this essay, Sebastian Zagler compares the ways that both a famous mathematical problem and the issue of climate change will require new innovation and collaboration to solve. But he ends the essay by engaging a new, related question: Why would anyone want to take on such “impossible problems” in the first place?

Example: Sebastian Zagler, John T. Hoggard High School, Wilmington, N.C.: the Collatz, or 3n+1, conjecture, a mathematical problem that has produced no mathematical proof for over 80 years, and “ Stopping Climate Change Is Hopeless. Let’s Do It. ” ( Read the full student essay .)

What draws mankind to these impossible problems, whether it be solving the Collatz conjecture or reversing climate change? Fighting for a common cause brings people together, making them part of something greater. Even fighting a “long defeat” can give one a sense of purpose — a sense of belonging …

Try this: End with an apt quote that applies to both.

Here are Sebastian Zagler’s last two lines:

There is a beauty in fighting a losing battle, as long as a glimmer of hope remains. And as Schendler and Jones write, “If the human species specializes in one thing, it’s taking on the impossible.”

And here are Samantha Jones’s:

For that is all Walden really is; Thoreau learning from nature by immersing himself in it, instead of seeing it on the pages of a book. A quote from Walden most fitting is as follows, “We boast of our system of education, but why stop at schoolmasters and schoolhouses? We are all schoolmasters, and our schoolhouse is the universe”

In both cases, the quotes are inspiring, hopeful and get at truths their essays worked hard to demonstrate.

Additional Resources

In our description of Unit 3 of our writing curriculum you can find much, much more, including related writing prompts and a series of lesson plans that can help teachers teach with our Connections Contest.

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Writing Resources

Comparative genre analysis.

In the University Writing Seminar, the Comparative Genre Analysis (CGA) unit asks students to read writing from varying disciplines. The goal of the CGA is to prepare students for writing in their courses across the disciplines, as well as in their future careers. The CGA acts as an important introduction to the fact that, while elements of writing (e.g., evidence, motive) exist in all disciplines and genres, these elements often look different.

Over a 2-3 class sequence, students work independently and in groups to identify how writing across the disciplines varies and is similar in content, style, and organization. Instructors select four academic articles, typically one from the humanities, one from the sciences, and two from the social sciences (ideally one more humanistic social science, such as cultural anthropology or history, and one more quantitative social science, such as sociology or economics). These articles become the foundation for observing similarities in differences in writing. Class discussion on the final day of the CGA highlights not just HOW academic writing varies but WHY this variation exists.

At the end of the CGA class sequence, as well as at the end of the semester, students are asked to write reflections on what they have learned about writing across the disciplines and about what this might mean for them in future courses. Student reflections suggest that the CGA is effective in beginning the conversation about how writing is similar and different across the disciplines ( Sample Student Reflection below).

What does this mean for Writing Intensive (WI) classes?

• Your students know that the writing in your discipline may be different in some/many ways from the writing they did in UWS or in previous courses.
• Your students have the tools to start to predict how writing in a new discipline may be different. Because they understand, for example, why name/date citations are used in one discipline and name/page number citations are used in another, they can anticipate what a new discipline will require.
• If you identify a writing convention in your discipline, students should be able to fit this into the larger conversation around writing similarities and differences that they participated in during UWS.
• Students have discussed and reflected on what questions they might need to ask their professors / teaching assistants when writing in a new discipline (e.g., What citation style should be used? Is the first person allowed?).
• WI instructors can facilitate the writing process for students by 1) identifying what element of writing they are discussing, using UWS language, and 2) explicitly describing the disciplinary-specific expectations for this element and reiterating why this convention is used.   

