writing analysis of style

Literary Focus

Roundtables

—Style Analysis—

When we refer to a writer's style, we mean the way authors or playwrights use various literary techniques to establish tone and convey theme.  To make this process as simple as possible for students, we limit our discussion to what we call the "four pillars" of style analysis:  diction, imagery, language, and syntax.  We'll look at each of these pillars individually in the sections below.

I.  Diction

To understand the significance of diction, or word choice, students first must differentiate between the denotation of a word and its connotation.  By denotation we mean the definition found in the dictionary; by connotation we mean the attitude or feelings associated with the word.  To make this difference clear to students, we provide three pairs of words that have similar denotations but very different connotations:

In the first example, if we refer to a dog as a "mutt," there is an element of disrespect in that designation, implying that the dog is of an inferior type.  In the second example, two groups could be engaged in the exact same behavior that shows they find something funny, but the group described as "giggling" seems young and immature compared to a group that is "laughing."  Boys and girls "giggle," whereas men and women "laugh."  In the final example, if a teacher is described as "strict," it implies that she maintains order and discipline in the classroom.  Even though a "strict" teacher may not be as much fun for students, the adjective carries an element of respect.  If a teacher is described as "rigid," however, she may be so disciplined in her approach that she is seen as closed-minded and inflexible, which are obviously negative attributes.

Once students have been introduced to the concept of diction, we analyze a short passage from a literary work they are reading.  For instance, in the opening description of Billy Pilgrim in Kurt Vonnegut's  Slaughterhouse-Five , the narrator tells us that "Billy has come unstuck in time."  When we ask students if the word "unstuck" has a positive or negative connotation, there is usually a pause.  On one hand, being "unstuck" implies liberation and freedom, words that have positive connotations, but to be "unstuck in time" also implies a helplessness and lack of control, which is reinforced by the word "spastic" in the following excerpt.

Similar to our interpretation of AP prompts, we encourage students to look at words as not necessarily positive  or negative, but as sometimes positive and  negative.  For Billy, becoming "unstuck in time" is a coping mechanism that helps him deal with the traumatic experiences in his life.  By taking a passive, fatalistic approach to life, Billy protects himself from feeling pain in any particular moment.  With that "freedom," however, comes a corresponding lack of control and disconnectedness from the reality of his own experience.  Moments are seen as transitory and impermanent, and the result is that Billy suffers from perpetual anxiety, or "stage fright," since he has no idea "what part of his life he is going to have to act in next."

The purpose of identifying tone is to determine a narrator's attitude towards a subject. So how does the narrator feel about Billy's being "spastic in time"?  As a temporary coping mechanism, it appears to be a successful strategy; as a way to live one's life, however, it appears to be an abject failure.  To be "spastic" is to lack control and agency over one's own life.  While we understand why Billy responds to trauma in this particular way, we should recognize that Vonnegut does not want us emulating Billy.  Our job over the course of the novel is to determine what we can learn from Billy's experience and find a better way to deal with life's difficulties on our own.

II.  Imagery

When we refer to an author or playwright's use of imagery, we mean descriptions that include any of the five senses:  sight, sound, smell,  touch, and taste.  Sensory details not only make the reader experience a scene more vividly, but they also serve to establish the narrator's tone, or attitude, towards the subject. 

In Leslie Marmon Silko's  Ceremony , we are introduced to Tayo, another character who suffers from traumatic experiences in World War II.  Silko uses imagery to immerse us in the opening scene so that we can vicariously see, hear, and feel what is going on inside Tayo's head as he lies sleeplessly on his bed after returning to the Laguna Pueblo reservation:

Visually, we can see the "old iron bed" that Tayo "tossed" restlessly upon, but the more dominant sensory detail is the "coiled springs" underneath the mattress that "kept squeaking even after he lay still again."  In many ways Tayo is like those "coiled springs" under constant tension.  The incessant squeaking triggers "humid dreams of black night," which combines a visual darkness with a tactile humidity that reminds him of the Pacific jungles that still haunt him.  From out of the darkness comes a series of "loud voices" that are figuratively "rollling him over and over again" as if he were "debris caught in a flood."  Silko makes us experience Tayo's hellish dreamscape through her use of vivid imagery—a disorienting combination of sight, sound, and touch that makes us intimately aware of Tayo's inner distress.  Tayo cannot control the shifts that occur inside his mind that combine his present reality with his traumatic past.  We know from Silko's use of imagery in the opening description that Tayo's life is in the balance, for he is currently helpless in confronting the confusion and despair that threaten to engulf him.

III.  Language

When the AP refers to language in its prompts, they mean figurative language.  To simplify this concept for students, we focus only on the three types of figurative language most often used in literature:  metaphors, symbols, and allusions.

When authors or playwrights use metaphoric language, they are comparing one thing in terms of another.  Similes are metaphors using "like" or "as" to make the comparison more explicit; personification is giving a non-human entity human characteristics.  An element in a literary work may be symbolic if it represents something larger than the element itself.  Allusions are indirect references to something outside the literary work for the purpose of comparison.  The four most common types of allusions that we discuss with students are literary, mythological, historical, and biblical.

In the final soliloquy of Macbeth , William Shakespeare uses all three types of figurative language to show Macbeth's hopelessness and despair after receiving word that Lady Macbeth has died,  most likely by suicide.  As Macbeth faces his own imminent death as he prepares to defend Dunsinane against his fellow countrymen who have rebelled against his tyrannous rule, he contemplates the absurdity and meaninglessness of life:

When Macbeth says, "Out, out, brief candle," he seems to welcome the thought of his own death, comparing life to a symbolic candle that burns itself down into nothingness.  Shakespeare has Macbeth follow this line by stating, "Life's but a walking shadow," which seems to be an allusion to Psalms 23:4 in the Old Testament:

Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me.

The irony of this biblical allusion is that instead of being comforted by the presence of God in the face of death, Macbeth finds himself utterly alone and in despair.  Macbeth's only solace is that perhaps there is no God nor any purpose in life.  Instead of a life of goodness and faith, Macbeth has embraced evil and a belief in "nothing."  The final metaphor that Macbeth uses is one of a "poor player," or actor, who "struts and frets his hour upon the stage / And then is heard no more."  By having Macbeth equate life to acting upon a stage, Shakespeare seems to imply that we all play roles in life, some that may not reflect who we really are.  In this final soliloquy, Shakespeare perhaps wants us to remember that Macbeth was once admired and respected for his courage and virtue.  Shakespeare suggests that Macbeth's life is a tragedy because he was once capable of goodness.  By seeing himself as an actor upon a stage, we imagine that the real Macbeth could have been someone far different from the villain he portrayed.  

IV.  Syntax

For most students, the most daunting and least utilized pillar of style analysis is syntax, which refers to the way that words are structured and organized in a text.  When we refer to syntax, we think of how sentences and paragraphs are built — which includes everything from word order and arrangement to verb tenses and punctuation.

An examination of a writer's syntax requires a subtle and nuanced reading of the text, so we advise students not to put too much pressure on themselves to include a syntactical analysis in their essays.  If they focus only on diction, imagery, and language, they should have plenty to discuss.  That being said, if they can include elements of syntax in their analysis, it will be impressive to the reader because it is so rarely done.  

The first thing we tell students when analyzing the syntax of a passage is to look for any structural elements that seem unusual or interesting.  For instance, in the final chapter of Julie Otsuka's  When the Emperor Was Divine , the narration shifts from the third-person limited perspective of the mother and her children that was used in the previous chapters to the first-person narration of the father in the final chapter. 

From what we know about the mild-mannered father from the previous chapters, we understand that he is in no way guilty of any of the crimes to which he now confesses.  In fact, the seemingly never-ending laundry list of supposed crimes he has committed embodies all the accusations that were made against Japanese-Americans in World War II.  By shifting to first-person narration, Otsuka gives us an opportunity to enter into the psyche of the falsely accused.  The short, terse sentences reveal the pain and bitterness of being considered disloyal simply because of one's racial identity.  Furthermore, by having the first-person narrator address the abstract "you" in this final chapter, Otsuka makes all Americans who failed to intervene on behalf of Japanese-Americans complicit in the crime of their internment.  Otsuka's shift in style also represents a shift in tone.  The readers being addressed as "you" are now put in a defensive position, feeling attacked for things for which we may not feel personally responsible.  Now we know, Otsuka seems to suggest, how it feels to be falsely accused.  The father also reveals his anger and frustration when he sarcastically repeats, "You were right.  You were always right."  Despite his innocence, the father knows that he will always be viewed as suspicious, regardless of what he says or does.

When first introducing the "four pillars" of style analysis to students, we focus on one element at a time so as not to overwhelm them.  Once students are comfortable, however, we have them work in small groups to work on all four elements at once, as they do when analyzing the following passage from our unit on Margaret Atwood's  The Handmaid's Tale :

Once students understand the fundamentals of style analysis and how diction, imagery, language, and syntax help authors establish tone and convey theme, they are ready to write an AP Passage Analysis essay, which is the ultimate assessment of a student's ability to read a passage closely to determine the author's intent.

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The 4 Main Types of Writing Styles and How to Use Them as a Writer

Understanding the 4 main types of writing styles can help you grow as a writer and attract an audience for your written work. Here’s how to identify each style of writing and tips for using each of the 4 common writing styles to develop your written skills.

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One of the things that can help you grow as a writer is to learn the 4 main types of writing styles and use the characteristics of each to further develop your own personal voice as a writer.

By learning how to use the different writing styles in your work, you will not only improve your skills as writer, but also learn ways to better connect with your audience of readers.

In this post we’ll cover the 4 main types of writing styles and how to use them as a writer to create compelling books, stories, essays, poetry, articles and more.

What are Writing Styles?

Writing styles are basically another way of saying the form or type of written work you are creating. Think of it as a classification for being able to identify what kind of writing you are creating.

For example, if you are writing a cookbook, that is a completely different style of writing than if you were writing a steamy romance novel!

Each writing style has a different purpose – and therefore, different characteristics are present when you are writing each type of different work.

Now that we understand what a writing style is – let’s talk about the 4 main writing styles which are commonly talked about amongst writers and literary educators.

The 4 Main Writing Styles & What They Mean

The four main writing styles which are commonly recognized are expository , descriptive , narrative , and persuasive .

Style #1: Expository

The definition of expository is this: “intended to explain or describe something.”

Most types of written work that fall into this category explain something in more detail, or provide insight and instruction in regards to a particular topic.

What types of writing fall into this category of expository writing style?

While there are many different types of written work which can be categorized as expository style of writing, you can often identify this type of writing by noticing the purpose of the work.

• Does the work intend to explain something in more detail?
• Does the written piece inform?
• Does the written piece answer questions such as “what, how and why?”

Here are some examples of the different types of writing pieces which can fall into the category of expository writing:

• Newspaper and Magazine Articles {not including editorials}
• Non-Fiction Books
• How-To Books
• Self Help Books
• Writing about Hobbies & Interests
• Recipes & Cookbooks
• Instructional Guides
• Scientific Research
• Textbooks & Educational Resources
• Business Articles & Books
• Medical Research, Journals and Articles

When you write expository style pieces, your main goal as a writer is to inform your readers with insight and facts that pertain to the subject of your piece.

For example, if you are writing about the history of ice cream, you would be including a lot of research and fun facts into your piece.

Note that this type of writing style is not intended to persuade or influence your audience. In writing your piece on the history of ice cream, you would NOT be trying to persuade your readers.

You would not want to say things like “Everybody should eat ice cream!” and “These 5 reasons will convince you forever to choose strawberry swirl flavored ice cream as your favorite flavor.”

Sometimes it can be confusing on whether an article is expository or persuasive. For example, an article called “The 5 Unexpected Health Benefits of Ice Cream” – would not fall into expository writing, even though it is providing information.

The word “benefits” has a positive connotation to the title. If you were to be writing an article on possible health benefits on ice cream, it would be very important that you as the writer keep your opinion separated from the facts and information if you plan for it to be an expository style piece. To be expository in nature, you would want to use a title such as “Scientists Research The Health Effects of Ice Cream.”

