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AP Lit: Poetry Overview

6 min read • november 18, 2021

Candace Moore

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AP English Lit: Poetry Analysis

There are three types of free-response questions on the AP Literature exam . You will be given 120 minutes to write all three essays, so you should take approximately 40 minutes to write each one. The entire free-response section is worth 55% of your total exam score.

Question 1, that you will see first on the exam, will be a poetry analysis prompt. You will need to read a given poem of 100 to 300 words and a prompt to guide your analytical essay about the poem. The prompt will help you figure out what to look for as you read the poem.

So we’re all on the same page, here are the most important definitions you need to know that are necessary to understand any discussion of poetry analysis .

• analyze: examine the passage closely for details that help you interpret and explain the question topic (i.e. breaking down how the poem was put together)
• complexity: the thematic, character or structural tensions or conflicts that are present in any poem
• thesis: the claim that establishes your line of reasoning and interpretation of the text

2011 AP English Literature and Composition Exam Q1 (from CollegeBoard.org)

The following poem is by the contemporary poet Li-Young Lee. Read the poem carefully. Then write a well-developed essay in which you analyze how the poet conveys the complex relationship of the father and the son through the use of literary devices such as point of view and structure .

See how the prompt asks about the “complex relationship of the father and son”? This helps you to know how to approach the poem and how to annotate it as you read it. The italics at the end of the prompt are to note specific literary devices that are given in older prompts that you might use to practice, but will not be given in 2020. However, the prompt will always give you:

• time period of publication
• a thematic, topical or structural aspect ( abstract topic ) to analyze

It is helpful to underline or circle these three elements to prepare you to read the poem. The prompt will always tell you to look for the literary devices or elements that the poet uses to create the thematic/topical/ structural aspect of the poem.

Reading the Poem

Now that you know what you’re looking for, read the poem . As you read, annotate the poem for elements of the abstract topic that the author has created. Make sure that you are also making connections between the topic and the literary devices .

🎥 Watch: AP Lit - How to Read a Poem

Annotate for:

• figurative language
• shifts in tone , meaning or language
• poetic structure and form
• diction and syntax that connect to the topic.

In the following 1919 poem by Claude McKay, the speaker discusses courage in the face of death. Read the poem carefully. Then, in a well-written essay, analyze how McKay uses poetic elements and techniques to develop his message about death during conflict.

In this prompt, you are directed toward McKay’s topic and can determine that he is delivering a message about it, so as you read, you would annotate for not only the topic (death) but his message to his audience.

When you have read through the poem (twice if possible!), you will have an idea of what you want to write about. Then it is time to write your thesis .

🎥 Watch: AP Lit - Theme Statements and Thesis Statements

Not to alarm you, but your thesis might be the most important part of your essay. It establishes what you’re going to say, and whether or not you’re going to be able to back it up with the poetic evidence. It should be about a sentence long (it could be a couple, but no more), and clearly state:

• the claim you’re making about the poem -- directly about the abstract topic given and defensible with the poetic devices in the poem
• your original interpretation of the poem that is not a summary

If you were given the following prompt ( Example 3 ) ...

In the following poem by William Shakespeare (1609), the speaker reflects on the passing of time. Read the poem carefully. Then, in a well-written essay, analyze how Shakespeare uses poetic elements and structure to convey his complex understanding of time.

...then your thesis would clearly state your interpretation of his understanding of time and the complexity of the understanding (or, why is it confusing/complex?), and probably the poetic elements that created this complexity and understanding.

Watch: AP Lit - Complexity in Poetry

As you may know, the rubric for AP Lit essays has changed from a 9-point holistic rubric to a 6-point analytical rubric. A perfect score is broken down as follows:

• 1 point for your thesis
• 4 points for your evidence and commentary
• 1 point for sophistication

The rubric that College Board AP exam readers will use is one whole page per category. 😦 For now, let’s dive into what each category means.

Thesis Point

You cannot earn a partial point for your thesis -- you either earn a point or you do not. If you write a thesis statement that interprets the poem according to the prompt in a way that is defensible according to the poem: 1 point. In other words, you write a claim that can be defended by the poem.

If your thesis is too general, summarizes or describes the poem, or restates the prompt only, you will not earn a point.

Evidence and Commentary Points

You can earn up to 4 points for evidence and commentary . All of your evidence needs to be integrated and relevant, and all of your commentaries should connect your evidence to your prompt-based thesis.

If you write paragraphs that are unrelated to the prompt and/or the passage, you will earn a 0 in this category.

If you summarize the poem or describe its content, you will earn 1 point. You will also earn one point if you refer to the literary techniques (that you found in your annotation) but do not explain them or connect them to the poem and your claim/thesis.

If you have some relevant evidence, connected weakly to some explanation and argument, you will earn 2 points. This includes inaccurate commentary or misinterpreted evidence. 😕

You will earn 3 points for a solid job of selecting evidence and connecting it to your claim. This means your line of reasoning is supported, and your evidence contains literary elements that you connect succinctly to the abstract topic you were given.

For consistent, persuasive support of your claim that uses significant and specific evidence, you will earn the full 4 points ! You would have examined more than one literary device/technique’s use throughout the poem, and organized your essay in order to best defend your claim.

Sophistication Point

This point is new and very hard to pin down. It is only one point, which means you earn it or you don’t. But your sophistication in your essay can be found in your writing style, your claim and/or your support of your claim. Earning this point means that your argument was complex as well as responded appropriately to the complexity of the poem.

Key Terms to Review ( 21 )

Abstract Topic

Analytical Essay

AP Literature Exam

Diction and Syntax

Evidence and Commentary

Figurative Language

Free-Response Questions

Literary Devices

Poetic Structure and Form

Poetry Analysis

Point of View

Shifts in Tone

Structural Aspect

Thematic Aspect

Theme Statements

Thesis Statements

Time Period of Publication

Topical Aspect

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AP® English Literature

How to get a 9 on poetry analysis frq in ap® english literature.

• The Albert Team
• Last Updated On: March 1, 2022

Are you taking the AP® English Literature and Composition exam? If you’re taking the course or self-studying, you know the exam is going to be tough. Of course, you want to do your best and score a five on the exam. To do well on the AP® English Literature and Composition exam, you’ll need to score high on the essays. For that, you’ll need to write a complete, efficient essay that argues an accurate interpretation of the work under examination in the Free Response Question section.

The AP® English Literature and Composition exam consists of two sections, the first being a 55-question multiple choice portion worth 45% of the total test grade. This section tests your ability to read drama, verse, or prose fiction excerpts and answer questions about them. The second section worth 55% of the total score requires essay responses to three questions, demonstrating your ability to analyze literary works: a poem analysis, a prose fiction passage analysis, and a concept, issue, or element analysis of a literary work.

From your course or review practices, you should know how to construct a clear, organized essay that defends a focused claim about the work under analysis. Your should structure your essay with a brief introduction that includes the thesis statement, followed by body paragraphs that further the thesis statement with detailed, well-discussed support, and a short concluding paragraph that reiterates and reinforces the thesis statement without repeating it. Clear organization, specific support, and full explanations or discussions are three critical components of high-scoring essays.

General Tips to Bettering Your Odds at a Nine on the AP® English Literature and Composition Exam.

Your teacher may have already told you how to approach the poetry analysis, but for the poetry essay, it’s important to keep the following in mind coming into the exam:

• Carefully read, review, and underline key to-do’s in the prompt.
• Briefly outline where you’re going to hit each prompt item–in other words, pencil out a specific order.
• Be sure you have a clear thesis that includes the terms mentioned in the instructions, literary devices, tone, and meaning.
• Include the author’s name and title of the poem in your thesis statement.
• Use quotes—lots of them—to exemplify the elements throughout the essay.
• Fully explain or discuss how your element examples support your thesis. A deeper, fuller, and focused explanation of fewer elements is better than a shallow discussion of more elements (shotgun approach).
• Avoid vague, general statements for a clear focus on the poem itself.
• Use transitions to connect sentences and paragraphs.
• Write in the present tense with generally good grammar.
• Keep your introduction and conclusion short, and don’t repeat your thesis verbatim in your conclusion.

The newly-released 2016 sample AP® English Literature and Composition exam questions, sample responses, and grading rubrics provide a valuable opportunity to analyze how to achieve high scores on each of the three Section II FRQ responses. However, for purposes of this examination, the Poetry Analysis strategies will be the focus. The poem for analysis in last year’s exam was “The Juggler” by Richard Wilbur, a modern American poet. Exam takers were asked to analyze the following:

• how the speaker in the poem describes the juggler
• what the description shows about the speaker
• how the poet uses imagery, figurative language, and tone to convey meaning

When you analyze the components of an influential essay, it’s helpful to compare all three sample answers provided by the CollegeBoard: the high scoring (A) essay, the mid-range scoring (B) essay, and the low scoring (C) essay. All three provide a teaching opportunity for achieving a nine on the poetry analysis essay.

Start with a Succinct Introduction that Includes Your Thesis Statement

The first sample essay, the A essay, quickly and succinctly introduces the author, title, thesis, elements, and devices. The writer’s introduction sentences are efficient: they contain no waste and give the reader a sense of the cohesiveness of the argument, including the role of each of the analyzed components in proving the thesis. The specificity of the details in the introduction shows that the writer is in control, with phrases like “frequent alliteration,” “off-kilter rhyme”, and “diction evoking an almost spiritual level of power”. The writer leaves nothing to guesswork.

The mid-range B essay introduction also cites some specific details in the poem, like “visual imagery (of the juggler and his balls), figurative language (the personification of the balls interacting with the juggler), and tone (the playful mood of the first two stanza)”. However, the writer wastes space and precious time (five whole lines!) with a vague and banal recitation of the prompt. The mid-range answer also doesn’t give the reader an understanding of an overarching thesis that he or she will use the elements and devices to support, merely a reference to the speaker’s “attitude”.

The third sample lacks cohesiveness, a thesis statement, and organization. The sentences read like a shotgun spray of facts and descriptions that give no direction to the reader of the writer’s approach: how he or she will use the elements and details listed to prove a thesis. The short, choppy sentences don’t connect, and the upshot is something so commonplace as Wilbur describes a talented juggler, who is also a powerful teacher. That doesn’t respond to the prompt, which requires an argument about what the juggler’s description reveals about the speaker.