Sample Student Reflection  I believe the absolute most important thing a writer should consider is their intended audience. Whichever discipline the essay is for they all have a distinct and diverse readership. This readership cannot be overlooked when creating an argument. In future writing, no matter the subject, I will try to build a firm foundation of the writing in a discipline. By reading academic articles from respected sources, it will allow me to grasp the different ways the argument is presented in that particular field. I would also open a discussion with my class, colleagues, or teacher about the different ways they are approaching this discipline. When presenting their ideas in writing, I think the most important thing for scholars to consider is the audience who they are presenting it to. When writing, audience can affect multiple facets of any article or paper. For example, when presenting to a scientific audience, technical language can be used and an expectation for certain background knowledge can be considered. However, when presenting to a broader audience such as a public awareness piece, the writer may choose to use language that isn’t quite so technical and complex, making the paper more accessible to its desired audience. The CGA exercise has made me more aware of the types of data used in different disciplines when writing. For example, scientific pieces do not usually use many quotes because it’s not so much what was said that was important, rather the actual conclusion that can be drawn from the data. In more humanities focused pieces, quotes can play a major role in the focus of the paper while numerical data and experiments may not. The CGA exercise also made me more aware of how different disciplines require varying levels of formality in the presentation of ideas or information and differences in determining when to use a thesis or a hypothesis. Although we only examined four disciplines within our analysis, as I approach other disciples in the future, I feel that this exercise has given me a good base. I know that in the future I will approach the writing by first determining what matters most to my audience that I am writing for and the relationship between my audience and the motive behind my writing. In future classes when I need to know the writing style of a new discipline, I will ask the professor the writing style I should use and what format I should do my works cited in. I could also ask what the structure should be, what the length should be, and if I should be concise or more flowery. I could also ask if the essay should be personal and opinionated or more impartial. The CGA exercise has made me more aware that different disciplines have their own style of writing. It has made me realize that I cannot just carry over my writing style from a biology or physics paper and use that same style in an English essay. I am also aware that citation style is very important to writing papers. The differences in structure in the different disciplines is also very important when it comes to writing papers.

Elissa Jacobs and Paige Eggebrecht

• Resources for Students
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Comparing and Contrasting

What this handout is about.

This handout will help you first to determine whether a particular assignment is asking for comparison/contrast and then to generate a list of similarities and differences, decide which similarities and differences to focus on, and organize your paper so that it will be clear and effective. It will also explain how you can (and why you should) develop a thesis that goes beyond “Thing A and Thing B are similar in many ways but different in others.”

Introduction

In your career as a student, you’ll encounter many different kinds of writing assignments, each with its own requirements. One of the most common is the comparison/contrast essay, in which you focus on the ways in which certain things or ideas—usually two of them—are similar to (this is the comparison) and/or different from (this is the contrast) one another. By assigning such essays, your instructors are encouraging you to make connections between texts or ideas, engage in critical thinking, and go beyond mere description or summary to generate interesting analysis: when you reflect on similarities and differences, you gain a deeper understanding of the items you are comparing, their relationship to each other, and what is most important about them.

Recognizing comparison/contrast in assignments

Some assignments use words—like compare, contrast, similarities, and differences—that make it easy for you to see that they are asking you to compare and/or contrast. Here are a few hypothetical examples:

• Compare and contrast Frye’s and Bartky’s accounts of oppression.
• Compare WWI to WWII, identifying similarities in the causes, development, and outcomes of the wars.
• Contrast Wordsworth and Coleridge; what are the major differences in their poetry?

Notice that some topics ask only for comparison, others only for contrast, and others for both.

But it’s not always so easy to tell whether an assignment is asking you to include comparison/contrast. And in some cases, comparison/contrast is only part of the essay—you begin by comparing and/or contrasting two or more things and then use what you’ve learned to construct an argument or evaluation. Consider these examples, noticing the language that is used to ask for the comparison/contrast and whether the comparison/contrast is only one part of a larger assignment:

• Choose a particular idea or theme, such as romantic love, death, or nature, and consider how it is treated in two Romantic poems.
• How do the different authors we have studied so far define and describe oppression?
• Compare Frye’s and Bartky’s accounts of oppression. What does each imply about women’s collusion in their own oppression? Which is more accurate?
• In the texts we’ve studied, soldiers who served in different wars offer differing accounts of their experiences and feelings both during and after the fighting. What commonalities are there in these accounts? What factors do you think are responsible for their differences?