Books and articles that explain how to do something are also very popular examples of expository writing. Cookbooks are very popular, as they explain to others the tips, techniques, and recipes on how to cook something. How-to books for hobbies and crafts are also a good example of this type of writing.

Style #2: Descriptive Writing

Descriptive writing goes deeper than expository writing. While expository writing might have some descriptive details and factual information, descriptive writing will make use of many writing elements and literary devices such as metaphors and similes.

The purpose and goal of descriptive writing is to bring your reader into the written work as if the reader were to be experiencing it first hand.

Most fictional pieces fall under the category of descriptive writing, and even some non-fiction pieces such as memoirs and creative non-fiction can fall under the category of a descriptive writing style.

If you are writing fiction, the more descriptive you can be with your words, the more relatable your story will be to the reader.

For example, we recommend that writers ask their characters questions as one way to really intimately understand the details about a character. Details about the setting, events, and people present in a story will help your readers be able to imagine and understand the piece.

This style also includes poetry. If you browse through some of our poetry writing prompts , you will see there is a lot of attention put on using details to create a scene or feeling in writing a poem!

Here are some examples of types of descriptive writing pieces:

• Poetry & Prose
• Travel Diaries
• Personal Journals
• Lyrics in Music and Songwriting

Most pieces using only a descriptive writing style are not very long. It is uncommon for a fictional novel to be 100% fully descriptive without getting into our next writing style, which is narrative writing.

Style #3: Narrative Writing

Narrative writing is far more complex that simple descriptive writing.

While a poem for example may describe a scene or even events or people – generally you do not get into the deep inner thoughts of the characters or even get a full story with a clear middle, beginning, and end complete with conflict and dialogue.

Nearly all fiction novels fall into the case of narrative writing, as well as longer epic poems and sagas.

In narrative writing, there is a story to be told – a clear plot complete with setting, characters, dialogue, conflict and resolution. A narrative piece often has a timeline or sequence of events which further build to the point of conflict and resolution.

Here are some examples of the works which would be considered to have a narrative writing style:

• Fiction Novels
• Memoirs & Biographies
• Screenplays
• Myths, Legends, and Fables
• Historical accounts
• Essays which talk about a lesson learned or valuable insight from an experience

Narrative writing pieces are generally easy to identify, although sometimes it can be confused with descriptive writing styles. The key difference in determining which one a written work might be is whether or not there is a developed storyline or plot.

If there is a well developed plot and storyline, you are most likely reading narrative writing.

Style #4: Persuasive Writing

Persuasive writing is a type of writing style where the purpose is to influence someone into believing or doing something. As the word “persuasive” suggests – your goal is to persuade someone’s actions or thoughts to align with your own goals as the writer.

The persuasive writing essay is a popular homework assignment for many kids. For example, a student might be assigned to write an essay to convince their parents of something. “Why We Should Get a Pet Rabbit” and “5 Reasons You Should Not Make Me Clean My Room”.

Persuasive writing is intended to convince someone of something, and so it usually needs to have a good bit of research and logical analysis – but also should attempt to make an emotional connection to the desired audience as well.

A classic piece of writing which serves as an example of persuasive writing is Thomas Paine’s book Common Sense , which was written in the Colonial times of the American Revolutionary War, urging citizens that separating from England was of utmost importance.

Here are some examples of types of writing which are persuasive writing:

• Editorial & Opinion pieces in Newspapers and Magazines
• Essays on a specific belief or “hot button” topic
• Letters written to request an action or file a complaint
• Advertisements {Convincing you to buy something}
• Copywriting {Note, copywriting is different from copyright!}
• Company Brochures
• Business Proposals
• Political speeches

When the intention of the work is to convince the audience of something – this falls into persuasive writing.

How to Use the 4 Main Different Writing Styles as a Writer

Now that we know the different types of writing styles, you may be wondering how do you use each style?

The first thing to do is think about what you are planning to write and what the intention is. What is your goal and what type of message are you trying to communicate to your readers?

Expository Style Writing:

In this type of writing your goal is to inform your readers about research or data.

When writing expository style pieces, follow these guidelines:

• Avoid using words which have a positive or negative connotation
• Do not insert your opinion or attempt to persuade your audience into thinking, feeling, or doing something based on your beliefs
• Use research and cite your sources
• When writing online, link to additional resources or websites
• Use quotes, illustrations or informative graphics to highlight the information
• Give concise and clear directions

Descriptive Writing Style:

This type of writing has the goal to describe something and bring into your reader’s imaginations

Here are some tips for writing with descriptive writing styles:

• Use literary devices such as metaphors and similes.
• Use well thought out adjectives and adverbs to describe nouns and verbs.
• Bring attention to small details
• Use the 6 senses: sight, touch, taste, smell, sound, and feeling

Narrative Writing Style:

In narrative writing style, your goal is to convey a storyline to your readers.

Here is how to achieve this type of writing style:

• Outline a storyline, plot or timeline sequence of events
• Include detailed descriptions of your characters and scenes
• Give your readers insight into the inner thoughts or behind-the-scenes information to elements of your story
• Answer the 6 W questions in your writing: Who, What, When, Where, How, and Why?
• Make it so your piece of work conveys an important lesson or insight – what is the moral of the story? What was the outcome of this experience?
• Use concrete language which gives readers a specific image to visualize and relate to

Persuasive Writing Style:

When you are writing to persuade, your intention is to convince your readers to side with you. This can be as simple as convincing them to buy your latest new product, or even writing about important social and humanitarian issues.

Here are some tips for writing persuasively:

• Include information, data, and facts to back up your argument
• Cite your sources and give readers access to additional information
• Appeal to your readers on an emotional level – how will siding with your opinion connect with them and make them feel?
• Take into consideration your reader’s needs, wants, and desires and how your message will help your reader achieve these.

Understanding Writing Styles Can Help You Be a Better Writer

No matter what type of writing you enjoy creating – understanding the basic main 4 types of writing styles can help you become a better writer.

If you are writing a how-to article for example, you will be able to understand what types of elements to ensure your piece of work includes. If you’re writing a descriptive poem, knowing what type of language to use can help convey your message for abstract concepts.

Use these different writing styles as a fun writing exercise!

Even if you typically only write for one style, it can be a lot of fun to push yourself to try to write for the different types of styles. For example, try writing a persuasive essay, and then a descriptive essay on the same topic. It can also be fun to write a descriptive poem and then turn it into a narrative essay or short story.

Not sure what to write about using these different writing styles? We have TONS of ideas for you with many different writing prompts! Check out our list of 365 writing prompts ideas which are sure to inspire your creative muse!

Using prompts is a great way to help you start writing in different writing styles and push yourself to a new exciting challenge for your writing skills!

I hope this article about the different writing styles and how you can use them as a writer will be helpful for you in building and developing your written skillset.

What types of writing styles do you enjoy writing the most? Have any tips for writing in expository, descriptive, narrative or persuasive styles of writing? We’d love to hear your ideas and experiences in the comments section below!

Chelle Stein wrote her first embarrassingly bad novel at the age of 14 and hasn't stopped writing since. As the founder of ThinkWritten, she enjoys encouraging writers and creatives of all types.

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To which writing style would a conversational manner apply best?

A writing that talks about the cages people Live can be classified as what type?

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Definition of Style

The style in writing can be defined as the way a writer writes. It is the technique that an individual author uses in his writing. It varies from author to author and depends upon one’s syntax , word choice, and tone . It can also be described as a “ voice ” that readers listen to when they read the work of a writer.

Types of Style

There are four basic literary styles used in writing. These styles distinguish the works of different authors, one from others. Here are four styles of writing:

Expository or Argumentative Style

Expository writing style is a subject -oriented style. The focus of the writer in this type of writing style is to tell the readers about a specific subject or topic, and in the end, the author leaves out his own opinion about that topic.

Descriptive Style

In descriptive writing style, the author focuses on describing an event, a character , or a place in detail. Sometimes, the descriptive writing style is poetic in nature, where the author specifies an event, an object , or a thing rather than merely giving information about an event that has happened. Usually, the description incorporates sensory details.

Persuasive Style

Persuasive style of writing is a category of writing in which the writer tries to give reasons and justification to make the readers believe his point of view . The persuasive style aims to persuade and convince the readers.

Narrative Style

Narrative writing style is a type of writing wherein the writer narrates a story . It includes short stories , novels , novellas , biographies , and poetry.

Short Examples of Style in Sentences

• If it sounds like I’m writing, then I prefer to rewrite it. (Conversational)
• “I think it’s a good ide,.” said Jenny. “You can imagine the outcomes!” retorted Emma, pushing the door open. Reluctantly, Jenny followed. ( Narrative )
• The sunset fills the entire sky with the lovely deep color of rubies, setting the clouds ablaze. (Descriptive)
• The waves waltz along the seashore, going up and down in a gentle and graceful rhythm , like dancing. (Descriptive)
• A trip to Switzerland is an excellent experience that you will never forget, offering beautiful nature, fun, and sun. Book your vacation trip today. (Persuasive)
• She hears a hoarse voice, and sees a shadow moving around the balcony. As it moves closer to her, she screams to see a gigantic wolf standing before her. (Narrative)
• From the garden , the child plucks a delicate rose, touching and cradling it gently as if it is a precious jewel. (Descriptive)
• What if you vote for me? I ensure you that your taxes will be very low, the government will provide free education, and there will be equality and justice for all citizens. Cast your vote for me today. (Persuasive)
• The deep blue color of the cat’s eyes is like ocean water on the clearest day you could ever imagine. (Descriptive)
• The soft hair of my cat feels silky, and her black color sparkles as it reflects sunlight. (Descriptive)
• This painting has blooming flowers, rich and deep blues on vibrant green stems, begging me to pick them. (Descriptive)
• Our criminal investigators are famous for recovering clients’ assets, as we not only take your cases but represent truly your interests. (Persuasive)
• Our headache medicines will give you relief for ten hours, with only one pill – and without any side effects. Try it today. (Persuasive)
• Tax raising strategy is wrong because it will cripple businesses. We should reduce taxes to boost growth. (Persuasive)

Parts/Elements of Style in Literature

• Diction : It means the choice and selection of words, phrases , and clauses to use in writing.
• Sentence Structure: It means the syntactic structure of sentences used in writing.
• Tone : It is an author’s attitude toward his writing, his characters, and his audience .
• Narrator : It means the narrator of the narrative who could be a first-person, third-person, second-person, or even an omniscient narrator.
• Grammar: It means the use of grammatical construction in the writing.
• Punctuation : It means the use of mechanics including capitalization.
• Use of Literary Devices : It means the use of figurative language and other literary or poetic devices.

Examples of Style in Literature

Here are some examples of different writing styles from literature:

Example #1: The Pleasures of Imagination By Joseph Addison

“The pleasures of the imagination, taken in their full extent, are not so gross as those of sense. … A man of polite imagination is let into a great many pleasures … A man should endeavour, therefore, to make the sphere of his innocent pleasures as wide as possible, that he may retire into them with safety … Delightful scenes, whether in nature, painting, or poetry, have a kindly influence on the body, as well as the mind, and not only serve to clear and brighten the imagination, but are able to disperse grief and melancholy …”

This is an example of an expository writing style, in which the author describes the advantages of imagination with facts and logical sequence, and tells his delight in imagination. Then, he discusses its benefits and finally gives opinions in its favor.

Example #2: Summer Shower By Emily Dickinson

“ A drop fell on the apple tree , Another on the roof, And made the gables laugh, The breezes brought dejected lutes, And bathed them in the glee; And signed the fete away.”

This poem gives an example of a descriptive style. Ms. Dickinson describes a summer rainstorm in detail, with beautiful images, so that the readers can visualize this storm in their own minds as if it is actually happening.

Example #3: The Rime of the Ancient Mariner By Samuel Taylor Coleridge

“It is an ancient Mariner, And he stoppeth one of three.’ By thy long grey beard and glittering eye, Now wherefore stopp’st thou me? The bridegroom’s doors are opened wide, … The guests are met, the feast is set: Mayst hear the merry din.”

In this poem, Coleridge uses narrative style, as he tells a story about the ancient mariner. He uses dialogues , disputes, actions, and events in a sequence, thus providing a perfect example of the narrative style of writing.