To sum up, make introductions brief and compact, using specific details from the poem and a clear direction that address the call of the prompt. Writing counts. Short, choppy, disconnected sentences make an incoherent, unclear paragraph. Don’t waste time on sentences that don’t do the work ahead for you. Cut to the chase; be specific.

Use Clear Examples to Support Your Argument Points

The A answer first supports the thesis by pointing out that alliteration and rhyme scheme depict the mood and disconnection of both the speaker and the crowd. The writer does this by noting how alliteration appears when the juggler performs, but not before. The student also notes how the mood and connection to the crowd cohere when the juggler juggles, the balls defying gravity and uplifting the crowd with the balls. Then, the writer wraps up the first point about description, devices, and elements by concluding that the unusual rhyme scheme echoes the unusual feat of juggling and controlling the mood of the crowd.

With a clear focus on attaching devices to individually quoted phrases and poem details, the student leads the reader through the first pass at proving the attitude of the poem’s speaker while commenting on possible meanings the tone, attitude, and devices suggest. Again, the student uses clear, logical, and precise quotes and references to the poem without wasting time on unsupported statements. Specific illustrations anchor each point.

For example, the student identifies the end rhyme as an unusual effect that mimics the unusual and gravity-defiant balls. Tying up the first paragraph, the student then goes on to thoroughly explain the connection between the cited rhyme scheme, the unique defiance of gravity, and the effect on the speaker. The organizational plan is as follows: point (assertion), illustration, and explanation.

The mid-range sample also cites specific details of the poem, such as the “sky-blue” juggler, a color that suggests playfulness, but then only concludes that euphony shows the speaker’s attitude toward the juggler without making that connection clear with an explanation. The writer simply concludes without proving that assertion. Without further explanation or exemplification, the author demonstrates no knowledge of the term “euphony”.

Sample C also alludes to the “sky-blue” juggler but doesn’t explain the significance. In fact, the writer makes a string of details from the poem appear significant without actually revealing anything about the details the writer notes. They’re merely a string of details.

Discussion is Crucial to Connect Your Quotes and Examples to Your Argument Points

Rather than merely noting quoted phrases and lines without explanation, the A response takes the time to thoroughly discuss the meaning of the quoted words, phrases, and sentences used to exemplify his or her assertions. For example, the second paragraph begins with an assertion that the speaker’s view of the world is evident through the diction used when describing the juggler and the juggler’s act. Immediately, the writer supplies proof by directing the reader to the first and last stanzas to find “lens,” “dusk”, and “daily dark”.

The selection of these particular diction choices demonstrates the writer’s knowledge of the term “diction” and how to support a conclusion the student will make by the end of the sentence that the speaker’s attitude toward the world around him is “not the brightest”. The writer gives a follow-up sentence to further convince the reader of the previous point about the speaker’s dim view by adding, “All the words and phrases used just fall flat, filled with connotations of dullness…”

Using the transition, “however”, the A response goes on to further explain that the juggler’s description contrasts with that of the speaker’s in its lightness, by again providing both specifically-quoted words and complete one or two full sentence follow-ups to the examples. In that way, the writer clarifies the connection between the examples and their use and meaning. Nothing is left unexplained–unlike the B response, which claims Wilbur uses personification, then gives a case of a quoted passage about the balls not being “lighthearted”.

After mentioning the term, the B essay writer merely concludes that Wilbur used personification without making the connection between “lighthearted” and personification. The writer might have written one additional sentence to show that balls as inanimate objects don’t have the emotions to be cheery nor lighthearted, only humans do. Thus, Wilbur personifies the balls. Likewise short of support, the writer concludes that the “life” of the balls through personification adds to the mystery and wonder–without further identifying the wonder or whose wonder and how that wonder results from the life of the balls.

Write a Brief Conclusion

While it’s more important to provide a substantive, organized, and clear argument throughout the body paragraphs than it is to conclude, a conclusion provides a satisfying rounding out of the essay and last opportunity to hammer home the content of the preceding paragraphs. If you run out of time for a conclusion because of the thorough preceding paragraphs, that is not as fatal to your score as not concluding or not concluding as robustly as the A essay sample (See the B essay conclusion).

The A response not only provides a quick but sturdy recap of all the points made throughout the body paragraphs (without repeating the thesis statement) but also reinforces those points by repeating them as the final parting remarks to the reader. The writer demonstrates not only the points made but the order of their appearance, which also showcases the overall structure of the essay.

Finally, a conclusion compositionally rounds out a gracious essay–polite because it considers the reader. You don’t want your reader to have to work hard to understand any part of your essay. By repeating recapped points, you help the reader pull the argument together and wrap up.

Write in Complete Sentences with Proper Punctuation and Compositional Skills

Though pressed for time, it’s important to write an essay with clear, correctly punctuated sentences and properly spelled words. Strong compositional skills create a favorable impression to the reader, like using appropriate transitions or signals (however, therefore) to tie sentences and paragraphs together, making the relationships between sentences clear (“also”–adding information, “however”–contrasting an idea in the preceding sentence).

Starting each paragraph with a clear topic sentence that previews the main idea or focus of the paragraph helps you the writer and the reader keep track of each part of your argument. Each section furthers your points on the way to convincing your reader of your argument. If one point is unclear, unfocused, or grammatically unintelligible, like a house of cards, the entire argument crumbles. Good compositional skills help you lay it all out orderly, clearly, and fully.

For example, the A response begins the first body paragraph with “In the first and last stanzas, no alliteration beyond ‘daily dark’ appears, evoking a tone that could hardly be described as cheerful”. The sentence, with grammatically-correct commas inserted to section off the lead-in phrase, “In the first and last stanzas,” as well as the dependent clause at the sentence’s end, “evoking a tone that…,” gives a road map to the reader as to the paragraph’s design: alliteration, tone, darkness. Then the writer hits all three of those with a complete explanation.

The next paragraph begins with a rather clunky, unwieldy sentence that nevertheless does the same as the first–keys the reader to the first point regarding the speaker’s view of the world and the devices and elements used to do so. It’s clear the writer tackles the speaker’s view, the juggler’s depiction, and diction choice–both as promised from the beginning in the thesis statement of the introductory paragraph and per the prompt. The writer uses the transition “In the first and last stanzas”, to tie the topic sentence to the examples he or she will use to prove the topic sentence; then the writer is off to do the same in the next paragraph.

So by the time the conclusion takes the reader home, the writer has done all of the following:

• followed the prompt
• followed the propounded thesis statement in exact order promised
• provided a full discussion with examples
• included quotes proving each assertion
• used clear, grammatically correct sentences
• wrote paragraphs ordered by a thesis statement
• created topic sentences for each paragraph
• ensured each topic sentence furthered the ideas presented in the thesis statement

Have a Plan and Follow it

It’s easier than it sounds. To get a 9 on the poetry analysis essay in the AP® Literature and Composition exam, practice planning a response under strict time deadlines. Write as many practice essays as you can. Follow the same procedure each time.

First, be sure to read the instructions carefully, highlighting the parts of the prompt you absolutely must cover. Then map out a scratch outline of the order you intend to cover each point in support of your argument. Try and include not only a clear thesis statement, written as a complete sentence but the topic sentences to each paragraph followed by the quotes and details you’ll use to support the topic sentences. Then follow your map faithfully.

Be sure to give yourself enough time to give your essay a brief re-read to catch mechanical errors, missing words, or necessary insertions to clarify an incomplete or unclear thought. With time, an organized approach, and plenty of practice, earning a nine on the poetry analysis is manageable. Be sure to ask your teacher or consult other resources, like albert.io’s Poetic Analysis practice essays, if you’re unsure how to identify poetic devices and elements in poetry, or need more practice writing a poetry analysis.

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Sat / act prep online guides and tips, expert's guide to the ap literature exam.

Advanced Placement (AP)

If you're planning to take the AP English Literature and Composition exam, you'll need to get familiar with what to expect on the test. Whether the 2023 test date of Wednesday, May 3, is near or far, I'm here to help you get serious about preparing for the exam.

In this guide, I'll go over the test's format and question types, how it's graded, best practices for preparation, and test-day tips. You'll be on your way to AP English Lit success in no time!

AP English Literature: Exam Format and Question Types

The AP Literature Exam is a three-hour exam that contains two sections in this order:

• An hour-long, 55-question multiple-choice section
• A two-hour, three-question free-response section

The exam tests your ability to analyze works and excerpts of literature and cogently communicate that analysis in essay form.

Read on for a breakdown of the two different sections and their question types.

Section I: Multiple Choice

The multiple-choice section, or Section I of the AP Literature exam, is 60 minutes long and has 55 questions. It counts for 45% of your overall exam grade .

You can expect to see five excerpts of prose and poetry. You will always get at least two prose passages (fiction or drama) and two poetry passages. In general, you will not be given the author, date, or title for these works, though occasionally the title of a poem will be given. Unusual words are also sometimes defined for you.

The date ranges of these works could fall from the 16th to the 21st century. Most works will be originally written in English, but you might occasionally see a passage in translation.

There are, generally speaking, eight kinds of questions you can expect to see on the AP English Literature and Composition exam. I'll break each of them down here and give you tips on how to identify and approach them.

"Pretty flowers carried by ladies" is not one of the question types.

The 8 Multiple-Choice Question Types on the AP Literature Exam

Without further delay, here are the eight question types you can expect to see on the AP Lit exam. All questions are taken from the sample questions on the AP Course and Exam Description .

#1: Reading Comprehension

These questions test your ability to understand what the passage is saying on a pretty basic level . They don't require you to do a lot of interpretation—you just need to know what's going on.

You can identify this question type from words and phrases such as "according to," "mentioned," "asserting," and so on. You'll succeed on these questions as long as you carefully read the text . Note that you might have to go back and reread parts to make sure you understand what the passage is saying.

#2: Inference

These questions ask you to infer something—a character or narrator's opinion, an author's intention, etc.—based on what is said in the passage . It will be something that isn't stated directly or concretely but that you can assume based on what's clearly written in the passage. You can identify these questions from words such as "infer" and "imply."