You may want to check out our handout on understanding assignments for additional tips.

Using comparison/contrast for all kinds of writing projects

Sometimes you may want to use comparison/contrast techniques in your own pre-writing work to get ideas that you can later use for an argument, even if comparison/contrast isn’t an official requirement for the paper you’re writing. For example, if you wanted to argue that Frye’s account of oppression is better than both de Beauvoir’s and Bartky’s, comparing and contrasting the main arguments of those three authors might help you construct your evaluation—even though the topic may not have asked for comparison/contrast and the lists of similarities and differences you generate may not appear anywhere in the final draft of your paper.

Discovering similarities and differences

Making a Venn diagram or a chart can help you quickly and efficiently compare and contrast two or more things or ideas. To make a Venn diagram, simply draw some overlapping circles, one circle for each item you’re considering. In the central area where they overlap, list the traits the two items have in common. Assign each one of the areas that doesn’t overlap; in those areas, you can list the traits that make the things different. Here’s a very simple example, using two pizza places:

To make a chart, figure out what criteria you want to focus on in comparing the items. Along the left side of the page, list each of the criteria. Across the top, list the names of the items. You should then have a box per item for each criterion; you can fill the boxes in and then survey what you’ve discovered.

Here’s an example, this time using three pizza places:

As you generate points of comparison, consider the purpose and content of the assignment and the focus of the class. What do you think the professor wants you to learn by doing this comparison/contrast? How does it fit with what you have been studying so far and with the other assignments in the course? Are there any clues about what to focus on in the assignment itself?

Here are some general questions about different types of things you might have to compare. These are by no means complete or definitive lists; they’re just here to give you some ideas—you can generate your own questions for these and other types of comparison. You may want to begin by using the questions reporters traditionally ask: Who? What? Where? When? Why? How? If you’re talking about objects, you might also consider general properties like size, shape, color, sound, weight, taste, texture, smell, number, duration, and location.

Two historical periods or events

• When did they occur—do you know the date(s) and duration? What happened or changed during each? Why are they significant?
• What kinds of work did people do? What kinds of relationships did they have? What did they value?
• What kinds of governments were there? Who were important people involved?
• What caused events in these periods, and what consequences did they have later on?

Two ideas or theories

• What are they about?
• Did they originate at some particular time?
• Who created them? Who uses or defends them?
• What is the central focus, claim, or goal of each? What conclusions do they offer?
• How are they applied to situations/people/things/etc.?
• Which seems more plausible to you, and why? How broad is their scope?
• What kind of evidence is usually offered for them?

Two pieces of writing or art

• What are their titles? What do they describe or depict?
• What is their tone or mood? What is their form?
• Who created them? When were they created? Why do you think they were created as they were? What themes do they address?
• Do you think one is of higher quality or greater merit than the other(s)—and if so, why?
• For writing: what plot, characterization, setting, theme, tone, and type of narration are used?
• Where are they from? How old are they? What is the gender, race, class, etc. of each?
• What, if anything, are they known for? Do they have any relationship to each other?
• What are they like? What did/do they do? What do they believe? Why are they interesting?
• What stands out most about each of them?

Deciding what to focus on

By now you have probably generated a huge list of similarities and differences—congratulations! Next you must decide which of them are interesting, important, and relevant enough to be included in your paper. Ask yourself these questions:

• What’s relevant to the assignment?
• What’s relevant to the course?
• What’s interesting and informative?
• What matters to the argument you are going to make?
• What’s basic or central (and needs to be mentioned even if obvious)?
• Overall, what’s more important—the similarities or the differences?