Example #4: Dorian Gray By Oscar Wilde

“The studio was filled with the rich odor of roses, and when the light summer wind stirred amidst the trees of the garden… The sullen murmur of the bees shouldering their way through… or circling with monotonous insistence…”

This is a good example of descriptive writing style since the author gives visualizations, feelings, descriptions of a location, and details about bees that could be seen and heard.

Example #5: The Adventures of Huckleberry Finn By Mark Twain

“Pretty soon it darkened up and begun to thunder and lighten; so the birds was right about it … and here would come a blast of wind that would bend the trees down and turn up the pale underside of the leaves …”

Here, Twain has demonstrated a narrative style, as well as used colloquial words in presenting this passage, as expressed through the voice of a young Southern-American boy.

Example #6: The Raven By Edgar Allen Poe

“Once upon a midnight dreary, while I pondered, weak and weary… And my soul from out that shadow that lies floating on the floor Shall be lifted – nevermore!”

Here, the poet crafts a story of longing and desolation. The poem reads like a tale, containing a proper beginning, middle, and end. It has narrative elements like characterization , symbols , plot elements, and resolution that make it dramatic.

Example #7: Smoke By Henry David Thoreau

“Light-winged Smoke! Icarian bird, Melting thy pinions in thy upward flight; Lark without song, and messenger of dawn, Circling above the hamlets as thy nest; Or else, departing dream, and shadowy form Of midnight vision, gathering up thy skirts; By night star-veiling, and by day Darkening the light and blotting out the sun; Go thou, my incense, upward from this hearth, And ask the gods to pardon this clear flame.”

Thoreau describes the intensity of the smoke that helps form a colorful image in the minds of the readers. He uses metaphor to compare smoke to “incense,” or an “Icarian bird.” He also describes “star-veiling” and “shadowy” and lets the readers imagine smoke.

Function of Style

A unique literary style can have a great impact on the piece in which it is used, and on the readers. When authors write and put their ideas into words, they have many choices to make, which include: words, sounds, logic, and sentence structures. However, different authors use different literary styles that depend on their distinct expressions, and their utilization of these choices. And their choices create their niche.

Synonyms of Style

There are several words used as synonyms for style such as manner, method, approach, system, mode, form, practice, methodology, manner, way, procedure, modus operandi, design , and pattern. Each has its own connotations and can be considered as close synonyms instead of direct meaning.

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Sat / act prep online guides and tips, understanding the 4 writing styles: how to identify and use them.

General Education

A piece’s writing style can help you figure out what kind of writing it is, what its purpose is, and how the author’s voice is unique. With so many different types of writing, you may think it’s difficult to figure out the specific writing style of a piece or you'll need to search through a long list of writing styles.

However, there are actually just four main types of writing styles, and together they cover practically all the writing you see, from textbooks to novels, to billboards and more.  Whether you’re studying writing styles for class or trying to develop your own writing style and looking for information, we’ve got you covered.

In this guide, we explain the four styles of writing, provide examples for each one, go over the one thing you need to know to identify writing style, and give tips to help you develop your own unique style of writing.

The 4 Types of Writing

There are four main different styles of writing. We discuss each of them below, list where you’re likely to see them, and include an example so you can see for yourself what each of the writing styles looks like.

Writers who use the narrative style are telling a story with a plot and characters. It’s the most common writing style for fiction, although nonfiction can also be narrative writing as long as its focus is on characters, what they do, and what happens to them.

Common Places You’d See Narrative Writing

• Biography or autobiography
• Short stories
• Journals or diaries

“We had luncheon in the dining-room, darkened too against the heat, and drank down nervous gayety with the cold ale. ‘What’ll we do with ourselves this afternoon?’ cried Daisy, ‘and the day after that, and the next thirty years?’    ‘Don’t be morbid,’ Jordan said. ‘Life starts all over again when it gets crisp in the fall.’ ‘But it’s so hot,’ insisted Daisy, on the verge of tears, ‘and everything’s so confused. Let’s all go to town!’ - The Great Gatsby by F. Scott Fitzgerald

You can quickly tell that this passage from the novel The Great Gatsby is an example of narrative writing because it has the two key traits: characters and a plot. The group is discussing eating and drinking while trying to decide what to do for the rest of the day.

As in this example, narrative writing often has extended dialogue scenes since the dialogue is used to move the plot along and give readers greater insight into the characters.

Writers use the expository style when they are trying to explain a concept. Expository writing is fact-based and doesn’t include the author’s opinions or background. It’s basically giving facts from the writer to the reader.

Common Places You’d See Expository Writing

• Newspaper articles
• Academic journals
• Business memos
• Manuals for electronics
• How-to books and articles

“The 1995/1996 reintroduction of gray wolves (Canis lupus) into Yellowstone National Park after a 70 year absence has allowed for studies of tri-trophic cascades involving wolves, elk (Cervus elaphus), and plant species such as aspen (Populus tremuloides), cottonwoods (Populus spp.), and willows (Salix spp.). To investigate the status of this cascade, in September of 2010 we repeated an earlier survey of aspen and measured browsing and heights of young aspen in 97 stands along four streams in the Lamar River catchment of the park’s northern winter range. We found that browsing on the five tallest young aspen in each stand decreased from 100% of all measured leaders in 1998 to means of <25% in the uplands and <20% in riparian areas by 2010. Correspondingly, aspen recruitment (i.e., growth of seedlings/sprouts above the browse level of ungulates) increased as browsing decreased over time in these same stands.” -”Trophic cascades in Yellowstone: The first 15 years after wolf reintroduction” by William J. Ripple and Robert L. Beschta

This abstract from an academic journal article is clearly expository because it only focuses on facts. The authors aren’t giving their opinion of wolves of Yellowstone, they’re not telling a story about the wolves, and the only descriptions are number of trees, streams, etc. so readers can understand the study better.

Because expository writing is focused on facts, without any unnecessary details or stories, the writing can sometimes feel dense and dry to read.

Descriptive

Descriptive writing is, as you may guess, when the author describes something. The writer could be describing a place, person, or an object, but descriptive writing will always include lots of details so the reader can get a clear and complete idea of what is being written about.

Common Places You’d See Descriptive Writing

• Fiction passages that describe something

“In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare sandy hole with nothing in it to sit down on or eat: it was a hobbit hole and that means comfort. It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube-shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted...” - The Hobbit by J.R.R. Tolkien

This is the opening passage of the novel The Hobbit . While The Hobbit is primarily an example of narrative writing, since it explores the adventures of the hobbit and his companions, this scene is definitely descriptive. There is no plot or action going on in this passage; the point is to explain to readers exactly what the hobbit’s home looks like so they can get a clear picture of it while they read. There are lots of details, including the color of the door and exactly where the doorknob is placed.

You won’t often find long pieces of writing that are purely descriptive writing, since they’d be pretty boring to read (nothing would happen in them), instead many pieces of writing, including The Hobbit , will primarily be one of the other writing styles with some descriptive writing passages scattered throughout.

When you’re trying to persuade the reader to think a certain way or do a certain thing, you’ll use persuasive writing to try to convince them.  Your end goal could be to get the reader to purchase something you’re selling, give you a job, give an acquaintance of yours a job, or simply agree with your opinion on a topic.

Common Places You’d See Persuasive Writing

• Advertisements
• Cover letters
• Opinion articles/letters to the editor
• Letters of recommendation
• Reviews of books/movies/restaurants etc.
• Letter to a politician

“What General Weygand called the Battle of France is over. I expect that the battle of Britain is about to begin. Upon this battle depends the survival of Christian civilization. Upon it depends our own British life, and the long continuity of our institutions and our Empire. The whole fury and might of the enemy must very soon be turned on us. Hitler knows that he will have to break us in this island or lose the war. If we can stand up to him, all Europe may be free and the life of the world may move forward into broad, sunlit uplands. But if we fail, then the whole world, including the United States, including all that we have known and cared for, will sink by the lights of perverted science. Let us therefore brace ourselves to our duties, and so bear ourselves, that if the British Empire and its Commonwealth last for a thousand years, men will still say, ‘This was their finest hour.’ - “This was their finest hour” by Winston Churchill

In this excerpt from his famous “Their finest hour” speech, Prime Minister Winston Churchill is clearing trying to convince his audience to see his viewpoint, and he lays out the actions he thinks they should take. In this case, Churchill is speaking to the House of Commons (knowing many other British people would also hear the speech), and he’s trying to prepare the British for the coming war and convince them how important it is to fight.

He emphasizes how important the fight will be (“Upon this battle depends the survival of the Christian civilization.” and clearly spells out what he thinks his audience should do (“Let us therefore brace ourselves to our duties…”).

Common Writing Styles to Know

Each of the four main types of writing styles has multiple subsets of styles within it. Here are nine of the most common and important types of writing you’ll see.

Narrative Writing

Character voice.

Character voice is a common writing style in novels. Instead of having an unknown narrator, the audience knows who is telling the story. This first-person narrator can help the reader relate more both to the narrator and the storyline since knowing who is telling a story can help the reader feel more connected to it. Sometimes the narrator is completely truthful in telling what happens, while other times they are an unreliable narrator and will mislead or outright lie to readers to make themselves look better. 

To Kill a Mockingbird (Scout is the narrator) and The Hunger Games (Katniss is the narrator) are two examples of this writing style.

Stream-of-Consciousness

This writing style attempts to emulate the thought process of the character. Instead of only writing about what the character says or does, stream-of-consciousness will include all or most of the characters thoughts, even if they jump from one topic to another randomly or include incomplete thoughts.

For example, rather than writing “I decided to take a walk to the ice cream shop,” an author using the stream-of-consciousness writing style could write, “It’s pretty hot out, and I feel like I should eat something, but I’m not really that hungry. I wonder if we have leftovers of the burgers Mom made last night? Is Mom staying late at work tonight? I can’t remember if she said. Ice cream would be a good choice, and not too filling. I can’t drive there though because my car is still in for repairs. Why is the repair shop taking so long? I should have listened when David said to check for reviews online before choosing a place. I should text David later to see how he is. He’ll think I’m mad at him if I don’t. I guess I’ll just have to walk to the shop.”

James Joyce and William Faulkner are two of the most well-known writers to have regularly used the  stream-of-consciousness writing style.

Epistolary writing uses a series of documents, such as letters, diary entries, newspaper articles, or even text messages to tell a story. They don’t have a narrator, there’s just whoever purportedly gathered the documents together. This writing style can provide different points of view because a different person can be the author of each document.

Well-known examples of epistolary writing include the novels Dracula  (written as a series of letters, newspaper articles, and diary entries) and Frankenstein (written as a series of letters).

Expository Writing

You’ll find this style in textbooks or academic journal articles. It’ll focus on teaching a topic or discussing an experiment,  be heavy on facts, and include any sources it cited to get the information. Academic writing often assumes some previous knowledge of the topic and is more focused on providing information than being entertaining, which can make it difficult to read and understand at times.

Business writing refers to the writing done in a workplace. It can include reports, memos, and press releases. Business writing typically has a formal tone and standard formatting rules. Because employees are presumably very busy at work, business writing is very concise and to the point, without any additional flourishes intended to make the writing more interesting.

You’ll see this writing style most commonly in newspaper articles. It focuses on giving the facts in a concise, clear, and easy-to-understand way. Journalists often try to balance covering all the key facts, keeping their articles brief, and making the audience interested in the story.

This writing style is used to give information to people in a specific field, such as an explanation of a new computer programming system to people who work in software, a description of how to install pipes within a house for plumbers, or a guide to new gene modifications for microbiologists.

Technical writing is highly specialized for a certain occupational field. It assumes a high level of knowledge on the topic, and it focuses on sharing large amounts of information with the reader. If you’re not in that field, technical writing can be nearly impossible to understand because of the jargon and references to topics and facts you likely don’t know.

Descriptive Writing

Poetry is one of the most challenging styles of writing to define since it can come in many forms. In general, poems use rhythmic language and careful word choice to express an idea. A poem can be an example of descriptive writing or narrative writing, depending on whether it’s describing something or telling a story. Poetry doesn’t need to rhyme, and it often won’t follow standard grammatical or structural rules. Line breaks can, and often do, occur in the middle of sentences.