The key to these questions is to not get tripped up by the fact that you are making an inference—there will be a best answer, and it will be the choice that is best supported by what is actually found in the passage .

In many ways, inference questions are like second-level reading comprehension questions: you need to know not just what a passage says, but also what it means.

#3: Identifying and Interpreting Figurative Language

These are questions for which you have to either identify what word or phrase is figurative language or provide the meaning of a figurative phrase . You can identify these as they will either explicitly mention figurative language (or a figurative device, such as a simile or metaphor ) or include a figurative phrase in the question itself.

The meaning of figurative phrases can normally be determined by that phrase's context in the passage—what is said around it? What is the phrase referring to?

Example 1: Identifying

Example 2: Interpreting

#4: Literary Technique

These questions involve identifying why an author does what they do , from using a particular phrase to repeating certain words. Basically, what techniques is the author using to construct the passage/poem, and to what effect?

You can identify these questions by words/phrases such as "serves chiefly to," "effect," "evoke," and "in order to." A good way to approach these questions is to ask yourself: so what? Why did the author use these particular words or this particular structure?

#5: Character Analysis

These questions ask you to describe something about a character . You can spot them because they will refer directly to characters' attitudes, opinions, beliefs, or relationships with other characters .

This is, in many ways, a special kind of inference question , since you are inferring the broader personality of the character based on the evidence in a passage. Also, these crop up much more commonly for prose passages than they do for poetry ones.

#6: Overall Passage Questions

Some questions ask you to identify or describe something about the passage or poem as a whole : its purpose, tone, genre, etc. You can identify these by phrases such as "in the passage" and "as a whole."

To answer these questions, you need to think about the excerpt with a bird's-eye view . What is the overall picture created by all the tiny details?

#7: Structure

Some AP Lit questions will ask you about specific structural elements of the passage: a shift in tone, a digression, the specific form of a poem, etc . Often these questions will specify a part of the passage/poem and ask you to identify what that part is accomplishing.

Being able to identify and understand the significance of any shifts —structural, tonal, in genre, and so on—will be of key importance for these questions.

#8: Grammar/Nuts & Bolts

Very occasionally you will be asked a specific grammar question , such as what word an adjective is modifying. I'd also include in this category super-specific questions such as those that ask about the meter of a poem (e.g., iambic pentameter).

These questions are less about literary artistry and more about the fairly dry technique involved in having a fluent command of the English language .

That covers the eight question types on the multiple-choice section. Now, let's take a look at the free-response section of the AP Literature exam.

Keep track of the nuts and bolts of grammar.

Section II: Free Response

The AP Literature Free Response section is two hours long and involves three free-response essay questions , so you'll have about 40 minutes per essay. That's not a lot of time considering this section of the test counts for 55% of your overall exam grade !

Note, though, that no one will prompt you to move from essay to essay, so you can theoretically divide up the time however you want. Just be sure to leave enough time for each essay! Skipping an essay, or running out of time so you have to rush through one, can really impact your final test score.

The first two essays are literary analysis essays of specific passages, with one poem and one prose excerpt. The final essay is an analysis of a given theme in a work selected by you , the student.

Essays 1 & 2: Literary Passage Analysis

For the first two essays, you'll be presented with an excerpt and directed to analyze the excerpt for a given theme, device, or development . One of the passages will be poetry, and one will be prose. You will be provided with the author of the work, the approximate date, and some orienting information (i.e., the plot context of an excerpt from a novel).

Below are some sample questions from the 2022 Free Response Questions .

Essay 3: Thematic Analysis

For the third and final essay, you'll be asked to discuss a particular theme in a work that you select . You will be provided with a list of notable works that address the given theme below the prompt, but you can also choose to discuss any "work of literary merit."

So while you do have the power to choose which work you wish to write an essay about , the key words here are "literary merit." That means no genre fiction! Stick to safe bets like authors in the list on pages 10-11 of the old 2014 AP Lit Course Description .

(I know, I know—lots of genre fiction works do have literary merit and Shakespeare actually began as low culture, and so on and so forth. Indeed, you might find academic designations of "literary merit" elitist and problematic, but the time to rage against the literary establishment is not your AP Lit test! Save it for a really, really good college admissions essay instead .)

Here's a sample question from 2022:

As you can see, the list of works provided spans many time periods and countries : there are ancient Greek plays ( Antigone ), modern literary works (such as Margaret Atwood's The Handmaid's Tale ), Shakespeare plays ( The Tempest ), 19th-century English plays ( The Importance of Being Earnest ), etc. So you have a lot to work with!

Also note that you can choose a work of "comparable literary merit." That means you can select a work not on this list as long as it's as difficult and meaningful as the example titles you've been given. So for example, Jane Eyre or East of Eden would be great choices, but Twilight or The Hunger Games would not.

Our advice? If you're not sure what a work of "comparable literary merit" is, stick to the titles on the provided list .

You might even see something by this guy.

How Is the AP Literature Test Graded?

The multiple-choice section of the exam comprises 45% of your total exam score; the three essays, or free-response section, comprise the other 55%. Each essay, then, is worth about 18% of your grade.

As on other AP exams, your raw score will be converted to a score from 1-5 . You don't have to get every point possible to get a 5 by any means. In 2022, 16.9% of students received 5s on the AP English Literature test, the 14th highest 5 score out of the 38 different AP exams.

So, how do you calculate your raw scores?

Multiple-Choice Scoring

For the multiple-choice section, you receive 1 point for each question you answer correctly . There's no guessing penalty, so you should answer every question—but guess only after you're able to eliminate any answer you know is wrong to up your chances of choosing the right one.

Free-Response Scoring

Scoring for multiple choice is pretty straightforward; however, essay scoring is a little more complicated.

Each of your essays will receive a score from 0 to 6 based on the College Board rubric , which also includes question-specific rubrics. All the rubrics are very similar, with only minor differences between them.

Each essay rubric has three elements you'll be graded on:

• Thesis (0-1 points)
• Evidence and Commentary (0-4 points)
• Sophistication (0-1 points)

We'll be looking at the current rubric for the AP Lit exam , which was released in September 2019, and what every score means for each of the three elements above:

To get a high-scoring essay in the 5-6 point range, you'll need to not only come up with an original and intriguing argument that you thoroughly support with textual evidence, but you’ll also need to stay focused, organized, and clear. And all in just 40 minutes per essay!

If getting a high score on this section sounds like a tall order, that's because it is.

Practice makes perfect!

Skill-Building for Success on the AP Literature Exam

There are several things you can do to hone your skills and best prepare for the AP Lit exam.

Read Some Books, Maybe More Than Once

One of the most important steps you can take to prepare for the AP Literature and Composition exam is to read a lot and read well . You'll be reading a wide variety of notable literary works in your AP English Literature course, but additional reading will help you further develop your analytical reading skills .

I suggest checking out this list of notable authors in the 2014 AP Lit Course Description (pages 10-11).

In addition to reading broadly, you'll want to become especially familiar with the details of four to five books with different themes so you'll be prepared to write a strong student-choice essay. You should know the plot, themes, characters, and structural details of these books inside and out.

See my AP English Literature Reading List for more guidance.

Read (and Interpret) Poetry

One thing students might not do very much on their own time but that will help a lot with AP Lit exam prep is to read poetry. Try to read poems from a lot of eras and authors to get familiar with the language.

We know that poetry can be intimidating. That's why we've put together a bunch of guides to help you crack the poetry code (so to speak). You can learn more about poetic devices —like imagery and i ambic pentameter —in our comprehensive guide. Then you can see those analytical skills in action in our expert analysis of " Do not go gentle into that good night " by Dylan Thomas.

When you think you have a grip on basic comprehension, you can then move on to close reading (see below).

Hone Your Close Reading and Analysis Skills

Your AP class will likely focus heavily on close reading and analysis of prose and poetry, but extra practice won't hurt you. Close reading is the ability to identify which techniques the author is using and why. You'll need to be able to do this both to gather evidence for original arguments on the free-response questions and to answer analytical multiple-choice questions.

Here are some helpful close reading resources for prose :

• University of Wisconsin-Madison Writing Center's guide to close reading
• Harvard College Writing Center's close reading guide
• Purdue OWL's article on steering clear of close reading "pitfalls"

And here are some for poetry :

• University of Wisconsin-Madison's poetry-reading guide
• This guide to reading poetry at Poets.org (complete with two poetry close readings)
• Our own expert analyses of famous poems, such as " Ozymandias ", and the 10 famous sonnets you should know

Learn Literary and Poetic Devices

You'll want to be familiar with literary terms so that any test questions that ask about them will make sense to you. Again, you'll probably learn most of these in class, but it doesn't hurt to brush up on them.

Here are some comprehensive lists of literary terms with definitions :

• The 31 Literary Devices You Must Know
• The 20 Poetic Devices You Must Know
• The 9 Literary Elements You'll Find In Every Story
• What Is Imagery?
• Understanding Assonance
• What Is Iambic Pentameter in Poetry?
• Simile vs Metaphor: The 1 Big Difference
• 10 Personification Examples in Poetry, Literature, and More

Practice Writing Essays

The majority of your grade on the AP English Lit exam comes from essays, so it's critical that you practice your timed essay-writing skills . You of course should use the College Board's released free-response questions to practice writing complete timed essays of each type, but you can also practice quickly outlining thorough essays that are well supported with textual evidence.

Take Practice Tests

Taking practice tests is a great way to prepare for the exam. It will help you get familiar with the exam format and overall experience . You can get sample questions from the Course and Exam Description , the College Board website , and our guide to AP English Lit practice test resources .

Be aware that the released exams don't have complete slates of free-response questions, so you might need to supplement these with released free-response questions .

Since there are three complete released exams, you can take one toward the beginning of your prep time to get familiar with the exam and set a benchmark, and one toward the end to make sure the experience is fresh in your mind and to check your progress.

Don't wander like a lonely cloud through your AP Lit prep.