Suppose that you are writing a paper comparing two novels. For most literature classes, the fact that they both use Caslon type (a kind of typeface, like the fonts you may use in your writing) is not going to be relevant, nor is the fact that one of them has a few illustrations and the other has none; literature classes are more likely to focus on subjects like characterization, plot, setting, the writer’s style and intentions, language, central themes, and so forth. However, if you were writing a paper for a class on typesetting or on how illustrations are used to enhance novels, the typeface and presence or absence of illustrations might be absolutely critical to include in your final paper.

Sometimes a particular point of comparison or contrast might be relevant but not terribly revealing or interesting. For example, if you are writing a paper about Wordsworth’s “Tintern Abbey” and Coleridge’s “Frost at Midnight,” pointing out that they both have nature as a central theme is relevant (comparisons of poetry often talk about themes) but not terribly interesting; your class has probably already had many discussions about the Romantic poets’ fondness for nature. Talking about the different ways nature is depicted or the different aspects of nature that are emphasized might be more interesting and show a more sophisticated understanding of the poems.

Your thesis

The thesis of your comparison/contrast paper is very important: it can help you create a focused argument and give your reader a road map so they don’t get lost in the sea of points you are about to make. As in any paper, you will want to replace vague reports of your general topic (for example, “This paper will compare and contrast two pizza places,” or “Pepper’s and Amante are similar in some ways and different in others,” or “Pepper’s and Amante are similar in many ways, but they have one major difference”) with something more detailed and specific. For example, you might say, “Pepper’s and Amante have similar prices and ingredients, but their atmospheres and willingness to deliver set them apart.”

Be careful, though—although this thesis is fairly specific and does propose a simple argument (that atmosphere and delivery make the two pizza places different), your instructor will often be looking for a bit more analysis. In this case, the obvious question is “So what? Why should anyone care that Pepper’s and Amante are different in this way?” One might also wonder why the writer chose those two particular pizza places to compare—why not Papa John’s, Dominos, or Pizza Hut? Again, thinking about the context the class provides may help you answer such questions and make a stronger argument. Here’s a revision of the thesis mentioned earlier:

Pepper’s and Amante both offer a greater variety of ingredients than other Chapel Hill/Carrboro pizza places (and than any of the national chains), but the funky, lively atmosphere at Pepper’s makes it a better place to give visiting friends and family a taste of local culture.

You may find our handout on constructing thesis statements useful at this stage.

Organizing your paper

There are many different ways to organize a comparison/contrast essay. Here are two:

Subject-by-subject

Begin by saying everything you have to say about the first subject you are discussing, then move on and make all the points you want to make about the second subject (and after that, the third, and so on, if you’re comparing/contrasting more than two things). If the paper is short, you might be able to fit all of your points about each item into a single paragraph, but it’s more likely that you’d have several paragraphs per item. Using our pizza place comparison/contrast as an example, after the introduction, you might have a paragraph about the ingredients available at Pepper’s, a paragraph about its location, and a paragraph about its ambience. Then you’d have three similar paragraphs about Amante, followed by your conclusion.

The danger of this subject-by-subject organization is that your paper will simply be a list of points: a certain number of points (in my example, three) about one subject, then a certain number of points about another. This is usually not what college instructors are looking for in a paper—generally they want you to compare or contrast two or more things very directly, rather than just listing the traits the things have and leaving it up to the reader to reflect on how those traits are similar or different and why those similarities or differences matter. Thus, if you use the subject-by-subject form, you will probably want to have a very strong, analytical thesis and at least one body paragraph that ties all of your different points together.

A subject-by-subject structure can be a logical choice if you are writing what is sometimes called a “lens” comparison, in which you use one subject or item (which isn’t really your main topic) to better understand another item (which is). For example, you might be asked to compare a poem you’ve already covered thoroughly in class with one you are reading on your own. It might make sense to give a brief summary of your main ideas about the first poem (this would be your first subject, the “lens”), and then spend most of your paper discussing how those points are similar to or different from your ideas about the second.