Persuasive Writing

Copywriting.

Copywriting is writing that is done for advertising or marketing purposes. It’s attempting to get the reader to buy whatever the writer is trying to sell. Examples of copywriting include catalogs, billboards, ads in newspapers or magazines, and social media ads.

In an attempt to get the reader to spend their money, copywriters may use techniques such as descriptive language (“This vanilla was harvested from the lush and exotic island of Madagascar"), exciting language (Stop what you’re doing and learn about this new product that will transform your life!”) and exaggeration (“This is the best cup of coffee you will ever taste!”).

Opinion 

People write opinion pieces for the purpose of stating their beliefs on a certain topic and to try to get readers to agree with them. You can see opinion pieces in newspaper opinion sections, certain blog posts, and some social media posts. The quality of opinion writing can vary widely. Some papers or sites will only publish opinion pieces if all the facts in them can be backed up by evidence, but other opinion pieces, especially those that are self-published online, don't go through any fact-checking process and can include inaccuracies and misinformation.

What If You’re Unsure of a Work’s Writing Style?

If you’re reading a piece of writing and are unsure of its main writing style, how can you figure which style it is? The best method is to think about what the purpose or main idea of the writing is. Each of the four main writing styles has a specific purpose:

• Descriptive: to describe things
• Expository: to give facts
• Narrative: to tell a story
• Persuasive: to convince the reader of something

Here’s an example of a passage with a somewhat ambiguous writing style:

It can be tricky to determine the writing style of many poems since poetry is so varied and can fit many styles. For this poem, you might at first think it has a narrative writing style, since it begins with a narrator mentioning a walk he took after church. Character + plot = narrative writing style, right?

Before you decide, you need to read the entire passage. Once you do, it’ll become clear that there really isn’t much narrative. There’s a narrator, and he’s taking a walk to get a birch from another man, but that’s about all we have for character development and plot. We don’t know anything about the narrator or his friend’s personality, what’s going to happen next, what his motivations are, etc.

The poem doesn’t devote any space to that, instead, the majority of the lines are spent describing the scene. The narrator mentions the heat, scent of sap, the sound of frogs, what the ground is like, etc. It’s clear that, since the majority of the piece is dedicated to describing the scene, this is an example of descriptive writing.

How Can You Develop Your Own Writing Style?

A distinctive writing style is one of the hallmarks of a good writer, but how can you develop your own? Below are four tips to follow.

Read Many Different Styles of Writing

If you don’t read lots of different kinds of writing, you won’t be able to write in those styles, so before you try to get your own writing style, read different writing styles than what you’re used to.  This doesn’t mean that, if you mostly read novels, you suddenly need to shift to reading computer manuals. Instead, you can try to read novels that use unreliable narrators, stream-of-consciousness writing, etc.

The more you read, the more writing styles you’ll be exposed to, and the easier it’ll be able to combine some of those into your own writing style.

Consider Combining Multiple Types of Writing Styles

There’s no rule that you can only use one style for a piece of writing. In fact, many longer works will include multiple styles. A novel may be primarily narrative, but it can also contain highly descriptive passages as well as expository parts when the author wants the readers to understand a new concept.

However, make sure you don’t jump around too much. A paper or book that goes from dense academic text to impassioned plea for a cause to a story about your childhood and back again will confuse readers and make it difficult for them to understand the point you’re trying to make.

Find a Balance Between Comfort and Boundary-Pushing

You should write in a style that feels natural to you, since that will be what comes most easily and what feels most authentic to the reader. An academic who never ventures outside the city trying to write a book from the perspective of a weathered, unschooled cowboy may end up with writing that seems fake and forced.

A great way to change up your writing and see where it can be improved is to rewrite certain parts in a new writing style.  If you’ve been writing a novel with narrative voice, change a few scenes to stream-of-consciousness, then think about how it felt to be using that style and if you think it improved your writing or gave you any new ideas. If you’re worried that some writing you did is dull and lacking depth, add in a few passages that are purely descriptive and see if they help bring the writing to life.

You don’t always need to do this, and you don’t need to keep the new additions in what you wrote, but trying new things will help you get a better idea of what you want your own style to be like.

The best way to develop your own writing style is to expose yourself to numerous types of writing, both through reading and writing. As you come into contact with more writing styles and try them out for yourself, you’ll naturally begin to develop a writing style that you feel comfortable with.

Summary: The 4 Different Styles of Writing

There are four main writing styles, and each has a different purpose:

If you’re struggling to figure out the writing style of a piece, ask yourself what its purpose is and why the author wants you to read it.

To develop your own writing style, you should:

• Read widely
• Consider mixing styles
• Balance writing what you know and trying new things

What's Next?

Literary devices are also an important part of understanding writing styles. Learn the 24 literary devices you must know by reading our guide on literary devices.

Writing a research paper for school but not sure what to write about?   Our guide to research paper topics has over 100 topics in ten categories so you can be sure to find the perfect topic for you. 

Are you reading  The Great Gatsby for class or even just for fun?  Then you'll definitely want to check out our expert guides on the biggest themes in this classic book, from love and relationships to money and materialism .

Christine graduated from Michigan State University with degrees in Environmental Biology and Geography and received her Master's from Duke University. In high school she scored in the 99th percentile on the SAT and was named a National Merit Finalist. She has taught English and biology in several countries.

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How to Write a Style Analysis Essay

Writing a style analysis essay may seem like a daunting task, but, by understanding the basic components of style analysis, it doesn’t have to be a dreaded chore. Analyzing is an ability that will help you in other aspects of life, too, like work and school. With practice and a discerning eye, you will be able to skillfully master the style analysis essay.

Understand the components of style before you begin an analysis of the work. The style of a literary work is the way in which it is written and how it communicates the author's meaning. Many components come together to form a work’s style, from the diction to the point of view. It’s important to familiarize yourself with these components so that you may better understand how they contribute to the ideas expressed in literature. (See the Resources for a glossary of literary terms.)

Read the work critically. Performing a style analysis requires a discerning reader. You won’t be reading the work as a general audience, but as an analyst. Look at it carefully, noting what the author writes, how it contributes to the work and what effect the style has on the reader. Bookmark examples of consistent style choices in the text, like how a character thinks or talks, and make notes that you may refer back to when writing your essay.

Accumulate sources for your essay. If your style analysis essay asks that you use only the text as a source, you don’t need to collect other written opinions, but many papers will require that you have a secondary reference. The best information will come from articles and critiques that explore the elements of style in the work. Check your library’s literary criticism section for book analysis to reinforce your paper.

Gather your ideas together so that you will have the general direction of the paper clear in your head before you write your essay. You don’t have to conform to a structured outline, but it’s important to know what you will say and how you want to say it. Start with the big picture. What effect does the general style of the work you’re analyzing have on it as a whole and on you as a reader? Outline examples that further your argument about the style of the piece.

Write your essay, examining how the components that you identified contribute to the overall effect of the text on the reader. Use examples that you noted in your reading to reinforce your argument. You don’t have to cite every type, but use specific examples that best showcase your argument. Remember that a style analysis is not a book report–you don’t want to summarize the work, but to analyze it instead. Use literary terms and make sure that your writing and source documentation conforms to MLA standards, unless otherwise instructed.

Rewrite the essay. Your final draft is just as important as the initial one. Look for basic errors. Ensure that the essay flows, is clear and concise, and presents arguments coherently. It's a good idea to have someone else look it over to point out mistakes that you may have missed.

• Western Michigan University: Writing Papers of Literary Analysis

Jessica Rutland lives in Austin, Texas, where she has worked as a copywriter and editor for two years. She received a Bachelor of Arts in English from the University of Texas.

Stylistics and Elements of Style in Literature

• An Introduction to Punctuation
• Ph.D., Rhetoric and English, University of Georgia
• M.A., Modern English and American Literature, University of Leicester
• B.A., English, State University of New York

Stylistics is a branch of applied linguistics concerned with the study of style in texts, especially, but not exclusively, in literary works. Also called literary linguistics, stylistics focuses on the figures, tropes, and other rhetorical devices used to provide variety and a distinctness to someone's writing. It is linguistic analysis plus literary criticism.

According to Katie Wales in " A Dictionary of Stylistics ," the goal of

"most stylistics is not simply to describe the formal features of texts for their own sake, but in order to show their functional significance for the interpretation of the text; or in order to relate literary effects to linguistic 'causes' where these are felt to be relevant."

Studying a text closely helps to unearth layers of meaning that run deeper than just the basic plot, which happens on the surface level.

Elements of Style in Literature

Elements of style studied in literary works are what is up for discussion in any literature or writing class, such as:

Big-Picture Elements

• Character development: How a character changes throughout the story  
• Dialogue: Lines spoken or internal thoughts
• Foreshadowing: Hints dropped about what's going to happen later 
• Form: Whether something is poetry, prose, drama, a short story, a sonnet, etc.
• Imagery: Scenes set or items shown with descriptive words 
• Irony: An occurrence that's the opposite of what's expected 
• Juxtaposition: Putting two elements together to compare or contrast them 
• Mood: The atmosphere of a work, the attitude of the narrator 
• Pacing: How quickly the narration unfolds 
• Point of view: The narrator's perspective; first person (I) or third person (he or she) 
• Structure: How a story is told (beginning, action, climax, denouement) or how a piece is organized (introduction, main body, conclusion vs. reverse-pyramid journalistic style) 
• Symbolism: Using an element of the story to represent something else  
• Theme: A message delivered by or shown in a work; its central topic or big idea
• Tone: The writer's attitude toward the subject or manner with choosing vocabulary and presenting information, such as informal or formal

Line-by-Line Elements

• Alliteration: Close repetition of consonants, used for effect
• Assonance: Close repetition of vowels, used for effect
• Colloquialisms: Informal words, such as slang and regional terms
• Diction: The correctness of the overall grammar (big picture) or how characters speak, such as with an accent or with poor grammar
• Jargon: Terms specific to a certain field
• Metaphor: A means to compare two elements (Can also be big-picture if an entire story or scene is laid out to show a parallel with something else) 
• Repetition: Using the same words or phrases in a short amount of time for emphasis 
• Rhyme: When the same sounds appear in two or more words
• Rhythm: having a musicality to the writing such as by using stressed and unstressed syllables in a line of poetry or sentence variety or repetition in a paragraph
• Sentence variety: Variation in the structure and length of consecutive sentences 
• Syntax: The arrangement of words in a sentence

Elements of style are the characteristics of the language used in the written work, and stylistics is their study. How an author uses them is what makes one writer's work distinct from another, from Henry James to Mark Twain to Virginia Woolf. An author's way of using the elements creates their distinct writing voice.

Why Studying Literature Is Useful

Just as a baseball pitcher studies how to properly grip and throw a type of pitch a certain way, to make the ball go in a certain location, and to create a game plan based on a lineup of specific hitters, studying writing and literature helps people to learn how to improve their writing (and thus communication skills) as well as to learn empathy and the human condition.

By becoming wrapped up in a character's thoughts and actions in a book, story, or poem, people experience that narrator's point of view and can draw on that knowledge and those feelings when interacting with others in real life who might have similar thought processes or actions.

Stylisticians

In many ways, stylistics is an interdisciplinarity study of textual interpretations, using both language comprehension and an understanding of social dynamics. A stylistician's textual analysis is influenced by rhetoric reasoning and history.

Michael Burke describes the field in " The Routledge Handbook of Stylistics " as an empirical or forensic discourse critique, wherein the stylistician is

"a person who with his/her detailed knowledge of the workings of morphology, phonology, lexis, syntax, semantics, and various discourse and pragmatic models, goes in search of language-based evidence in order to support or indeed challenge the subjective interpretations and evaluations of various critics and cultural commentators."

Burke paints stylisticians, then, as a kind of Sherlock Holmes character who has expertise in grammar and rhetoric and a love of literature and other creative texts, picking apart the details on how they operate piece by piece—observing style as it informs meaning, as it informs comprehension.