AP Literature: 6 Critical Test-Day Tips

Before we wrap up, here are my six top tips for AP Lit test day:

• #1: On the multiple-choice section, it's to your advantage to answer every question. If you eliminate all the answers you know are wrong before guessing, you'll raise your chances of guessing the correct one.
• #2: Don't rely on your memory of the passage when answering multiple-choice questions (or when writing essays, for that matter). Look back at the passage!
• #3: Interact with the text : circle, mark, underline, make notes—whatever floats your boat. This will help you retain information and actively engage with the passage.
• #4: This was mentioned above, but it's critical that you know four to five books well for the student-choice essay . You'll want to know all the characters, the plot, the themes, and any major devices or motifs the author uses throughout.
• #5: Be sure to plan out your essays! Organization and focus are critical for high-scoring AP Literature essays. An outline will take you a few minutes, but it will help your writing process go much faster.
• #6: Manage your time on essays closely. One strategy is to start with the essay you think will be the easiest to write. This way you'll be able to get through it while thinking about the other two essays.

And don't forget to eat breakfast! Apron optional.

AP Literature Exam: Key Takeaways

The AP Literature exam is a three-hour test that includes an hour-long multiple-choice section based on five prose and poetry passages and with 55 questions, and a two-hour free-response section with three essays : one analyzing a poetry passage, one analyzing a prose passage, and one analyzing a work chosen by you, the student.

The multiple-choice section is worth 45% of your total score , and the free-response section is worth 55% . The three essays are each scored on a rubric of 0-6, and raw scores are converted to a final scaled score from 1 to 5.

Here are some things you can do to prepare for the exam:

• Read books and be particularly familiar with four to five works for the student-choice essays
• Read poetry
• Work on your close reading and analysis skills
• Learn common literary devices
• Practice writing essays
• Take practice tests!

On test day, be sure to really look closely at all the passages and really interact with them by marking the text in a way that makes sense to you. This will help on both multiple-choice questions and the free-response essays. You should also outline your essays before you write them.

With all this in mind, you're well on your way to AP Lit success!

What's Next?

If you're taking other AP exams this year, you might be interested in our other AP resources: from the Ultimate Guide to the US History Exam , to the Ultimate AP Chemistry Study Guide , to the Best AP Psychology Study Guide , we have tons of articles on AP courses and exams for you !

Looking for practice exams? Here are some tips on how to find the best AP practice tests . We've also got comprehensive lists of practice tests for AP Psychology , AP Biology , AP Chemistry , and AP US History .

Deciding which APs to take? Take a look through the complete list of AP courses and tests , read our analysis of which AP classes are the hardest and easiest , and learn how many AP classes you should take .

Ellen has extensive education mentorship experience and is deeply committed to helping students succeed in all areas of life. She received a BA from Harvard in Folklore and Mythology and is currently pursuing graduate studies at Columbia University.

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Ap lit poetry essay review.

Whenever I prepare my students for the AP Literature exam, I don’t really want it to feel like test prep. I want to take the stress out of it all. I want the experience to build confidence. I want the process, starting around February, to have no stakes or very low stakes; it should be practice, not fear mongering. And I want there to be plenty opportunities for improvement.

So what does that look like?

Well, with essay writing we start small — on the sentence-level — at the beginning of the year, working to achieve mastery over thesis statements, evidence, and commentary. Multiple-choice practice is always completed in class, on paper and while scores are recorded, they never go in the grade book. When my students write full-length essays, they have the opportunity to rewrite as long as they conference with me because I learned long ago that a 15 minute conference with a student is far better than anything I could write in the margins.

But this week I was scratching my head trying to figure out how I could make rubric review NOT feel like test prep. My AP Lit classes were reviewing the Q1 essay, which is the poetry prompt. In my experience, rubrics can suck all the life out of a lesson. Students feel like the speaker in the Walt Whitman’s “When I Heard the Learn’d Astronomer.”

When I heard the learn’d astronomer, When the proofs, the figures, were ranged in columns before me, When I was shown the charts and diagrams, to add, divide, and measure them, When I sitting heard the astronomer where he lectured with much applause in the lecture-room, How soon unaccountable I became tired and sick,

The lesson I devised ended up being one of the more memorable ones of the quarter.

Day 1: Rubric Rhymes — I hand out copies of the Q1 rubric and toss highlighters to each student. They have to highlight the key descriptors for each category and point value on the rubric. Once that is done, students have to use their highlights and develop a poem in rhyming couplets that identifies what must be accomplished in order to score a six on this essay.

The poem had to be at least 10 lines long.

I will say, they loved this assignment and it I think its effect will endure.

Here are some samples:

You wants to make a good poetry essay creation? 

That thesis best be full of top notch interpretation 

Don’t just restate or rephrase information 

But rather provide a good explanation 

How many literary elements should you choose?  

Multiple is what you should use

And sprinkle on some good seasoning 

The one that tastes like strong reasoning

The last criterion to make you do well on your examination 

I s make sure the essay demonstrates that advanced type of sophistication

I be writing a thesis 

Just like I be eating reese’s, in pieces 

If you don’t want evidence that’s horrific 

Then you gotta be spec ific 

I could ask Stabz for assistance  

Or I could remember one word: consistence -y  

Unlike my ex,  

You gotta be complex 

If you tryna get to the graduation  

Then you gotta understand sophistication

Student III

You aint got time to waste

But that doesn’t mean that your essay should be written in haste

40 minutes to read and write

And develop ideas with sophistication and insight

First, make sure your thesis isn’t a bore

To develop a sophisticated interpretation really is a chore .

Answer the prompt, be clear and concise ,

Throw in poetic elements and a d evice

That central idea must be developed

Once stated, evidenced and commentary need to envelop

By not just saying what is true, but how and why

With brilliance so bright it would make an AP Reader cry .

S ummarize and your grade will surely suffe r

Articulate the complexity is much tougher

But do it over and over again

Establishing a line of reason, the n

P olish your thoughts like gems

Make those sentences sweet like M&M s

And never forget to discuss what is complex

All these boxes you must chec k

And a six on this essay will be yours

And you will have the wisdom of a thousand Dumbledors .

Day T wo: Performances/The whole-class essay — Class started with an opportunity for students to read their rap/poem in front of the class for extra credit. Some of the performances were epic.

Then I passed out a previous AP prompt and students had seven minutes to complete my four-step pre-writing organizer . Once those seven minutes were up, the fastest typer in class (we had a contest earlier in the year) came to the class computer and we worked together to develop a whole-class essay. This allowed students to think aloud together, wordsmith key phrases, and discuss their insights in a collaborative and non-threatening environment.

Throughout the process, we kept going back to the rubric to check if we were meeting the requirements.

Here are the intros from each class:

Period 1 — In Paul Lawrence Dunbar’s poem “The Mystery”, the speaker discusses navigating through life by himself. Throughout the poem, the speaker exists in a figurative darkness in which he experiences loneliness and questions the benevolence of a higher power; in this frustrated search for meaning and understanding, he illustrates through personification and imagery that whether or not there is a higher power. His conclusion is that he cannot wallow in his dependency and that he must be self reliant.

Period 6 — In Paul Laurence Dunbar’s poem “The Mystery,” the speaker reflects on life. In a state of existential dread, he feels a sense of purposelessness and seeks navigation from a higher being. Paradoxically, in being given no direction, the speaker achieves solace in the inevitability of death and accepts the power of the present. 

Period 8 — In Paul Laurence Dunbar’s poem, “The Mystery”, the speaker is in a lonely place of uncertainty. While reflecting on the inevitability of death and appealing to a higher power, the speaker gains an awareness, not only of his own solitude, but also his powerlessness in the face of destiny. Through the use of personification, juxtaposition, and imagery, an epiphany is achieved in which he accepts the absurdity of life, thus gaining his autonomy.

Day 3: Essay test day — At this point students know the rubric, they did a practice essay the day before as a class, and now they are ready to do it all on their own.

In the comments section below, please share how you prepare students for the poetry essay on the AP exam.

Brian Sztabnik is just a man trying to do good in and out of the classroom. He was a 2018 finalist for NY Teacher of the Year, a former College Board advisor for AP Lit, and an award-winning basketball coach.

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—AP Poetry Analysis—

We choose our AP Poetry Analysis prompts not just to prepare students for the essay on the AP Literature exam, but also to introduce the major themes of the novel or play through a complementary text that addresses the subject matter through a different lens.  Similar to the thought-provoking quotation that we use as the basis of our Journal Discussions, we want to give students another perspective on the issues they will encounter in the novel or play they are about to read.

Oftentimes, the choice of poem is relatively obvious by allusions made in the title or text of the novel or play.  For instance, when reading Chinua Achebe's  Things Fall Apart , it makes sense to analyze William Butler Yeats' "The Second Coming," the poem from which the title of the novel is taken.  Similarly, when reading Kate Chopin's  The Awakening , it is helpful to analyze Charles Swinburne's "A Cameo" since Gouvernail murmurs the first two lines of the poem during Edna's farewell dinner on Esplanade Street. There is a reason that authors and playwrights allude to other literary works, and our job as readers is to determine the thematic connection between the two. 

When there is not an obvious allusion made in the title or text, we have the opportunity to select a poem that relates thematically to the novel or play and is consistent with the AP Literary Analysis prompt already chosen.  For instance, when we teach Sandra Cisneros'  The House on Mango Street , we want students to focus on how Esperanza's feelings towards her neighborhood change over the course of the novel.  To achieve this purpose we chose the 2010 AP Literary Argument prompt for our final essay:

"You can leave home all you want, but home will never leave you."

- Sonsyrea Tate

Sonsyrea Tate's statement suggests that "home" may be conceived as a dwelling, a place, or a state of mind.  It may have positive or negative associations, but in either case, it may have a considerable influence on the individual.

Choose a novel or play in which a central character leaves home yet finds that home remains significant.  Write a well-developed essay in which you analyze the importance of "home" to this character and the reasons for its continuing influence.  Explain how the character's idea of home illuminates the larger meaning of the work.

While there are many poems that focus on the concept of "home," we selected Robert Hayden's "Those Winter Sundays" to compare and contrast with Cisneros' work.  When analyzing any piece of literature, we focus on the four pillars of style analysis:  diction, imagery, language, and syntax.  We go into depth on all four pillars in the Style Analysis Tutorial , so for this section we will focus on what is unique about analyzing poetry in comparison to prose.