Point-by-point

Rather than addressing things one subject at a time, you may wish to talk about one point of comparison at a time. There are two main ways this might play out, depending on how much you have to say about each of the things you are comparing. If you have just a little, you might, in a single paragraph, discuss how a certain point of comparison/contrast relates to all the items you are discussing. For example, I might describe, in one paragraph, what the prices are like at both Pepper’s and Amante; in the next paragraph, I might compare the ingredients available; in a third, I might contrast the atmospheres of the two restaurants.

If I had a bit more to say about the items I was comparing/contrasting, I might devote a whole paragraph to how each point relates to each item. For example, I might have a whole paragraph about the clientele at Pepper’s, followed by a whole paragraph about the clientele at Amante; then I would move on and do two more paragraphs discussing my next point of comparison/contrast—like the ingredients available at each restaurant.

There are no hard and fast rules about organizing a comparison/contrast paper, of course. Just be sure that your reader can easily tell what’s going on! Be aware, too, of the placement of your different points. If you are writing a comparison/contrast in service of an argument, keep in mind that the last point you make is the one you are leaving your reader with. For example, if I am trying to argue that Amante is better than Pepper’s, I should end with a contrast that leaves Amante sounding good, rather than with a point of comparison that I have to admit makes Pepper’s look better. If you’ve decided that the differences between the items you’re comparing/contrasting are most important, you’ll want to end with the differences—and vice versa, if the similarities seem most important to you.

Our handout on organization can help you write good topic sentences and transitions and make sure that you have a good overall structure in place for your paper.

Cue words and other tips

To help your reader keep track of where you are in the comparison/contrast, you’ll want to be sure that your transitions and topic sentences are especially strong. Your thesis should already have given the reader an idea of the points you’ll be making and the organization you’ll be using, but you can help them out with some extra cues. The following words may be helpful to you in signaling your intentions:

• like, similar to, also, unlike, similarly, in the same way, likewise, again, compared to, in contrast, in like manner, contrasted with, on the contrary, however, although, yet, even though, still, but, nevertheless, conversely, at the same time, regardless, despite, while, on the one hand … on the other hand.

For example, you might have a topic sentence like one of these:

• Compared to Pepper’s, Amante is quiet.
• Like Amante, Pepper’s offers fresh garlic as a topping.
• Despite their different locations (downtown Chapel Hill and downtown Carrboro), Pepper’s and Amante are both fairly easy to get to.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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1.8: Comparing Genres, Conclusion

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Even though the previous pages all were about cars in some way, you no doubt realized they were very different in tone, style, and quality.

Let’s take a closer look at each.

“Electric and Plug-in Hybrids,” by George Crabtree, came from OpenStax CNX , a textbook publisher.

Figure \(\PageIndex{1}\)

The full source demonstrates some features common to textbooks:

• clearly stated learning outcomes for each section
• formal tone
• direct language
• definitions of key terms
• no in-text citations, though references may be included at the end of a chapter
• images to help illustrate the topic

A textbook’s primary goal is to educate readers.

“Will the Tesla Model 3 recharge the U.S. electric vehicle market?” by David Keith, came from The Conversation , an online news source.

Figure \(\PageIndex{2}\)

The full article demonstrates some features common to journalism:

• most important information appears near the opening of the article
• reports facts
• quotes and interviews from experts on the topic
• no in-text citations, no citations at the end
• embedded links to related sources

A news article’s primary goal is to inform readers.

“Cannibalism in the Cars,” by Mark Twain, came from a collection of his short stories, Sketches New and Old .

Figure \(\PageIndex{3}\)

The full story demonstrates some features common to literature:

• introduces characters
• follows a narrative sequence of events, revealing a plot
• includes description to set scene
• may use first-person, second-person, or third-person voice
• uses dialogue to convey what characters say to one another

A work of literature’s primary goal is to entertain readers.