There are various overlapping subdisciplines of stylistics, and a person who studies any of these is known as a stylistician:

• Literary stylistics: Studying forms, such as poetry, drama, and prose
• Interpretive stylistics: How the linguistic elements work to create meaningful art
• Evaluative stylistics: How an author's style works—or doesn't—in the work
• Corpus stylistics: Studying the frequency of various elements in a text, such as to determine the authenticity of a manuscript
• Discourse stylistics: How language in use creates meaning, such as studying parallelism, assonance, alliteration, and rhyme
• Feminist stylistics: Commonalities among women's writing, how writing is engendered, and how women's writing is read differently than men's
• Computational stylistics: Using computers to analyze a text and determine a writer's style
• Cognitive stylistics: The study of what happens in the mind when it encounters language

Modern Understanding of Rhetoric

As far back as ancient Greece and philosophers like Aristotle, the study of rhetoric has been an important part of human communication and evolution as a result. It's no wonder, then, that author Peter Barry uses rhetoric to define stylistics as "the modern version of the ancient discipline known as rhetoric," in his book " Beginning Theory ."

Barry goes on to say that rhetoric teaches

"its students how to structure an argument, how to make effective use of figures of speech, and generally how to pattern and vary a speech or a piece of writing so as to produce maximum impact."

He says that stylistics' analysis of these similar qualities—or rather how they are utilized—would, therefore, entail that stylistics is a modern interpretation of the ancient study.

However, he also notes that stylistics differs from simple close reading in the following ways:

"1. Close reading emphasizes differences between literary language and that of the general speech community. ...Stylistics, by contrast, emphasizes connections between literary language and everyday language.

"2. Stylistics uses specialized technical terms and concepts which derive from the science of linguistics, terms like 'transitivity,' 'under-lexicalisation,' 'collocation,' and 'cohesion'.

"3. Stylistics makes greater claims to scientific objectivity than does close reading, stressing that its methods and procedures can be learned and applied by all. Hence, its aim is partly the 'demystification' of both literature and criticism."

Stylistics is arguing for the universality of language usage while close reading hinges upon an observation of how this particular style and usage may vary from and thereby make an error relating to the norm. Stylistics, then, is the pursuit of understanding key elements of style that affect a given audience's interpretation of a text.

• Wales, Katie. "A Dictionary of Stylistics." Routledge,1990, New York.
• Burke, Michael, editor. "The Routledge Handbook of Stylistics." Routledge, 2014, New York.
• Barry, Peter. "Beginning Theory: An Introduction to Literary and Cultural Theory." Manchester University Press, Manchester, New York, 1995.
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• AP English Literature and Composition Course and Exam Information
• What Is Enlightenment Rhetoric?
• Traductio: Rhetorical Repetition
• What Literature Can Teach Us
• Genres in Literature

Writing styles may be hard to define, but something separates Hemingway from Steinbeck, Atwood from LeGuin, or Keats from Wordsworth. Though two given writers might dwell on similar themes, every writer expresses a unique writing style, conveyed through elements like word choice, narrative structure, and the author’s own voice.

But what is style in writing? On some level, style is ineffable. It’s also emergent: when you parse the elements of writing styles, you lose something that lives in how you put them together.

This article provides tips for honing style in your own work. We’ll analyze the different types of writing styles, look at examples of different writing styles from famous authors, and suggest different ways to experiment in your own work.

But first, let’s clarify what we mean when we say “writing styles.” What is style in writing?

What is Style in Writing?

Think of writing style as the author’s thumbprint—a unique and indelible mark on the voice and personality of the work. If a writer’s work is a house, style is what adorns that house: the window blinds, the doormat, the freshly painted eaves.

Style is like an author’s thumbprint—a unique and indelible mark on the voice and personality of the work.

Authors doesn’t only hone their style deliberately: writing styles emerge as a result of dedication, the author’s own personality, and a continuous experimentation with language and meaning.

To illustrate what we mean by style, let’s compare two examples of different writing styles from two different works of fiction. Each excerpt talks about the same dilemma—the endurance of memory​​—but approaches that dilemma in uniquely stylish ways.

“Perhaps you have forgotten. That’s one of the great problems of our modern world, you know. Forgetting. The victim never forgets. Ask an Irishman what the English did to him in 1920 and he’ll tell you the day of the month and the time and the name of every man they killed. Ask an Iranian what the English did to him in 1953 and he’ll tell you. His child will tell you. His grandchild will tell you. And when he has one, his great-grandchild will tell you too. But ask an Englishman—” He flung up his hands in mock ignorance. “If he ever knew, he has forgotten. ‘Move on!’ you tell us. ‘Move on! Forget what we’ve done to you. Tomorrow’s another day!’ But it isn’t, Mr. Brue.” He still had Brue’s hand. “Tomorrow was created yesterday, you see. That is the point I was making to you. And by the day before yesterday, too. To ignore history is to ignore the wolf at the door.”

—John le Carré, A Most Wanted Man

Compare this with the following excerpt:

“The ones who did it can always rationalize their actions and even forget what they did. They can turn away from things they don’t want to see. But the surviving victims can never forget. They can’t turn away. Their memories are passed on from parent to child. That’s what the world is, after all: an endless battle of contrasting memories.”

—Haruki Murakami, 1Q84

Each quote addresses a similar theme : how the perpetrators forget, but the victims always remember, and how that remembering shapes the world. Yet they approach the topic in different ways. John le Carré illustrates his point by examining historical, world-altering events. He uses dialogue and describes the gestures of his characters to punctuate his ideas, and he ends by suggesting that, if we do not remember, then we are infinitely more vulnerable to the metaphorical “wolf at the door.”

Haruki Murakami, by contrast, uses far fewer words to illustrate the same idea. His sentences are less laden with imagery and description; they are merely vehicles to his conclusion that the world is “an endless battle of contrasting memories.”

Each author takes his own route, and each excerpt will connect with the reader in different ways. Such differences in expression are the essence of style. Writing styles showcase how a writer reaches their point, encompassing the totality of the author’s word choice, sentence structures, use of literary devices, etc. It is the gestalt of every decision, both conscious and unconscious, that the writer makes in the text.

What Authors Say About Writing Style

Before we move on, let’s illustrate this point about authors’ writing styles in another way: different quotes from authors on writing styles themselves.

• “Style is the dress of thoughts; and let them be ever so just, if your style is homely, coarse, and vulgar, they will appear to as much disadvantage.” —Philip Dormer Stanhope, Earl of Chesterfield
• “When we see a natural style, we are astonished and delighted; for we expected to see an author, and we find a man.” —Blaise Pascal
• “The essence of a sound style is that it cannot be reduced to rules–that it is a living and breathing thing with something of the devilish in it–that it fits its proprietor tightly yet ever so loosely, as his skin fits him. It is, in fact, quite as seriously an integral part of him as that skin is. . . . In brief, a style is always the outward and visible symbol of a man, and cannot be anything else.” —H.L. Mencken
• “You do not create a style. You work, and develop yourself; your style is an emanation from your own being.” —Katherine Anne Porter
• “Style is that which indicates how the writer takes himself and what he is saying. It is the mind skating circles around itself as it moves forward.” —Robert Frost
• “Style is what unites memory or recollection, ideology, sentiment, nostalgia, presentiment, to the way we express all that. It’s not what we say but how we say it that matters.” —Federico Fellini
• “Proper words in proper places, make the true definition of style.” —Jonathan Swift
• “The web, then, or the pattern, a web at once sensuous and logical, an elegant and pregnant texture: that is style.” —Robert Louis Stevenson
• “Thought and speech are inseparable from each other. Matter and expression are parts of one; style is a thinking out into language.” —Cardinal John Henry Newman
• “Find a subject you care about and which you in your heart feel others should care about. It is this genuine caring, not your games with language, which will be the most compelling and seductive element in your style.” —Stephen King
• “It is only by writing, not dreaming about it, that we develop our own style.” —P.D. James

Elements of Writing Styles

Every author makes key decisions about their writing, and those decisions build over time into a cohesive writing style. What decisions do they have to make? In other words, what are the elements of writing styles?

Creative writing styles are honed through a combination of the following:

• Word choice
• Economy and concision
• Literary devices
• Context and purpose
• The author’s location, time period, and influences

Let’s explore each element in detail.

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Elements of Writing Styles: Word Choice

Also called diction, word choice  refers to the artistic decisions a writer makes in choosing one word over another, and how those decisions affect the meaning, mood , tone , and ideas conveyed to the reader.

Word choice refers to the artistic decisions a writer makes in choosing one word over another, and how those decisions affect the meaning, mood, tone, and ideas conveyed to the reader.

Take a look at the following two example sentences. Only one word has been changed in each sentence, and those words are synonyms, but the changed word has a huge impact on the way each sentence is read.

• The Union beat The Confederacy during the American Civil War.
• The Union subjugated The Confederacy during the American Civil War.

As you can see, changing “beat” to “subjugated” affects every part of the sentence. The sentence moves from neutral and informative to passionate and descriptive; the idea, once impartial, now comes across as heavily invested in the outcome of the Civil War. A word like “subjugated” transmits to the reader that the Union was extremely powerful, even suggesting that the Confederacy was a victim of the North.

Small details such as word choice can have huge impacts on writing styles. Another important element to consider is syntax.

Elements of Writing Styles: Syntax

Syntax refers to sentence structure—how rearranging the order of words impacts the meaning transmitted to the reader. It is closely related to diction, but where diction is concerned with the choice of words, syntax is concerned with the arrangement of those words, as well as the length and complexity of sentences.

Syntax is concerned with the arrangement of words, as well as the length and complexity of sentences.

Much of syntax is innately learned, especially to native English speakers. For example, an English sentence is typically constructed with the subject first, and then the verb, followed by the object of that verb. See below:

• The quick brown fox (subject) jumped (verb) over the lazy dog (object).

If the daring writer wanted to complicate this syntactical order, they might write “Over the lazy dog, the quick brown fox jumped.” Of course, such experimentations can prove dangerous, as the reader might misinterpret that construction, or read it as shallow or pretentious.

Nonetheless, paying close attention to the structure, length, and word order of sentences can allow writers to develop their writing styles. Here are some other ways one might experiment with syntax:

• Structure (active to passive): The lazy dog was jumped over by the quick brown fox.
• Length : The fox jumped over the dog. OR: The quick, sly, and daring fox jumped right over the lazy and motionless dog.
• Word order : The brown fox jumped quickly over the dog lying lazily.

Notice how each of these syntactical changes affect the rhythm, meaning, and style of the sentences. Some changes certainly worsen the effect of the sentence.

A final element of syntax is punctuation. Commas, colons, semicolons, em-dashes, and periods each have their own specific use in English grammar. How the author decides to use each punctuation mark contributes to the overall style of their sentences.

Elements of Writing Styles: Economy and Concision

All stylish writers know how to use economy and concision. They know how to use fewer words, not more, and they know how to make every word count.

There are certainly rules and guidelines for concise writing. The economic writer knows to:

• Avoid adverbs.
• Use strong, visual verbs.
• Employ prepositions sparingly.
• Only use adjectives when necessary.
• Stay inside the active voice, unless the passive is necessary.
• Provide only the important details.

Later in this article, we dive deeper into concision. Nonetheless, let’s demonstrate this key facet of writing styles.

Here’s a simple, effective sentence:

We careened from California to Maine.

The wordy writer has many reasons to make this sentence more complicated. Perhaps the reader does need more information. But, the writer might also be insecure about their own writing, or else they might think every detail needs to be ornate (a tactic called purple prose ). Here’s the above sentence, written wordier. In parentheses are the rules broken from the list above.

We were driven (5) swiftly (1) and without (3) direction in (3) our little blue Chevy (4, 6), somehow (1) finding (2) our way from California to Maine.

Perhaps the little blue Chevy is important to the story. It does add some personality to the people in the car. Otherwise, this sentence is haphazard, conveying too much to the reader in too many words.

Elements of Writing Styles: Literary Devices

Literary devices are specific writing techniques that forge novel connections and possibilities in language. You are probably familiar with common devices, like metaphors and similes . However, there is a wide range of devices available to creative writers, from the hyperbole to the synecdoche, from the onomatopoeia to the paranomasia .