When we present a poem to the class, we structure it like an AP Poetry Analysis prompt that students will find on the AP Literature exam so they get more comfortable with the format:

When we first introduce poetry to students, we note that paragraphs and sentences in prose have been replaced with stanzas and lines in poetry.  We emphasize, however, that most poetry is still written in complete thoughts and contains end punctuation.  Our advice to students is to read poetry as if it were prose, pausing and stopping when the punctuation dictates.  We always read poems out loud in class twice — the first time by the teacher to model how it should sound and then a second time by a student reader.  For poems with multiple long stanzas, we might have different students read different stanzas aloud.  

Since every word in poetry is important, we first define any words that students might not know —like "indifferently" or "austere" in Hayden's poem, for example .  We want students to consider the significance of the diction, imagery, and language in a poem —which, again, we discuss in detail in the Style Analysis Tutorial —but in this tutorial we are going to focus on how the specific syntax of poetry, which we call poetic devices, differs from prose and how poets use these poetic devices to establish tone and reveal theme. 

We break poetic devices into three categories based on the repetition of sounds.  The first category identifies the repetition of specific letter-sounds, which takes the form of alliteration, consonance, and assonance.  The second category concentrates on the repetition of syllables, which involves a poem's rhyme, rhythm, and meter.  The third category focuses on the repetition of words or phrases, which we call parallel structure:

I.  Alliteration/Consonance/Assonance

Alliteration is the repetition of consonant sounds at the beginning of words whereas consonance is the repetition of consonant sounds within words.  Assonance is the repetition of vowel sounds.   Poets use repeated sounds not just because they are pleasing to the ear , but also to emphasize certain words  and create connections between words.

Let's look at the opening stanza of Hayden's poem:

Sundays too my father got up early

and put his clothes on in the blueblack cold,

then with cracked hands that ached

from labor in the weekday weather made

banked fires blaze.  No one ever thanked him.

When introducing poetic devices, we first ask students to find as many repetitions of consonant and vowel sounds as possible within an opening stanza.  For Hayden's poem, students usually notice the repetition of the hard "k" sound that comes at the beginning of words like " cl othes," " c old," and " cr acked"; in the middle of words like "cra ck ed," "a ch ed," "wee k day," "ba nk ed," and "tha nk ed"; and at the end of words like "bluebla ck ."

When we ask students to describe the tone, or feeling, associated with that particular sound, students often say it is harsh and abrupt.  The next question is why Hayden would want to repeat that particular sound in his opening stanza, and how that sound might reflect the feelings that the speaker has internalized when remembering his father and his childhood home.  

Despite the coldness of the relationship he had with his father, it is clear that the speaker's feelings have changed now that he is older.  The adult speaker seems to recognize and appreciate the fact that his father "got up early" during the week, most likely to go to a blue-collar job that produced "cracked hands that ached."  Not only does Hayden alliterate the " w eekday w eather" to emphasize the harsh conditions that his father endured during the week to provide for his family, but he also alliterates the " bl ue bl ack cold" when the speaker's father "made /  b anked fires bl aze" to show how the father also provided comfort for his family in the early morning darkness before any of them had gotten out of bed.

When Hayden stops the opening thought with a caesura in the middle of the fifth line, he uses the period to interrupt the flow of the line to set us up for the devastating final words of the stanza:  "No one ever thanked him."  When reading those words, we sense the guilt and regret the speaker has for failing to appreciate his father when he was a child.

Hayden's use of assonance is also interesting to analyze in the first stanza, specifically with the juxtaposition of long and short "a" sounds.  The long "a" sounds connect the hands that " a ched / from l a bor in the weekd a y weather m a de / banked fires bl a ze."  Those same hands that "ached" from long hours of manual labor outside the home were the same hands that "made" the fires inside the home —on "Sund a ys too"— to provide comfort and warmth for his family.

One could argue that the length of those drawn out "a" sounds  reflects the long thankless days that the father spent providing for his family with no apparent acknowledgment or appreciation of his sacrifice.  Is there bitterness inside the father?  Perhaps those harsh "k" sounds combined with the short "a" sounds in "bluebl a ck," "cr a cked," "b a nked," and "th a nked" reflect not just the speaker's fear of his father as a child, but also the resentment that the speaker imagines the father must have had towards his ungrateful family.

We emphasize with students that any literary interpretation—but especially with an analysis of the subtleties of syntax or poetic devices—is subject to debate.  The role of a literary critic is not necessarily to be "correct," but to make interesting observations based on evidence from the text to make the reader think differently or more deeply about the work.  Some interpretations are more convincing than others based on the evidence to support the claims, and others are more compelling based on the insight and depth of the analysis. 

Our advice to students is to think deeply about the literary work and make as interesting an argument as possible based on the evidence from the text.  An essay does not necessarily have to convince the reader that a certain interpretation is "right," but it should always aspire to be thought-provoking and make the reader think about the work in a new way.

II.  Rhyme/Rhythm/Meter

When we introduce the concept of rhyme, we differentiate between "end rhymes" and "internal rhymes."  When end rhymes create a consistent pattern, we call that a "rhyme scheme" and use letters, such as ABAB,  to represent the repeating pattern.  For Hayden's poem, however, there are no end rhymes, which means there is no rhyme scheme.  The first question that students should ask is why Hayden would choose to write his poem in free verse rather than with a set rhyme scheme.

Just because there are no end rhymes does not mean, however, that there are no internal rhymes.  In the first stanza, we see "blue black " and " cracked " on successive lines and " banked " and " thanked " in the same line.  These internal rhymes are not only aesthetically pleasing to the ear, but they also link those words thematically.  It is up to the reader to make a connection as to why the poet would want to pair those two words.

In the first pairing, the "blue black cold" represents the harsh conditions that the father has to face everyday — "Sundays too"—to provide and care for his family.  His perpetual sacrifice is represented by the " cracked hands that ached," but it seems that the "aching" of his hands does not just reflect a physical hardship; instead, it seems to also imply an internal suffering, one that the speaker is unable to recognize as a child but acknowledges and takes some responsibility for as an adult.  Similarly, the " banked fires" that the father made "blaze" every morning go unacknowledged by his family; despite the fact that he should have been " thanked " for the sacrifices he made, no one ever did.

In the second stanza, Hayden also uses internal rhymes effectively:

I'd wake and hear the cold splintering, breaking.

When the rooms were warm, he'd call,

and slowly I would rise and dress,

fearing the chronic angers of that house,

The first line connects " wake " with the first syllable in " break ing," showing how the father regularly gets up in the early morning to make the house warm for his family by "breaking" the cold.  The tone of the stanza, however, is not one of familial love and warmth.  The present participles at the end of the first line connect with the present participle in the fourth line to create a series of internal rhymes by repeating the "-ing" syllable on "splinter ing ," break ing ," and "fear ing ."  Despite the speaker's understanding at an intellectual level that the father's efforts are "splintering" and "breaking" the cold, they are sublimated by his simultaneously "fearing the chronic angers of that house."  Instead of feeling gratitude for his father's efforts, the speaker only has dread and fear, fully aware that his father's temper is always in threat of "splintering" and "breaking" the peace and tranquility of the house.

When determining rhythm, we have to look at the punctuation and the pattern of stressed and unstressed syllables (i.e. meter) in a line or stanza.  In looking at the punctuation in the second stanza, the first thing we notice is the proliferation of commas.  The comma at the end of the first line creates an asyndeton that takes the place of an "and" that could have easily separated the two present participles in a smoother, more rhythmic way.  Instead, Hayden uses the comma to create a jarring transition between the two participles that abruptly concludes with the period at the end of the line.

One could argue that the punctuation aptly reflects the harsh, abrupt tone that we saw in the consonance of the repeated "k" sounds in the first stanza, which continues in the second stanza with " c old," "brea k ing," " c all," and " chr oni c ."  The commas at the end of each successive line in the second stanza slows the pace and makes us consider each line carefully.  The commas never complete the thought, however, so we carry the tension from one line to the next —and even into the next stanza—understanding implicitly that the "chronic angers of that house" remain unresolved and simmering beneath the surface, which breaks any sense of harmony in the house or rhythm in the poem.

The disruptive punctuation is complemented by the absence of a set meter.   To determine meter, we have to recognize which syllables are stressed and which are not.  The easiest way to do that is to look at the multi-syllable words first to determine where the natural accents lie.  For instance, the word "splintering" in the first line of the second stanza has three syllables, but only one contains the natural accent, which is the first; the final two syllables are unstressed.  Likewise, in "breaking" the first syllable is stressed and the second is not.   In fact, all of the multi-syllable words in the second stanza have the first syllable stressed:

After we find the natural accents, we then look at the single-syllable words, where there is ample room for interpretation.  In general, primary words — like nouns and verbs — are usually stressed whereas secondary words — like articles and prepositions — are not.   This is a guideline but not a rule, however.  When words are stressed, they are emphasized; sometimes it makes sense, based on the context of the line, to stress an adjective, for instance, rather than the noun.  Similarly, stressed and unstressed syllables usually alternate in poetry to create a natural rhythm, but poets will intentionally disrupt the rhythm to call attention to specific words. 

Here is a possible scan of the second stanza in Hayden's poem:

The first line starts off with a series of three rhythmic iambs (two-syllable combinations of unaccented syllables followed by accented syllables) before the pattern is broken with the words "splintering, breaking" at the end of the line.  By analyzing the meter, we can assume that soon after waking—even on Sundays with a fire warming the house—the speaker still feels a sense of tension and unease.  What is interesting is Hayden's decision to end the line with a weak, unaccented syllable, which one could argue conveys a sense of weary resignation, as if the speaker can never escape the constant "splintering, breaking" tension that permeates the house.  

The first syllable of the second line, "When," could certainly be accented, but leaving it unaccented allows that feeling of helplessness to carry over from the previous line and build into another series of rhythmic iambs that runs through the next two lines until it is disrupted once again by a present participle, this time "Fearing," which starts the fourth line and connects to the "splintering, breaking" of the first line.  This rhythmic pattern—and its disruption—repeats itself as if to imply that any sense of harmony within the house cannot remain for long. 