“Hybrid vehicle” came from Wikipedia , the well-known online encyclopedia.

Figure \(\PageIndex{4}\)

The full story demonstrates some features common to reference material:

• highly structured and organized text, using headings and sub-headings
• factual content
• includes in-text citation (or footnotes) and a list of References at the end
• historical information
• clear and easy to read

A reference work’s primary goal is to inform readers.

“The Influence of Intersections on Fuel Consumption in Urban Arterial Road Traffic: A Single Vehicle Test in Harbin, China,” by Lina Wu, Yusheng Ci, Jiangwei Chu, and Hongsheng Zhang, came from PLoS One , an online academic journal.

Figure \(\PageIndex{5}\)

The full article demonstrates some features common to academic journal content:

• describes an experiment or an analysis, including the authors’ findings and interpretations
• advanced vocabulary, specific to the field of study

An academic journal article’s primary goal is to distribute new ideas to readers.

18.3 Glance at Genre: Genre, Audience, Purpose, Organization

Learning outcomes.

By the end of this section, you will be able to:

• Identify key genre conventions, including structure, tone, and mechanics.
• Implement common formats and design features for different text types.
• Demonstrate how genre conventions vary and are shaped by purpose, culture, and expectation.

The multimodal genres of writing are based on the idea that modes work in different ways, with different outcomes, to create various vehicles for communication. By layering, or combining, modes, an author can make meaning and communicate through mixed modes what a single mode cannot on its own. Essentially, modes “cooperate” to communicate the author’s intent as they interweave meanings captured by each.

For example, think of a public service announcement about environmental conservation. A composer can create a linguistic text about the dangers of plastic pollution in oceans and support the ideas with knowledge of or expertise in the subject. Yet words alone may not communicate the message forcefully, particularly if the audience consists of people who have never considered the impact of pollution on the oceans. That composer, then, might combine the text with images of massive amounts of human-generated plastic waste littering a shoreline, thus strengthening the argument and enhancing meaning by touching on audience emotions. By using images to convey some of the message, the composer layers modes. The picture alone does not tell the whole story, but when combined with informational text, it enhances the viewer’s understanding of the issue. Modes, therefore, can be combined in various ways to communicate a rhetorical idea effectively.

Audience Awareness

As with any type of composition, knowing your audience (the readers and viewers for whom you are creating) will help you determine what information to include and what genre, mode(s), or media in which to present it. Consider your audience when choosing a composition’s tone (composer’s attitude toward the audience or subject), substance, and language. Considering the audience is critical not only in traditional academic writing but also in nearly any genre or mode you choose. Ask yourself these questions when analyzing your audience’s awareness:

• What (and how much) does the audience already know about the topic? The amount of background information needed can influence what genre, modes, and media types you include and how you use them. You don’t want to bore an audience with information that is common knowledge or overwhelm an audience with information they know nothing about.
• What is the audience’s viewpoint on the subject? Are you creating for a skeptical audience or one that largely agrees with your rhetorical arguments?
• How do you relate to your audience? Do you share cultural understanding, or are you presenting information or beliefs that will be unfamiliar? This information will help you shape the message, tone, and structure of the composition.

Understanding your audience allows you to choose rhetorical devices that reflect ethos (appeals to ethics: credibility), logos (appeals to logic: reason), and pathos (appeals to sympathy: emotion) to create contextually responsive compositions through multiple modes.

It important to address audience diversity in all types of composition, but the unique aspects of multimodal composition present particular opportunities and challenges. First, when you compose, you do so through your own cultural filter, formed from your experiences, gender, education, and other factors. Multimodal composition opens up the ability to develop your cultural filter through various methods. Think about images of your lived experiences, videos capturing cultural events, or even gestures in live performances. Also consider the diversity of your audience members and how that affects the content choices you make during composition. Avoiding ethnocentrism —the assumption that the customs, values, and beliefs of your culture are superior to others—is an important consideration when addressing your audience, as is using bias-free language, especially regarding ethnicity, gender, and abilities.