In any work of creative writing, literary devices are essential to both the author’s meaning and their writing style.

In any work of creative writing, literary devices are essential to both the author’s meaning and their writing style. Sometimes, the device is confined to a single sentence in the text. Other times, various elements of the writing—its plot , characters, and settings—act as metaphors for broader ideas and themes.

Here’s an example of a metaphor that’s daring, stylish, and effective:

“Love is so embarrassing. I bled in your bed. I’m sorry. I have built you a shore with all my best words & still, the waves.”

Out of Bound by Claire Schwartz

This is a striking metaphor, heartbreaking in its imagery. The speaker laments at the imperfectness of love and language: how, no matter how carefully and precisely a lover chooses the words they use to love another, those words are, inevitably, broken down by “the waves.” What do those waves represent? Perhaps the limits of language—the ever-present gap between what is spoken and what is understood. In the same way that love is modified by language, the shore is always modified by the waves.

Many stylistic decisions go into the construction of literary devices, including:

• Which devices are used.
• The images used to convey deeper meanings.
• The word choice and syntax of those devices.

Indeed, the construction of literary devices is closely related to syntax and word choice, but the way that the writer employs those devices and makes connections and comparisons is key to honing an author’s writing style.

To learn more, check out our articles on common literary devices and rhetorical devices .

Elements of Writing Styles: Context and Purpose

While an author’s writing style is the product of their own artistic integrity, some creative writing styles develop in relation to the context and purpose of the writing itself.

Some creative writing styles develop in relation to the context and purpose of the writing itself.

For example, an author might choose to write a murder mystery novel, a middle grade fiction book, and a historical account of the Sino-Japanese War. Each publication would have its own unique writing style, because the writing serves a different purpose in each book, and the author will have to write towards different audiences. We’ll explore this shortly when we look at the different types of writing styles.

In creative writing, the question of audience can matter a great deal. You would not want someone with a hard-boiled writing style to publish a romance novel in the same voice, nor would you expect a law critic to write poetry using the same word choice.

While audience should not define the author’s style and intent, it is a necessary consideration in the editing process before a work is published.

It is also important to note that there are different types of writing styles for different contexts. Let’s review those briefly.

Different Types of Writing Styles

In standard rhetorical analysis, there are four different types of writing styles: narrative, descriptive, persuasive, and expository. We mention a fifth style, the creative style, because certain decisions and elements are available to creative works that are not usually available to other writing styles.

Narrative Writing Styles

At its simplest, narrative is a synonym for storytelling . As such, narrative writing styles employ certain storytelling tactics to communicate a plot with characters, settings , and themes.

Narrative writing styles employ storytelling tactics to communicate a plot with characters, settings, and themes.

Here’s an example of a narrative writing style, which seeks to communicate the essential details for a reader to understand the story:

“There was no possibility of taking a walk that day. We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further outdoor exercise was now out of the question.

I was glad of it: I never liked long walks, especially on chilly afternoons: dreadful to me was the coming home in the raw twilight, with nipped fingers and toes, and a heart saddened by the chidings of Bessie, the nurse, and humbled by the consciousness of my physical inferiority to Eliza, John, and Georgiana Reed.” —Opening lines of Jane Eyre by Charlotte Brontë

These two paragraphs give us the essentials. We know that the narrator is a child with an unkind family (character), that they live somewhere bleak and chilly (setting), and that the speaker has been made to feel inferior to her peers (theme).

Narrative writing styles are commonly used in the following:

• Creative nonfiction
• Narrative poetry
• Legal writing
• Marketing and brand development

Descriptive Writing Styles

Descriptive writing seeks to evoke sensory experiences. This type of writing concerns itself with the effective use of imagery , including non-visual forms of imagery like sounds, sights, tastes, smells, and kinesthetic and organic images.

Descriptive writing seeks to evoke sensory experiences.

Here’s an example of a descriptive writing style, which uses imagery and other devices to reconstruct a particular sensory experience through language:

“The flower shop was here and it was my father’s domain, but it was also marvelously other, this place heavy with the drowsy scent of velvet-petaled roses and Provencal freesias in the middle of winter, the damp-earth spring fragrance of just-watered azaleas and cyclamen all mixed up with the headachey smell of bitter chocolate.” —Patricia Hempl, excerpt from The Florist’s Daughter

The writer employs a variety of images, scents, and comparisons to describe the sensual intensity of the flower shop. Details of the shop’s setting, smells, and the narrator’s relationship to the shop itself combine to make this an effective, descriptive passage.

Descriptive writing styles are commonly used in the following:

• Medical writing

Persuasive Writing Styles

Persuasive writing wants to change your mind. By employing logic, argumentation, and various rhetorical strategies, persuasive writers seek to convince you that their argument or interpretation prevails.

Persuasive writing wants to change your mind.

Here’s an example of a persuasive writing style, which uses rhetorical strategies to convince you about a certain worldview:

“Perhaps everybody has a garden of Eden, I don’t know; but they have scarcely seen their garden before they see the flaming sword. Then, perhaps, life only offers the choice of remembering the garden or forgetting it. Either, or: it takes strength to remember, it takes another kind of strength to forget, it takes a hero to do both. People who remember court madness through pain, the pain of the perpetual recurring death of their innocence; people who forget court another kind of madness, the madness of the denial of pain and the hatred of innocence; and the world is mostly divided between madmen who remember and madmen who forget. Heroes are rare.” —James Baldwin, excerpt from Giovanni’s Room

In addition to Baldwin’s lyrical prose style, key elements of this passage try to persuade the reader of the narrator’s worldview. “Garden of Eden” and “flaming sword” are strong visual metaphors, and setting up this worldview as a binary (people who remember or forget) encourages the reader to sort people into one of two categories. While persuasive writing styles usually come off as confident, the narrator’s admission that he doesn’t precisely know the answer to this conundrum helps humanize the conflict he’s debating. Certainly, this is a depressing worldview, and one which the reader is free to disagree with, but the strategies Baldwin takes in constructing this paragraph are certainly compelling.

Persuasive writing styles are commonly used in the following:

Expository Writing Styles

Expository writing wants to tell you about something as neutrally as possible. The goal is to be informative: by conveying something with as little bias and interpretation, expository writing styles stick to the facts. Do note that bias is universal: it is nearly impossible for any text to remove itself from bias completely.

Expository writing wants to tell something as neutrally as possible.

Here’s an example of an expository writing style, which conveys facts in a linear and digestible paragraph:

“On June 13, 1910, Arthur James Balfour lectured the House of Commons on ‘the problems with which we have to deal in Egypt.’ These, he said, ‘belong to a wholly different category’ than those ‘affecting the Isle of Wight or the West Riding of Yorkshire.’ He spoke with the authority of a long-time member of Parliament, former private secretary to Lord Salisbury, former chief secretary for Ireland, former secretary for Scotland, former prime minister, veteran of numerous overseas crises, achievements, and changes.” —Edward W. Said, excerpt from Orientalism

This opening passage of Orientalism sets the scene factually: we learn the time period, some geopolitical issues, and a main actor in all of these events. Yes, the passage does play up the significance of Arthur James Balfour and his many accolades, but this, too, is expository description, letting the reader know exactly who and what we are dealing with.

Expository writing styles are commonly used in the following:

Creative Writing Styles

Creative writing styles combine the previous four types: a creative writer can employ narrative, descriptive, persuasive, and expository strategies in their work. You may have noticed that creative genres, like fiction, nonfiction, and poetry, routinely show up under the categories of writing that employ the above four styles. This is because authors must employ a variety of strategies to tell effective stories.

Creative writers can employ narrative, descriptive, persuasive, and expository strategies in their work.

But, in addition to employing the previous four styles, creative writing also seeks to experiment and find new, artistic possibilities in language. Poetry is an obvious example, as the use of stanzas and line breaks affects how the language is read and interpreted. But there are also countless examples of experimentation in prose, from the use of stream of consciousness to the Oulipian n+7 .

Here’s an example:

“I turned out the light and went into my bedroom, out of the gasoline but I could still smell it. I stood at the window the curtains moved slow out of the darkness touching my face like someone breathing asleep, breathing slow into the darkness again, leaving the touch. After they had gone up stairs Mother lay back in her chair, the camphor handker- chief to her mouth. Father hadn’t moved he still sat beside her holding her hand the bellowing hammering away like no place for it in silence When I was little there was a picture in one of our books, a dark place into which a single weak ray of light came slanting upon two faces lifted out of the shadow. You know what I’d do if I were King? she never was a queen or a fairy she was always a king or a giant or a general I’d break that place open and drag them out and I’d whip them good It was torn out, jagged out. I was glad.” —Excerpt from The Sound and the Fury by William Faulkner

This is, of course, a highly literary and experimental piece of writing, but it demonstrates something distinct to creative writing styles. The italicized portions of text are streams of consciousness—moments where the reader has direct access to the unfiltered thoughts, images, and memories flowing through the character’s mind. Understanding these passages requires close attention to the text, as well as several re-reads. While creative writing styles can be far simpler than this, the point is that a creative writer takes great liberties to experiment with language, in ways distinct to creative writing, which seek to mine the wide varieties of the human experience.

Creative writing styles are commonly used in the following:

• Lyric essays
• Creative journalism

Elements of Writing Styles: The Author’s Location, Time Period, and Influences

Lastly, writers are undeniably influenced by their location, time period, and literary influences. For example, if you’ve ever read a poem or novel from Victorian Era England, you know that the Victorian writers (like the Brontës, Charles Dickens, or Percy Bysshe Shelley) often wrote in elaborate and flowery language. By modern standards, Victorian writing styles might seem overwrought; but, that style was influenced by the era’s appreciation for emotional intensity, as well as the tendency to pay writers per-word.

Writing Styles: Examples and Analyses

Let’s take a look at three writing styles examples. For each writer, we will examine how various stylistic strategies affect the overall mood and interpretation of the text, while also discussing that writer’s influences and likely intent. All examples come from published works of classic literature.

Ernest Hemingway’s Writing Style

Ernest Hemingway once wrote “A writer’s style should be direct and personal, his imagery rich and earthy, and his words simple and vigorous. The greatest writers have the gift of brilliant brevity, are hard workers, diligent scholars and competent stylists.” Hemingway’s writing style certainly lives up to this quote, as his words are often simple, direct, and unadorned.

Here’s an excerpt from his short story “ A Clean, Well-Lighted Place .”

It was very late and everyone had left the cafe except an old man who sat in the shadow the leaves of the tree made against the electric light. In the day time the street was dusty, but at night the dew settled the dust and the old man liked to sit late because he was deaf and now at night it was quiet and he felt the difference. The two waiters inside the cafe knew that the old man was a little drunk, and while he was a good client they knew that if he became too drunk he would leave without paying, so they kept watch on him.”Last week he tried to commit suicide,” one waiter said.

“Why?”

“He was in despair.”

“What about?”

“Nothing.”

“How do you know it was nothing?”

“He has plenty of money.”

Hemingway’s writing style seeks to dispense the precise amount of information necessary for the reader, without any garnishment. Notice the details he provides: the exact time does not matter, only that “it was very late.” Notice, also, a similar pattern with the dialogue. People generally don’t speak in such clipped sentences, but the characters of this story speak to give just enough context for the story’s themes.

Additionally, the visual details, such as the dew settling the dust and the shadows of leaves against the electric light, evoke the sensation of a space that’s quiet and comforting, if also a little bit eerie.

Notice, also, the general lengths of the sentences. The first paragraph is built on longer sentences and clauses, which inevitably juxtaposes sensory details (an old man in the shadow of leaves cast by an electric light.) The effect of these sentences is that time feels slower, as the reader’s focus is on the kaleidoscope of details paused in this one moment in a quiet café.

Finally, pay attention to the lack of pretensity in Hemingway’s word choice. While the story itself deals with complex themes, including the question of nihilism, the language itself is simple, direct, and accessible.