The preposition "of" in the final line of the stanza could also be unstressed, but choosing to accent the preposition creates another series of four straight iambs that is broken once again by a present participle, this time the "Speaking" at the beginning of the final stanza.  What is interesting is that the father is responsible for the "splintering, breaking" of the rhythm in the second stanza, but it is the speaker who is responsible for breaking the rhythm in the final stanza by "Speaking indifferently" to his father, which seems to imply that they both share responsibility for the psychic tension and "chronic angers of that house."  

III.  Parallel Structure

Parallel structure is the repetition of words or phrases within the lines of a poem.  We have already seen how Hayden uses parallel structure in repeating the use of present participles to break the rhythm of the lines in the second stanza and at the beginning of the third.  We also see a key repetition in the penultimate line that, one could argue, unlocks the thematic meaning of the entire poem:

Speaking indifferently to him,

who had driven out the cold

and polished my good shoes as well.

What did I know, what did I know

of love's austere and lonely offices?

By repeating "'What did I know, what did I know" the speaker acknowledges his own ignorance as a child of the love and sacrifice that his father demonstrated through his daily actions.  The repetition also implies a sense of guilt and regret that he was unable to understand or appreciate his father when he was younger.  What is obvious is that the speaker has matured over the years —perhaps now having children of his own—and sees his father in a new, more compassionate light.  

To help students identify poetic devices and become more comfortable with the analytical process, we provide five study guide questions on the back of the AP prompt that students should try to answer on their own.  When students return to class, we answer any questions they may have and share our different interpretations of the poem as a whole class.

After we have explicated the poem and answered questions from the study guide, students prepare to write their AP Poetry Analysis essay.  Similar to the other AP essays, we encourage students to use  Hegel's Dialectic to organize their thoughts and outline their arguments:

The AP Poetry Analysis prompt for Hayden's poem asks students to consider how the speaker has "re-assessed" the "strained" relationship he had with his father in childhood.  One possible way to organize the argument would be to have the thesis, or initial claim (i.e. first body paragraph), focus on the "strained" relationship in the speaker's childhood.  The antithesis, or counter-claim (i.e. second body paragraph), could then focus on the speaker's re-assessment of that relationship once he becomes an adult.  The synthesis (i.e. third body paragraph) would focus on what the speaker has learned from the experience, which would also reflect Hayden's overall theme (i.e. "the meaning of the work as a whole").

If this were the first assignment of the year, we would provide a model for what a quality AP Poetry Analysis essay using Hegel's Dialectic might look like: 

When using Hegel's Dialectic for an AP Poetry Analysis essay, it is sometimes helpful to think of the thesis/antithesis/synthesis model in terms of tone and theme instead.  Students should look for competing, yet complementary, tones in the poem, which would then be the focus of their first two body paragraphs.  Students would then resolve the tension between those competing tones by revealing overall theme in the concluding third body paragraph.

Once students have completed the Journal Discussion and written the AP Poetry Analysis essay, they are now ready to begin the novel or play with a solid introduction to the major themes of the work.  Moreover, they will be able to compare and contrast how the author or playwright addresses the Essential Questions with the poet and and the author/speaker of the quotation.  Ultimately, students will have to answer those Essential Questions for themselves, but they now have three different guides to help them along the way.

<<  Style Analysis Tutorial

AP Passage Analysis Tutorial  >>

AP English Literature: Approaches to Poetry Analysis

Mastering the art of poetry analysis is crucial for success in the AP English Literature exam. Here's a comprehensive guide on various approaches to poetry analysis that can enhance your understanding and interpretation of poetic texts:

1. Close Reading:

   - Focus: Examine the language, structure, and literary devices within the poem.

   - Analysis: Pay close attention to individual words, phrases, and images. Consider the impact of sound devices like rhyme, meter, and alliteration.

2. Structural Analysis:

   - Focus: Explore the poem's organization and form.

   - Analysis: Consider the arrangement of stanzas, lines, and the overall structure. Evaluate the impact of the chosen form on the poem's meaning.

3. Figurative Language:

   - Focus: Identify and analyze metaphor, simile, personification, and other figurative elements.

   - Analysis: Explore how figurative language contributes to the poem's themes, tone, and overall impact. Consider the symbolic significance.

4. Imagery:

   - Focus: Examine vivid and sensory language used to create mental images.

   - Analysis: Explore how imagery appeals to the senses and contributes to the poem's emotional or thematic resonance.

5. Theme Exploration:

   - Focus: Identify and interpret the central themes of the poem.

   - Analysis: Consider recurring ideas, motifs, or messages. Reflect on how the poet explores and conveys these themes through language and imagery.

6. Tone and Mood:

   - Focus: Determine the emotional tone and mood of the poem.

   - Analysis: Analyze word choices, diction, and the overall atmosphere created by the poem. Consider how the poet's tone contributes to the reader's emotional response.

7. Character Analysis (Persona):

   - Focus: Consider the speaker or persona of the poem.

   - Analysis: Analyze the characteristics, perspectives, and motivations of the speaker. Consider how the speaker's voice shapes the poem's meaning.

8. Historical and Cultural Context:

   - Focus: Explore the historical and cultural influences on the poem.

   - Analysis: Consider how societal events or cultural movements at the time of writing may impact the poem's themes, perspectives, and language.

9. Allusion and Intertextuality:

   - Focus: Identify references to other works, myths, or historical events.

   - Analysis: Explore how the use of allusion adds layers of meaning to the poem. Consider the impact of intertextuality on interpretation.

10. Sound and Rhythm:

    - Focus: Examine the poem's auditory qualities.

    - Analysis: Consider the rhythm, meter, and sound patterns. Explore how the poet's use of sound enhances the poem's meaning and emotional impact.

11. Symbolism:

    - Focus: Identify symbolic elements within the poem.

    - Analysis: Interpret the significance of symbols and their contribution to the poem's themes or messages. Consider both conventional and unconventional symbols.

12. Comparative Analysis:

    - Focus: Compare the poem with other works or poets.

    - Analysis: Explore similarities and differences in themes, styles, or approaches. Consider how this comparative analysis enriches the understanding of the poem.

13. Biographical Approach:

    - Focus: Consider the poet's life and experiences.

    - Analysis: Explore how the poet's personal experiences or background may influence the themes, perspectives, or emotions conveyed in the poem.

14. Reader Response:

    - Focus: Consider the reader's subjective response to the poem.

    - Analysis: Reflect on your own emotional reactions, interpretations, and connections with the poem. Consider how different readers might respond differently.

15. Contextual Analysis:

    - Focus: Analyze the broader context in which the poem was written.

    - Analysis: Consider historical, cultural, or literary movements that may have influenced the poet. Explore how the poem responds to or challenges the prevailing norms of its time.

By employing these diverse approaches to poetry analysis, you can develop a nuanced understanding of poems and effectively express your interpretations in the AP English Literature exam. Combining these strategies allows for a comprehensive exploration of the multifaceted elements that make poetry a rich and complex form of literary expression.

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October 9, 2021 ·

My 10 NEW Favorite Poems to Teach in AP Lit

Planning Content & Choosing Curriculum · Poetry Lessons & Resources

This is part two of a previous post, where I list my 10 favorite poems to teach in AP ® Lit . While I haven’t replaced all of these poems, I have added quite a few new titles to my repertoire since I wrote it, so I thought it was time for a Part 2 version! So, without further ado, here are 10 more poems I love to teach to my AP ® Lit students!

AP® is a trademark registered by the College Board, which is not affiliated with, and does not endorse, this website .

“t he drone” by Clint Smith

My AP Lit students studied this poem just a few weeks ago and I was amazed at how deep and varied their analysis went with so little prodding. I paired it with my AP Lit task cards and asked them to pick two questions and prepare their answers on a post-it. Then, they went around the room and shared their response from one of the post-its. This led to a strong discussion and very strong paragraph responses. It’s hard to find a poem that is interesting, relevant, and approachable for emerging learners at the beginning of the year, but this is my new go-to poem for the fall.

I use this poem in my first-day lesson, available here!

“Introduction to Poetry” by Billy Collins

This is another poem I use at the beginning of the year, particularly since it’s so aptly named. In my classes we study one poem per week, unassociated with any of the units we’re studying that follow the bell-ringers. I always use Billy Collins’ “Introduction to Poetry” to kick these lessons off. Not only is it a great representation of figurative language that connects to meaning, but it explains what I expect from them in our weekly analyses. We’re going to “waterski across the surface of the poem” or “walk inside the poem’s room and feel the walls for a light switch,” but definitely not beat it with a hose.

“mulberry fields” by Lucille Clifton

If you’re looking for a more challenging poem for your students, Lucille Clifton’s “mulberry fields” is very powerful. Despite being pretty advanced, my students have enjoyed unpacking it, since the poem’s message about the devastating legacy of slavery is so compelling and relevant.  The poem describes the soil of a plantation that profited off the backs of slave labor, one which still stands in Maryland. It is also a good one to pair with Audre Lorde’s poem, “ Who Said It Was Simple.”

“The Black Walnut Tree” by Mary Oliver

If we’re talking about favorite poems, you can expect to find Mary Oliver’s poetry on my list. On my previous list I included her poem, “Oxygen,” which holds the title of being my favorite all-time poem. “The Black Walnut Tree” is one that I have less of an emotional attachment to, but still love almost as much. I first read this poem when I worked as an AP ® Lit reader in 2013. You would think that reading hundreds of essays on this poem would kill my love for it, but it surprisingly didn’t. It’s a more easy-going text, too, free of any triggers or polarizing discussion risks. I love discussing it in connection with structure and characterization of all the AP ® Lit Essential Skills.

I have a lesson available for purchase for “The Black Walnut Tree,” if you’re interested!

“Baked Goods” by Aimee Nezhukumatathil

OK, so technically this poem now lives in my Honors English class, but I run it like a Pre-AP ® course so I’m still including it. In my Honors Poetry Boot Camp , we explore different poems in connections to emphasized skills or literary terms. I use this poem in connection with our study of personification and the students and I agree: it is just lovely. I love its feeling of freshness among poems that are so often about death, pain, and suffering. This poem and is as sweet as its title, and yet rigorous enough for a place in AP ® English Lit.