Blogs, Vlogs, and Creative Compositions

Among the modes available to you as a composer, blogs (regularly updated websites, usually run by an individual or a small group) have emerged as a significant genre in digital literature. The term blog , a combination of web and log , was coined in 1999 and gained rapid popularity in the early 2000s. In general, blogs have a relatively narrow focus on a topic or argument and present a distinctive structure that includes these features:

• A headline or title draws in potential readers. Headlines are meant to grab attention, be short, and accurately reflect the content of the blog post.
• An introduction hooks the reader, briefly introducing the topic and establishing the author’s credibility on the subject.
• Short paragraphs often are broken up by images, videos, or other media to make meaning and supplement or support the text content.
• The narrative is often composed in a style in which the author claims or demonstrates expertise.
• Media such as images, video, and infographics depict information graphically and break up text.
• Hyperlinks (links to other internet locations) to related content often serve as evidence supporting the author’s claim.
• A call to action provides clear and actionable instructions that engage the reader.

Blogs offer accessibility and an opportunity to make meaning in new ways. By integrating images and audiovisual media, you can develop a multimodal representation of arguments and ideas. Blogs also provide an outlet for conveying ideas through both personal and formal narratives and are used frequently in industries from entertainment to scientific research to government organizations.

Newer in the family of multimodal composition is the video blog, or vlog , a blog for which the medium is video. Vlogs usually combine video embedded in a website with supporting text, images, or other modes of communication. Vlogging often takes on a narrative structure, similar to other types of storytelling, with the added element of supplementary audio and video, including digital transitions that connect one idea or scene to another. Vlogs offer ample opportunities to mix modalities.

Vlogs give a literal voice to a composer, who typically narrates or speaks directly to the camera. Like a blogger, a vlog creator acts as an expert, telling a narrative story or using rhetoric to argue a point. Vlogs often strive to create an authentic and informal tone, similar to published blogs, inviting a stream-of-consciousness or interview-like style. Therefore, they often work well when targeted toward audiences for whom a casual mood is valuable and easily understood.

Other creative compositions include websites, digital or print newsletters, podcasts, and a wide variety of other content. Each composition type has its own best practices regarding structure and organization, often depending on the chosen modalities, the way they are used, and the intended audience. Whatever the mode, however, all multimodal writing has several characteristics in common, beginning with effective, intentional composition.

Effective Writing

Experimenting with modes and media is not an excuse for poorly developed writing that lacks focus, organization, thought, purpose, or attention to mechanics. Although multimodal compositions offer flexibility of expression, the content still must be presented in well-crafted, organized, and purposeful ways that reflect the author’s purpose and the audience’s needs.

• To be well-crafted, a composition should reflect the author’s use of literary devices to convey meaning, use of relevant connections, and acknowledgment of grammar and writing conventions.
• To be organized, a composition should reflect the author’s use of effective transitions and a logical structure appropriate to the chosen mode.
• To be purposeful, a composition should show that the author addresses the needs of the audience, uses rhetorical devices that advance the argument, and offers insightful understanding of the topic.

Organization of multimodal compositions refers to the sequence of message elements. You must decide which ideas require attention, how much and in what order, and which modalities create maximum impact on readers. While many types of formal and academic writing follow a prescribed format, or at least the general outline of one, the exciting and sometimes overwhelming features of multimodal possibilities open the door to any number of acceptable formats. Some of these are prescribed, and others more open ended; your job will inevitably be to determine when to follow a template and when to create something new. As the composer, you seek to structure media in ways that will enable the reader, or audience, to derive meaning. Even small changes in media, rhetorical appeal, and organization can alter the ways in which the audience participates in the construction of meaning.