Hemingway got his start in writing as a journalist, then as a short story writer, both of which certainly influenced his economic style. He famously coined the “Iceberg Theory,” which describes writing that focuses on surface-level details without explicitly analyzing underlying themes, rather implying those themes for the reader to interpret. Hemingway was also greatly influenced by World Wars I and II, and his writing style may have been a reaction to these wars, eschewing the flowery language of pre-war literature for a hardened, masculine style.

Toni Morrison’s Writing Style

A master of voice and character, Toni Morrison’s writing style borrows heavily from vernacular, from history, and from her own unique relationship to analogies and metaphors. Morrison frequently plays with sentence lengths and imagery, but her writing never fails to be compelling, lyrical, and delicious to read.

Here’s an excerpt from Recitatif , her only published short story:

My mother danced all night and Roberta’s was sick. That’s why we were taken to St. Bonny’s. People want to put their arms around you when you tell them you were in a shelter, but it really wasn’t bad. No big long room with one hundred beds like Bellevue. There were four to a room, and when Roberta and me came, there was a shortage of state kids, so we were the only ones assigned to 406 and could go from bed to bed if we wanted to. And we wanted to, too. We changed beds every night and for the whole four months we were there we never picked one out as our own permanent bed.It didn’t start out that way. The minute I walked in and the Big Bozo introduced us, I got sick to my stomach. It was one thing to be taken out of your own bed early in the morning—it was something else to be stuck in a strange place with a girl from a whole other race. And Mary, that’s my mother, she was right. Every now and then she would stop dancing long enough to tell me something important and one of the things she said was that they never washed their hair and they smelled funny. Roberta sure did. Smell funny, I mean. So when the Big Bozo (nobody ever called her Mrs. Itkin, just like nobody ever said St. Bonaventure)—when she said, “Twyla, this is Roberta. Roberta, this is Twyla. Make each other welcome.” I said, “My mother won’t like you putting me in here.”

Both lyrical and conversational, Morrison’s style simply makes you want to read more. Pay attention to two things:

One, the lengths of these sentences. Morrison routinely switches from short sentences to longer ones, partially to emphasize important details in short sentences, and partially to keep the pace of the story engaging. The alternation of short and long sentences mirrors a conversational storytelling style.

Two, the childlike voice behind the narration. It is clear that the narrator is a child. Despite being directly stated, this fact is also obvious when certain elements of word choice are analyzed. Phrases like “smell funny” and “Big Bozo” clue the reader towards a speaker whose words and observations are that of a child.

One thing that’s absent from these paragraphs, but very much present in Morrison’s writing style, is the use of surprising comparisons (similes, metaphors, and analogies). This example comes later in “Recitatif”:

“I used to dream a lot and almost always the orchard was there. Two acres, four maybe, of these little apple trees. Hundreds of them. Empty and crooked like beggar women when I first came to St. Bonny’s but fat with flowers when I left.”

The simile “empty and crooked like beggar women” might be shocking to the reader, but it provides great insight into the personality of the narrator. This sentence is also ripe with foreshadowing , since the trees were “fat with flowers” when the narrator leaves St. Bonny’s.

Edgar Allan Poe’s Writing Style

One of America’s most influential writers, Edgar Allan Poe’s poetry and fiction forged new possibilities in the written word. Poe’s writing is often dark, gothic, and tinged with insanity, and his style reflects the problems that haunt his protagonists. Notice how psychosis influences Poe’s writing style in this excerpt from “ The Tell-Tale Heart :”

Poe adapts his style quite well to write a character who is clearly self-aggrandizing and obsessed with his own genius. The storytelling here has lots of repetition , such as “slowly—very, very slowly” and “cautiously-oh, so cautiously—cautiously” which makes the narrator sound in love with his own voice. And, it takes a while for the reader to understand what the narrator is doing, as his erratic behavior, like poking his head into the door for an hour, goes without a clear explanation.

Nonetheless, this writing is typical of Poe’s Gothic style. The use of words like “madman,” “midnight,” “vulture,” and “Evil Eye” give this story the grim moodiness characteristic of Poe’s writing. Additionally, the frequent use of em dashes and lengthy sentences propels the reader slowly, as we come to understand every minute detail that forms the totality of this character’s psychosis. This methodical, psychological writing style helps define Poe as a master of mystery and suspense.

Tips for Honing Your Own Author’s Writing Style

Writing styles develop with time, and there’s no singular thing any writer can do to hone their style. Rather, an attentiveness to language and a willingness to experiment are the best things you can do for yourself as you hone your author’s writing style. Nonetheless, here’s 7 pieces of advice for anyone who wants to write with style, flare, and confidence.

1. Creative Writing Styles: Experiment with Language and Syntax

Take risks in your writing. Be unconventional, and don’t always go for the expected word or phrase. Style doesn’t develop from playing it safe—it develops from making active decisions in the words you use to express your ideas.

What do we mean by taking risks? Here’s an example of a risky sentence, from poet Eduardo C. Corral: “Moss intensifies up the tree, like applause.”

This is a daring comparison: we don’t often think of moss “intensifying,” and so that verb already seems strange and risky. But then the moss itself is compared to applause, so now the visual cue of intensifying moss is being compared to intensifying sound. The product of this simile is that we see moss blooming and expanding across the tree, which makes this an effective and stylish sentence—but there’s a level of risk, faith, and skill involved in making this simile work .

Taking risks allows you to see what works and what doesn’t in your writing. So make bold comparisons! End your paragraphs with em-dashes! Try using four different languages in a single sentence!

Just be sure to review your work after and assess what does and doesn’t work for the reader. And, when you’re not sure what to do, try doing the complete opposite of what seems intuitive. You might find a short sentence works better than a long one, for example.

2. Creative Writing Styles: Experiment with Writing Forms

Creative writing styles often adapt to the form of the writing itself. For example, genre writing styles vary from genre to genre. You wouldn’t expect a writer of hard-boiled noir to have the same terse, simplistic style when writing romance fiction (although I would love to read that).

As you hone your writing style, experiment reading and writing in different forms. Pay attention to how the form demands you to make different stylistic decisions. The words you choose in a love sonnet will be different from the words you choose in a flash essay about your childhood. And, certainly, your sentence lengths will differ when you’re writing literary fiction versus speculative fiction .

Getting into the habit of making these stylistic decisions, and paying attention to those decisions, will help you create a mental framework for the ways you approach writing. Such is the nature of style development.

3. Creative Writing Styles: Consider Character

Character development is an essential part of fiction writing, and it will naturally affect the style you use to write. If you’re writing in first person or third person limited, then your protagonist’s personality will affect everything, because their worldview tinges the way you tell their story. Key observational details and thought processes from main characters naturally bleed into the style of the writing itself.

You can see this in action in the novels of F. Scott Fitzgerald. His second novel, The Beautiful and Damned , is written from the third person limited point of view of Anthony Patch, an unambitious libertine whose personality is defined by wry cynicism and a rigid belief in the purposelessness of life. These personality traits often affect the storytelling, as the reader sees the world through Anthony’s eyes, and thus trudges through a lot of Anthony’s ironic commentary and disdain for others.

Fitzgerald’s next novel, The Great Gatsby , is completely different, both tonally and stylistically. Written from the first person point of view of Nick Carraway, an optimistic bond salesman who wants to immerse himself in the high society of New York’s nouveau riche. Much of the style is poetic and introspective, honing in on the creative chaos of the Jazz Age and the tragedy of the American Dream.

For your own writing, alter your style to reflect the traits of your characters. Style reflects personality, and the person narrating your fiction will certainly want to tell their story in their own way.

4. Creative Writing Styles: Omit Needless Words

While style can take many forms, one thing that all good author’s writing styles have in common is an economy of language. In other words, no word in good writing is excessive or unnecessary. To sharpen your own style, you must omit needless words.

What does that look like? There are two ways to omit needless words: striking out redundancies, and rewriting phrases.

Here’s two examples. First, let’s look at redundancy. A redundancy is when you communicate something multiple times without refining the meaning of your words. Here’s a redundant sentence:

“The girl vaulted over the large gray boulder.”

Nothing is explicitly wrong with this sentence, but several words are giving repeat information. You don’t need the word “over,” because to vault means to jump over something. And, you don’t need the word “large,” because a boulder is, by definition, large. Finally, most rocks are gray, and the word “gray” isn’t offering much useful detail.

A much cleaner sentence would simply be “the girl vaulted the boulder.”

Another example is to rewrite phrases. If you don’t think about your words, it’s easy to communicate something in 10 words when 2 will do. Here’s another example sentence:

“She worked many long hours in order to secure a trade deal with the company.”

God, doesn’t that just read like a corporate memo? It’s passively worded and nondescript. Isolate any phrase in this sentence, and it can be truncated into something much more straightforward. Be sure to avoid phrases like “in order to”—simply “to” will always suffice.

Here’s a cleaner sentence: “She hustled to secure the Nike trade deal.”

Lastly, some categories of words are better than others. Nouns and verbs are necessary for understanding the action of a sentence. Adjectives should be used sparingly, and only when that description is necessary for the reader. Adverbs, which modify verbs, should only be used when there isn’t a sharper verb. For example, “breathing heavily” is much better written as “panting.”

For more advice, check out our article on how to omit needless words .

5. Creative Writing Styles: Read Like a Writer

How do published writers write so well? What did they do to craft such artful sentences, effective plots, or in-depth characters? While you can certainly learn these tricks by taking a writing class , you can also learn them by reading like a writer.

Reading like a writer means paying attention to the construction of a piece of literature and thinking about why that writing works. We did a little bit of this when we examined the above writing styles examples. By examining the elements of writing styles—word choice, sentence structure, character and voice, etc.—we paid attention to what makes each excerpt an effective piece of writing.

Employ those same strategies in the work you read. If there’s an author you like or whose style you admire, pay attention to what makes that style effective. And don’t be afraid to emulate that style in your own work: writers often borrow from each other’s styles and strategies to hone their own voice.

6. Creative Writing Styles: Study Poetry

The writing styles tips in this article primarily pertain to prose writers. But, whether you’re writing poetry, prose, or some secret third thing,  reading poetry is essential to honing style.

Poets are masters of language. They know how to build tension, pacing, and rhythm in their sentences. They know how to make that tension correspond with what they’re writing about. They manipulate vowel sounds, constants, tools like rhyme and meter, and a whole other host of poetic devices to move their readers.

Writing poetry is its own separate challenge. Prose writers don’t need to write poetry to master their writing styles. But they absolutely should study poetry. What makes language beautiful? What makes a poem concise? How does the flow of a sentence accentuate its meaning? Asking these questions and listening to the poets will help you experiment in your own pages.

7. Creative Writing Styles: Write Every Day

The key to honing your style is to write every day. A diligent writing practice will train your brain to think about language and make continuous stylistic choices in your work. Even if you can only manage 10 minutes a day on a writing project, or even if you just keep a writing journal, the simple practice of putting thoughts to words and words to pages will naturally sharpen the personality you put into your writing.

Hone Your Own Writing Style at Writers.com

One last piece of advice on writing styles is to read The Elements of Style by Strunk and White. You can find a free copy of it online here . Most of the advice in this book has remained true in the many decades since its publication, and while rules are certainly made to be broken, you should understand the rules first before breaking them.

Want clear, direct feedback on your writing styles and the other elements of your work? Take a look at any of the upcoming creative writing classes at Writers.com! Our instructors are masters of the craft and know how to sharpen your words so that they zing across the page.

Sean Glatch

[…] Writing Styles: What is Style in Writing? […]

very informative and interesting; very useful for all readers.

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• Knowledge Base
• How to write a literary analysis essay | A step-by-step guide

How to Write a Literary Analysis Essay | A Step-by-Step Guide

Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.

A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.

Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :

• An introduction that tells the reader what your essay will focus on.
• A main body, divided into paragraphs , that builds an argument using evidence from the text.
• A conclusion that clearly states the main point that you have shown with your analysis.

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Table of contents

Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.

The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.

Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.

To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.

Language choices

Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?

What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).

Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.

Narrative voice

Ask yourself:

• Who is telling the story?
• How are they telling it?

Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?

Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.

The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?

Consider how the text is structured, and how the structure relates to the story being told.

• Novels are often divided into chapters and parts.
• Poems are divided into lines, stanzas, and sometime cantos.
• Plays are divided into scenes and acts.