“The Illiterate” by William Meredith

This is another poem I’ve used in both Honors and AP ® Lit, but I use it to illustrate why it’s important to include all details included in a poem. When reading “The Illiterate,” students easily grasp that the narrative describes an illiterate man receiving a letter. They can connect the second stanza with the first, with just a little help. But only the most observant reader will connect the narrative with the first line, which says, “Touching your goodness, I am like the man who…” This reminds them that the poem is actually a giant simile for how the speaker is feeling. It’s a great choice if you’re looking for a minor “gotcha” moment, or just to see that lovely, “Oh!” look of comprehension on your students’ faces.

“The Forge” by Seamus Heaney

In my previous blog post on the subject, I talked about how much I love teaching Percy Bysshe Shelley’s “Ozymandias.” One of the reasons is that its meaning connects with structure when the classic sonnet form breaks down midway through the poem, matching its message on how nothing lasts forever. “The Forge” does something similar. It resembles a sonnet as well, yet moves away from the form midway through, like Shelley’s does. The poem, depicting a hard-working blacksmith during changing times, connects with the structural changes as well. It’s a great match with not only structure, but emphasis of sound elements such as onomatopoeia and alliteration as well.

I have a lesson on “The Forge” available for purchase, if you’re interested!  

“We Real Cool” by Gwendolyn Brooks

Sometimes my poem lists show my maturity and growth as a teacher. When I wrote this list three years ago, I would have never included “We Real Cool” on the it. I thought of it as a thruway poem, a gimmick (my apologies, Gwendolyn Brooks). However, I was forced to study it a couple of years ago and I discovered something: there’s a lot going on in this poem. The strange structure, the choice of enjambment, the odd lead-in about the seven at the Golden Shovel, the word choice, I can go on and on. Each year it takes me longer to get through this poem, and I love it more and more. It’s a great choice for talking about words and their connotations if you’re looking to match it to skill!

I’ve created a lesson on “We Real Cool” for purchase, available here! This lesson is also available in my Poetry Unit III bundle , aligned with the CED.

“A Valediction Forbidding Mourning” by John Donne

When making this list I realized that I had a lot of contemporary titles on it, so I tried to get one “classic” on the list. I can’t ignore John Donne (even when I sometimes want to). Donne is the master of metaphysical poetry, which is fancy talk for really weird comparisons. In “A Valediction,” Donne gives us one of the most romantic poems in history where he compares his relationship with his wife to a mathematical compass. My students adore this comparison and this poem, despite its difficulty. It’s a good one for line-by-line analysis but be sure to give it a good chunk of time. There’s a lot to unpack with John Donne!

I’ve created a lesson on “A Valediction Forbidding Mourning” for purchase, available here! This lesson is also available in my Poetry Unit III bundle , aligned with the CED.

“My Father and the Fig Tree” by Naomi Shihab Nye

The poetry of Naomi Shihab Nye is another discovery I’ve made in the past three years. I love her perspective of a person from contrasting cultures, matched with a knack for taking unrelatable circumstances and making them feel like they happened to you. Case in point, this poem. I am not a child of immigrants. Growing up, my parents didn’t move a lot. I’ve barely even eaten a fig! And yet, there is an element of relatability in this poem that makes it so approachable and lovable. We love analyzing the speaker’s relationship with her father and the impact of the fig tree as a symbol.  

Honorable mentions

There are many other poems that make up my AP ® curriculum but these are just a few of my favorites. How do you pick just 10, now 20, poems to teach in AP ® Lit? Honorable mentions include:

• “Mirror” by Sylvia Plath
• “What the Cicada Said to the Black Boy” by Clint Smith
• “The Bean Eaters” by Gwendolyn Brooks
• “Bedecked” by Victoria Redel
• “Those Winter Sundays” by Robert Hayden

The links included in this post are to some of the lessons I’ve created for my Teachers Pay Teachers store. Many are available in my Daily Poetry Bell-Ringers, available here . You can also buy a growing bundle of all of my AP ® Lit poem studies by clicking here . To learn more about how I use poetry on a regular basis in AP ® Lit, check out this blog post .

These are just some of my favorite poems to teach in AP ® Lit. Drop me a line in the comments and let me know what yours are!

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Twenty-One Poems for AP Literature and Composition

A Poem as it was Presented to His Sacred Majesty on the Discovery of the Plott / written by a Lady of Quality (1679).

Wikimedia Commons

The selections within this listing represent frequently taught poets and poems in AP English Literature and Composition. 

For each of the twenty-one poems or poetic forms for AP Literature and Composition, students and teachers will find a link to the poem and multimedia resources. These include EDSITEment lessons as well as EDSITEment-reviewed websites that discuss the poem, the poet, and its context. Media incorporated in these resources include audio clips and video as well as primary source documents and photographs, along with other useful tools such as timelines. They offer both the content and skills needed to support student success in AP English Literature and Composition.

1.  Matthew Arnold: “Dover Beach”

• About this Poet  from the Poetry Foundation
• Arnold’s “Dover Beach”: A Commentary from Victorian Web
• Dover Beach from Representative Poetry Online

2.  Elizabeth Bishop: “In the Waiting Room”

• Elizabeth Bishop from Voices and Visions
• On “In the Waiting Room” from Modern American Poetry

3.  Gwendolyn Brooks: “We Real Cool”

• Tyehimba Jess on "We Real Cool " from the American Academy Poets
• The Impact of a Poem's Line Breaks: Enjambment and Gwendolyn Brooks' "We Real Cool "
• On “We Real Cool ” from Modern American Poetry

The above video is an animation of what the creators imagine inspired Gwendolyn Brooks to write "We Real Cool."

4.  Robert Browning: “My Last Duchess”

• Browning's "My Last Duchess" and Dramatic Monologue
• My Last Duchess audio clip from the American Academy of Poets
• “ My Last Duchess ” from Representative Poetry Online

5.   Emily Dickinson: “Safe in their Alabaster Chambers” (124)

• About this Poem from the Poetry Foundation
• Emily Dickinson from Voices and Visions
• “Safe in their Alabaster Chambers” (216) audio clip from the American Academy of Poets
• Letters from Emily Dickinson: “Will you be my preceptor? ”  
• Lesson 2: Responding to Emily Dickinson: Poetic Analysis

6.  John Donne: “A Valediction: Forbidding Mourning”

• "A Valediction: Forbidden Mourning " audio clip from the Poetry Foundation
• A Brief Guide to Metaphysical Poets from the American Academy of Poets
• “ A Valediction: Forbidding Mourning ” from Representative Poetry Online

7.  T.S. Eliot: “The Love Song of J. Alfred Prufrock ”

• The Poem  (with audio option)
• Introduction to Modernist Poetry :  Lesson 3: Navigating Modernism with J. Alfred Prufrock
• “ The Love Song of J. Alfred Prufrock ” from Representative Poetry Online
• T. S. Eliot from Voices and Visions

8.  Carolyn Forché: “The Colonel”

• Carolyn Forché from Modern American Poetry

9.  Robert Frost: “Mending Wall”

• On “Mending Wall ” from Modern American Poetry
• Robert Frost's "Mending Wall": A Marriage of Poetic Form and Content
• Robert Frost from Voices and Visions

10.  Robert Hayden: “Those Winter Sundays”

• Close Reading Notes for “Those Winter Sundays ” from ReadWriteThink

11.  Langston Hughes: “Let America Be America Again”

• On “Let America be American Again ” from Modern American Poetry
• Langston Hughes from Voices and Visions
• EDSITEment's Teacher's Guide on Langston Hughes  
• Walt Whitman to Langston Hughes: Poems for a Democracy

12.  John Keats: “Ode on a Grecian Urn”

• Ekphrasis: Poetry Confronting Art from the American Academy of Poets
• “Ode on a Grecian Urn ” from Romantic Circles

13.  Andrew Marvell: “To His Coy Mistress”

• “To His Coy Mistress ” from Representative Poetry Online

14.  Wilfred Owen: “Dulce et Decorum Est”

• Poetry of The Great War: “From Darkness to Light”?
• Introduction to Modernist Poetry .   Lesson 1: Understanding the Context of Modernist Poetry

15.  John Crowe Ransom: “Bells for John Whiteside’s Daughter”

• A Brief Guide to the Fugitives from the Cummings Institute
• John Crowe Ransom from Modern American Poetry

16. William Shakespeare: Sonnets

• Shakespeare’s Sonnets from the Folger Shakespeare Library
• Listening to Poetry: Sounds of a Sonnet
• Poetic Form: Sonnet from American Academy of Poets
• A Teacher's Guide for Shakespeare
• William Shakespeare from the Poetry Foundation

17. Percy Bysshe Shelley: “Ozymandias”

• Poem Guide About this Poem --> from the Poetry Foundation
• Percy Bysshe Shelley from Victorian Web
• “Ozymandias ” from Representative Poetry Online

18.  Wallace Stevens: “Sunday Morning”

• On “Sunday Morning ” from Modern American Poetry
• Introduction to Modernist Poetry .   Lesson 2: Thirteen Ways of Reading a Modernist Poem
• “ Sunday Morning ” from Representative Poetry Online

19.  Dylan Thomas: “Do not go gentle into that good night”

• About this Poet from the Poetry Foundation
• Death in Poetry: A.E. Housman's "To an Athlete Dying Young" and Dylan Thomas' "Do not go gentle into that good night "

20. William Carlos Williams: “Danse Russe”

• Seeing Sense in Photographs and Poems
• William Carlos Williams from Voices and Visions

21. William Butler Yeats: “The Second Coming”

• The Poem (with audio option)
• William Butler Yeats from Poetry Foundation
• Yeats: the Life and Works of William Butler Yeats  (online interactive from The National Library of Ireland)

Related on EDSITEment

Twenty-one more poems for ap english, a literary glossary for literature and language arts, fiction and nonfiction for ap english literature and composition, the works of langston hughes, incredible bridges: poets creating community, “remember” by joy harjo.

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How to Write the AP Lit Prose Essay + Example

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What is the ap lit prose essay, how will ap scores affect my college chances.