Within a medium—for example, a video—you might include images, audio, and text. By shifting the organization, placement, and interaction among the modes, you change the structure of the video and therefore create varieties of meaning. Now, imagine you use that same structure of images, audio, and text, but change the medium to a slideshow. The impact on the audience will likely change with the change in medium. Consider the infamous opening scene of the horror movie The Shining (1980). The primary medium, video, shows a car driving through a mountainous region. After audio is added, however, the meaning of the multimodal composition changes, creating an emphasis on pace—management of dead air—and tone—attitude toward the subject—that communicates something new to the audience.

Exploring the Genre

These are the key terms and characteristics of multimodal texts.

• Alignment: the way in which elements such as text features, images, and particularly text are placed on a page. Text can be aligned at the left, center, or right. Alignment contributes to organization and how media transitions within a text.
• Audience: readers or viewers of the composition.
• Channel: a medium used to communicate a message. Often-used channels include websites, blogs, social media, print, audio, and video-hosting sites.
• Complementary: describes content that is different across two or more modes, both of which are necessary for understanding. Often audio and visual modes are complementary, with one making the other more meaningful.
• Emphasis: the elements in media that are most significant or pronounced. The emphasis choices have a major impact on the overall meaning of the text.
• Focus: a clear purpose for composition, also called the central idea, main point, or guiding principle. Focus should include the specific audience the composer is trying to influence.
• Layering: combining modes in a single composition.
• Layout: the organization of elements on a page, including text, images, shapes, and overall composition. Layout applies primarily to the visual mode.
• Media: the means and channels of reaching an audience (for example, image, website, song). A medium (singular form of media ) can contain multiple modes.
• Mode: the method of communication (linguistic, visual, audio, or spatial means of creating meaning). Media can incorporate more than one mode.
• Organization: the pattern of arrangement that allows a reader to understand text or images in a composition. Organization may be textual, visual, or spatial.
• Proximity: the relationship between objects in space, specifically how close to or far from one another they are. Proximity can show a relationship between elements and is often important in layout.
• Purpose: an author’s reason for writing a text, including the reasoning that accounts for which modes of presentation to use. Composers of multimodal texts may seek to persuade, inform, or entertain the audience.
• Repetition: a unifying feature, such as a pattern used more than once, in the way in which elements (text features, typeface, color, etc.) are used on a page. Repetition often indicates emphasis or a particular theme. Repetitions and patterns can help focus a composition, explore a theme, and emphasize important points.
• Supplementary: describes content that is different in two or more modes, where a composer uses one mode to convey primary understanding and the other(s) to support or extend understanding. Supplementary content should not be thought of as “extra,” for its purpose is to expand on the primary media.
• Text: written words. In multimodal composition, text can refer to a piece of communication as a whole, incorporating written words, images, sounds, and movement.
• Tone: the composer’s attitude toward the subject and/or the audience.
• Transitions: words, phrases, or audiovisual elements that help readers make connections between ideas in a multimodal text, including connections from sentence to sentence, paragraph to paragraph, and mode to mode. Transitions show relationships between ideas and help effectively organize a composition.

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• Authors: Michelle Bachelor Robinson, Maria Jerskey, featuring Toby Fulwiler
• Publisher/website: OpenStax
• Book title: Writing Guide with Handbook
• Publication date: Dec 21, 2021
• Location: Houston, Texas
• Book URL: https://openstax.org/books/writing-guide/pages/1-unit-introduction
• Section URL: https://openstax.org/books/writing-guide/pages/18-3-glance-at-genre-genre-audience-purpose-organization

© Dec 19, 2023 OpenStax. Textbook content produced by OpenStax is licensed under a Creative Commons Attribution License . The OpenStax name, OpenStax logo, OpenStax book covers, OpenStax CNX name, and OpenStax CNX logo are not subject to the Creative Commons license and may not be reproduced without the prior and express written consent of Rice University.