AP Literature and Composition (AP Lit), not to be confused with AP English Language and Composition (AP Lang), teaches students how to develop the ability to critically read and analyze literary texts. These texts include poetry, prose, and drama. Analysis is an essential component of this course and critical for the educational development of all students when it comes to college preparation. In this course, you can expect to see an added difficulty of texts and concepts, similar to the material one would see in a college literature course.

While not as popular as AP Lang, over 380,136 students took the class in 2019. However, the course is significantly more challenging, with only 49.7% of students receiving a score of three or higher on the exam. A staggeringly low 6.2% of students received a five on the exam. 

The AP Lit exam is similar to the AP Lang exam in format, but covers different subject areas. The first section is multiple-choice questions based on five short passages. There are 55 questions to be answered in 1 hour. The passages will include at least two prose fiction passages and two poetry passages and will account for 45% of your total score. All possible answer choices can be found within the text, so you don’t need to come into the exam with prior knowledge of the passages to understand the work. 

The second section contains three free-response essays to be finished in under two hours. This section accounts for 55% of the final score and includes three essay questions: the poetry analysis essay, the prose analysis essay, and the thematic analysis essay. Typically, a five-paragraph format will suffice for this type of writing. These essays are scored holistically from one to six points.

Today we will take a look at the AP Lit prose essay and discuss tips and tricks to master this section of the exam. We will also provide an example of a well-written essay for review.  

The AP Lit prose essay is the second of the three essays included in the free-response section of the AP Lit exam, lasting around 40 minutes in total. A prose passage of approximately 500 to 700 words and a prompt will be given to guide your analytical essay. Worth about 18% of your total grade, the essay will be graded out of six points depending on the quality of your thesis (0-1 points), evidence and commentary (0-4 points), and sophistication (0-1 points). 

While this exam seems extremely overwhelming, considering there are a total of three free-response essays to complete, with proper time management and practiced skills, this essay is manageable and straightforward. In order to enhance the time management aspect of the test to the best of your ability, it is essential to understand the following six key concepts.

1. Have a Clear Understanding of the Prompt and the Passage

Since the prose essay is testing your ability to analyze literature and construct an evidence-based argument, the most important thing you can do is make sure you understand the passage. That being said, you only have about 40 minutes for the whole essay so you can’t spend too much time reading the passage. Allot yourself 5-7 minutes to read the prompt and the passage and then another 3-5 minutes to plan your response.

As you read through the prompt and text, highlight, circle, and markup anything that stands out to you. Specifically, try to find lines in the passage that could bolster your argument since you will need to include in-text citations from the passage in your essay. Even if you don’t know exactly what your argument might be, it’s still helpful to have a variety of quotes to use depending on what direction you take your essay, so take note of whatever strikes you as important. Taking the time to annotate as you read will save you a lot of time later on because you won’t need to reread the passage to find examples when you are in the middle of writing. 

Once you have a good grasp on the passage and a solid array of quotes to choose from, you should develop a rough outline of your essay. The prompt will provide 4-5 bullets that remind you of what to include in your essay, so you can use these to structure your outline. Start with a thesis, come up with 2-3 concrete claims to support your thesis, back up each claim with 1-2 pieces of evidence from the text, and write a brief explanation of how the evidence supports the claim.

2. Start with a Brief Introduction that Includes a Clear Thesis Statement

Having a strong thesis can help you stay focused and avoid tangents while writing. By deciding the relevant information you want to hit upon in your essay up front, you can prevent wasting precious time later on. Clear theses are also important for the reader because they direct their focus to your essential arguments. 

In other words, it’s important to make the introduction brief and compact so your thesis statement shines through. The introduction should include details from the passage, like the author and title, but don’t waste too much time with extraneous details. Get to the heart of your essay as quick as possible. 

3. Use Clear Examples to Support Your Argument 

One of the requirements AP Lit readers are looking for is your use of evidence. In order to satisfy this aspect of the rubric, you should make sure each body paragraph has at least 1-2 pieces of evidence, directly from the text, that relate to the claim that paragraph is making. Since the prose essay tests your ability to recognize and analyze literary elements and techniques, it’s often better to include smaller quotes. For example, when writing about the author’s use of imagery or diction you might pick out specific words and quote each word separately rather than quoting a large block of text. Smaller quotes clarify exactly what stood out to you so your reader can better understand what are you saying.

Including smaller quotes also allows you to include more evidence in your essay. Be careful though—having more quotes is not necessarily better! You will showcase your strength as a writer not by the number of quotes you manage to jam into a paragraph, but by the relevance of the quotes to your argument and explanation you provide.  If the details don’t connect, they are merely just strings of details.

4. Discussion is Crucial to Connect Your Evidence to Your Argument 

As the previous tip explained, citing phrases and words from the passage won’t get you anywhere if you don’t provide an explanation as to how your examples support the claim you are making. After each new piece of evidence is introduced, you should have a sentence or two that explains the significance of this quote to the piece as a whole.

This part of the paragraph is the “So what?” You’ve already stated the point you are trying to get across in the topic sentence and shared the examples from the text, so now show the reader why or how this quote demonstrates an effective use of a literary technique by the author. Sometimes students can get bogged down by the discussion and lose sight of the point they are trying to make. If this happens to you while writing, take a step back and ask yourself “Why did I include this quote? What does it contribute to the piece as a whole?” Write down your answer and you will be good to go. 

5. Write a Brief Conclusion

While the critical part of the essay is to provide a substantive, organized, and clear argument throughout the body paragraphs, a conclusion provides a satisfying ending to the essay and the last opportunity to drive home your argument. If you run out of time for a conclusion because of extra time spent in the preceding paragraphs, do not worry, as that is not fatal to your score. 

Without repeating your thesis statement word for word, find a way to return to the thesis statement by summing up your main points. This recap reinforces the arguments stated in the previous paragraphs, while all of the preceding paragraphs successfully proved the thesis statement.

6. Don’t Forget About Your Grammar

Though you will undoubtedly be pressed for time, it’s still important your essay is well-written with correct punctuating and spelling. Many students are able to write a strong thesis and include good evidence and commentary, but the final point on the rubric is for sophistication. This criteria is more holistic than the former ones which means you should have elevated thoughts and writing—no grammatical errors. While a lack of grammatical mistakes alone won’t earn you the sophistication point, it will leave the reader with a more favorable impression of you. 

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Here are Nine Must-have Tips and Tricks to Get a Good Score on the Prose Essay:

• Carefully read, review, and underline key instruction s in the prompt.
• Briefly outlin e what you want to cover in your essay.
• Be sure to have a clear thesis that includes the terms mentioned in the instructions, literary devices, tone, and meaning.
• Include the author’s name and title  in your introduction. Refer to characters by name.
• Quality over quantity when it comes to picking quotes! Better to have a smaller number of more detailed quotes than a large amount of vague ones.
• Fully explain how each piece of evidence supports your thesis .  
• Focus on the literary techniques in the passage and avoid summarizing the plot. 
• Use transitions to connect sentences and paragraphs.
• Keep your introduction and conclusion short, and don’t repeat your thesis verbatim in your conclusion.

Here is an example essay from 2020 that received a perfect 6:

[1] In this passage from a 1912 novel, the narrator wistfully details his childhood crush on a girl violinist. Through a motif of the allure of musical instruments, and abundant sensory details that summon a vivid image of the event of their meeting, the reader can infer that the narrator was utterly enraptured by his obsession in the moment, and upon later reflection cannot help but feel a combination of amusement and a resummoning of the moment’s passion. 

[2] The overwhelming abundance of hyper-specific sensory details reveals to the reader that meeting his crush must have been an intensely powerful experience to create such a vivid memory. The narrator can picture the “half-dim church”, can hear the “clear wail” of the girl’s violin, can see “her eyes almost closing”, can smell a “faint but distinct fragrance.” Clearly, this moment of discovery was very impactful on the boy, because even later he can remember the experience in minute detail. However, these details may also not be entirely faithful to the original experience; they all possess a somewhat mysterious quality that shows how the narrator may be employing hyperbole to accentuate the girl’s allure. The church is “half-dim”, the eyes “almost closing” – all the details are held within an ethereal state of halfway, which also serves to emphasize that this is all told through memory. The first paragraph also introduces the central conciet of music. The narrator was drawn to the “tones she called forth” from her violin and wanted desperately to play her “accompaniment.” This serves the double role of sensory imagery (with the added effect of music being a powerful aural image) and metaphor, as the accompaniment stands in for the narrator’s true desire to be coupled with his newfound crush. The musical juxtaposition between the “heaving tremor of the organ” and the “clear wail” of her violin serves to further accentuate how the narrator percieved the girl as above all other things, as high as an angel. Clearly, the memory of his meeting his crush is a powerful one that left an indelible impact on the narrator. 

[3] Upon reflecting on this memory and the period of obsession that followed, the narrator cannot help but feel amused at the lengths to which his younger self would go; this is communicated to the reader with some playful irony and bemused yet earnest tone. The narrator claims to have made his “first and last attempts at poetry” in devotion to his crush, and jokes that he did not know to be “ashamed” at the quality of his poetry. This playful tone pokes fun at his childhood self for being an inexperienced poet, yet also acknowledges the very real passion that the poetry stemmed from. The narrator goes on to mention his “successful” endeavor to conceal his crush from his friends and the girl; this holds an ironic tone because the narrator immediately admits that his attempts to hide it were ill-fated and all parties were very aware of his feelings. The narrator also recalls his younger self jumping to hyperbolic extremes when imagining what he would do if betrayed by his love, calling her a “heartless jade” to ironically play along with the memory. Despite all this irony, the narrator does also truly comprehend the depths of his past self’s infatuation and finds it moving. The narrator begins the second paragraph with a sentence that moves urgently, emphasizing the myriad ways the boy was obsessed. He also remarks, somewhat wistfully, that the experience of having this crush “moved [him] to a degree which now [he] can hardly think of as possible.” Clearly, upon reflection the narrator feels a combination of amusement at the silliness of his former self and wistful respect for the emotion that the crush stirred within him. 

[4] In this passage, the narrator has a multifaceted emotional response while remembering an experience that was very impactful on him. The meaning of the work is that when we look back on our memories (especially those of intense passion), added perspective can modify or augment how those experiences make us feel

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