Think about why the author chose to divide the different parts of the text in the way they did.

There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?

With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.

In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for  dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.

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Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.

If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:

Essay question example

Is Franz Kafka’s “Before the Law” a religious parable?

Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:

Thesis statement example

Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.

Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.

Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.

Say you’re analyzing the novel Frankenstein . You could start by asking yourself:

Your initial answer might be a surface-level description:

The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .

However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:

Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.

Finding textual evidence

To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.

It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.

To start your literary analysis paper, you’ll need two things: a good title, and an introduction.

Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.

A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.

If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.

“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”

The introduction

The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.

A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.

Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!

If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.

The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.

Paragraph structure

A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.

Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.

In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.

Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.

Topic sentences

To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.

A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:

… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.

Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.

This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.

Using textual evidence

A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.

It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:

It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.

In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:

The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.

A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

College essays

• Choosing Essay Topic
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• College Essay Format & Structure
• Comparing and Contrasting in an Essay

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By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.

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46 Introduction to Analysis Writing

Amy Minervini

by Amy Minervini

Analysis is the process of digging deeper into what we read, see, and hear. This skill is used both in academic writing and in everyday life. In-depth exploration helps us to more effectively understand issues in society and our daily lives, including but not limited to the articles and books we read, the videos we watch, the brands and ads that influence our buying habits, and the songs we listen to. We can analyze authors, subjects, issues, images, and texts of all kinds using various methods of analysis. This chapter will introduce you to rhetorical and visual analysis, text and literary analysis, and cause and effect (another form of analysis).

Key Characteristics

Analysis writing generally exhibits the following:

• Scrutinizing the details of a subject or text and then interpreting those details to show a particular point of view or theme is being conveyed
• Using a subjective point of view, backed up by evidence
• Determining the use of and quality of rhetorical strategies (pathos, ethos, logos, and kairos) used by others, see the Reading and Writing Rhetorically chapter for more information
• An incorporation of ethos, pathos, and logos to help support claims
• Awareness of and critique of bias that seeps in–for more information on this aspect, see the Addressing Bias and Stakeholder Concerns chapter for more information

Essay Types within this Chapter

• Rhetorical Analysis
• Textual (Article) Analysis
• Literary Analysis
• Image Analysis
• Film Analysis
• Cause and Effect

Introduction to Analysis Writing Copyright © 2020 by Amy Minervini is licensed under a Creative Commons Attribution 4.0 International License , except where otherwise noted.

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Analyzing Your Own Style

Note: Before you can start to refine and improve your style, you have to know the characteristics of your style. In other words, you have to be able to describe it. Together, the four steps below are a useful quantitative way of analyzing and thinking about style. In these steps you consider sentence length, emphasis, sentence variety, and first elements.

Sentence length

Count the number of words in each sentence in your manuscript. List each number on a piece of paper, drawing a line under the number for the last sentence in each paragraph. For example, for the “Note” above, the list would look like this:

19 11 16 13

Looking at the list tells us not only the length of each sentence, but the way the sentences group themselves in paragraphs.

Look at the list and answer the following questions. Assume that sentences of 1-20 words are short; 21-45 are medium; 46-70 are long; 71+ are extra long.

• How many words are in the longest sentence?
• How many words are in the shortest sentence?
• Are the long sentences clumped together or spread out?
• Are the short sentences clumped together or spread out?
• Do some paragraphs contain mostly (or only) long sentences?
• Do some paragraphs contain mostly (or only) short sentences?
• What’s the average length of your sentences?

Advice: Variety in sentence length is usually more effective than unchanging sentence length because readers subconsciously get bored with the same length all the time. Short sentences are often useful for driving home a point or making a dramatic impact; longer sentences are useful for summing up a series of points at the end of a paragraph (or section), for qualifying an idea stated in a previous sentence, or for making a transition from one idea to another. If the majority of your sentences are long or extra long, try breaking a few of them into short sentences (only you can decide which points you wish to emphasize or qualify). If the majority of your sentences are short, try combining some of them into longer sentences. Doing so will help clarify the relationship between the ideas contained in each short sentence.

Emphasis in your sentences

Note: all the links in “Emphasis in your sentences” require an MIT certificate.

1. Underline the most important thing in each sentence in your manuscript.

2. Where is that most important thing located – at the beginning of the sentence? at the end? in the middle?

3. Advice : Emphasis is a complicated issue, but here are some guidelines to follow:

• All other things being equal, the most emphatic spot in the sentence is at the end; the second most emphatic spot is at the beginning; the middle is the least emphatic spot and hence receives the least attention from readers. The idea or words you want emphasized should be at the beginning or at the end of the sentence.
• All other things being equal, old information (information your readers already know either in general – the sun rises in the east – or from earlier parts of your paper) should not be emphasized; it should be used to lead into new information (information that you can’t assume your readers know.) New information should usually be placed at the end of sentences; old information is placed at the beginning as a transition from the previous sentence.
• All other things being equal, the subject slot and the predicate verb slot are the two most emphatic “function” slots in a sentence. They gain even greater emphasis if they occupy the beginning or end of the sentence.
• All other things being equal, independent clauses receive more emphasis than dependent clauses . This guideline coincides with the fact that the sentence’s subject and verb are emphatic slots and are always found in the independent clause.

Note that anything out-of-order gets emphasis (e.g., “for a long time she cried”). The length of her crying gets significantly more emphasis here because it’s out-of-order. Also, the middle of the sentence gains some emphasis because the sentence’s subject (“she”) is located there.

• Nouns located in prepositional phrases receive little emphasis.
• Never end a sentence with a transitional word or phrase ; move the transition to the front of the sentence.

Sentence variety

1. Review the standard ways of analyzing sentence structure:

• simple sentence: “I told the truth.”
• compound sentence: “I told the truth, and she cried.”
• complex sentence: “She cried because I told the truth.” or “When I told the truth, she cried.”
• Compound-complex: “After I told the truth, she cried and I felt guilty.”

2. Make a list of the structures of all your sentences, using the letter code above ( a for simple, d for compound-complex). Underline the letter for the last sentence in each paragraph.

As with length, variety in structure piques the reader’s interest and also helps you see the connections between your ideas. Moreover, varying the structures will help you place the emphasis more effectively.

Further advice: Remember that using modifiers is also an effective way to vary your style:

Here a key word – lifestyle – is repeated and elaborated upon.

[Here a word – experience – sums up or renames the concept in the first part of the sentence and new information about it is added.]

• free modifier: “Lily is a woman of powerful emotions, driven by a fear of dinginess and shaken by the love she feels for a poor man.”

[Here past participles – driven , shaken – are added to the end of the sentence to elaborate upon the final noun before the comma – emotions .]

“Failing to go to church with Percy, gambling at cards, and choosing Selden’s company over his, Lily loses her chance to ‘secure’ Percy’s marriage proposal.”

[Here, present participles are placed at the beginning to elaborate upon the sentence’s predicate verb – loses .]

First elements

First elements are the first grammatically detachable units of a sentence. For example, in this sentence the transitional phrase “For example” is the first detachable unit. The first element in this sentence, however, is the subject “the first element.” If the first element is not the subject, it is often (but not always) followed by a comma.

Consider the following examples

1. I ran down the street screaming because my shoes were on fire. ( I , the subject, is the first element.)

2. Screaming, I ran down the street because my shoes were on fire. ( Screaming , a present participle, is the first element.)

3. Down the street I ran screaming because my shoes were on fire. ( Down the street , a prepositional phrase, is the first element.)

4. Because my shoes were on fire, I ran down the street screaming. ( Because my shoes were on fire , a dependent clause, is the first element.)

5. Further, I ran down the street screaming because my shoes were on fire. ( Further , a transitional word, is the first element.)

6. I ran down the street screaming with fiery shoes on my feet. ( I , the subject, is the first element.)

Implications of first elements

Notice that sentences #1 and #6 seem to feel the same when we read them. In other words, two such structures back-to-back would not feel different to us as we read, hence we would have no sense of variety. Yet their structures are different – #1 is a complex sentence while #6 is a simple sentence. Variety in structure alone, then, cannot guarantee a sense of variety in style.

In addition to varying the length and structure of your sentences, vary their first elements as well. No doubt the majority of your sentences will begin with the subject, but if more than 3 consecutive sentences start with the subject (or with any other first element), you should probably change one of them.

Analyze your own first elements

Below is a list of common first elements. Beside each first element, write the number of sentences in your paper that begin with that type of first element.

• Subject of the sentence
• Transitional word or phrase
• Prepositional phrase
• Expletives (there, it)
• Modifiers (e.g., adverbs such as perhaps, participles)
• Dependent clauses
• Inverted verbs (Is this the face that launched a thousand ships?)
• Interrogatives (e.g., Why, How)
• Objects (To me he gave the book, The book he gave to me)
• Predicate adjectives or nominatives (Happy she was; A doctor she was)
• Other (anything you can’t identify)

7 Simple Techniques to Analyze Your Text for Better Writing

Analyzing texts is a vital skill for improving writing. By examining different texts, you can learn a lot about structure, style, and content. This knowledge is key to enhancing your own writing. Understanding how authors construct their works gives you tools to develop your style. It’s like uncovering a roadmap to effective writing. By studying various texts, you gain insights that can transform your writing, making it more compelling and polished.

Understanding Text Structure

Recognizing text structures is crucial in writing. Each structure, be it narrative, expository, or persuasive, serves a different purpose. Understanding these can guide your writing approach. For example, a narrative structure focuses on storytelling, while expository aims to inform and explain.

One way to grasp these structures is through examples. Consider using a paper writing service like EssayPro to see samples. These services often provide well-crafted examples that illustrate different structures effectively.

When analyzing texts, look for clues. Narratives often use descriptive language and personal anecdotes, expository texts present facts and explanations, and persuasive writings argue a point with supporting evidence. Identifying these elements helps in applying them to your writing.

Analyzing Writing Style

Analyzing an author’s writing style involves focusing on elements like tone, word choice, and sentence structure. The tone of a text can range from formal to conversational, serious to humorous. Pay attention to how the tone influences the reader’s engagement.

Word choice is another critical element. Notice whether the language is simple or complex, abstract or concrete. This can reveal a lot about the author’s intent and audience.

Finally, examine the sentence structure. Short, punchy sentences can create a fast-paced narrative, while longer, complex sentences might be used for detailed descriptions or arguments. Understanding these elements can help you develop a versatile and effective writing style in your writing.

Theme and Content Analysis

Identifying themes and main ideas is key in text analysis. Themes are the underlying messages or central ideas of a text. To find them, look for recurring topics or concepts. Ask yourself what the author is trying to convey about these topics.

For complex ideas, break them down into smaller parts. Analyze each part separately and consider how they connect. Look for patterns or contrasts in the text. This helps in understanding the broader theme or message.

Summarizing each paragraph can also be helpful. It allows you to see how ideas develop and interact throughout the text, leading to a clearer understanding of the main theme.

Character and Plot Analysis (For Fiction)

In analyzing characters in fiction, focus on their development, motivations, and interactions. Look at how they evolve and respond to challenges. This understanding can enrich your character creation.

Plot analysis involves understanding the sequence of events and their impact on the narrative. Identify key plot points and how they drive the story forward. Notice the conflict and resolution patterns.

Applying these insights to your writing can enhance character depth and plot structure. Use character analysis to create believable, dynamic characters. For plot, borrow structural elements like rising action, climax, and resolution to craft compelling narratives. Understanding these elements in existing texts can significantly improve your storytelling skills.

Use of Literary Devices

Recognizing literary devices like metaphors , similes, and symbolism requires attention to detail. Metaphors and similes create vivid imagery by comparing things, often enhancing a reader’s understanding and experience. Symbolism, on the other hand, involves using objects or actions to represent deeper meanings or concepts.

These devices add depth and layers to writing, allowing readers to engage with the text on a more meaningful level. To incorporate them effectively in your own writing, practice identifying them in texts you read. Then, experiment with using them to add richness and complexity to your narratives or descriptions, enhancing the overall impact of your writing.

Comparing Texts

Comparing and contrasting texts is like using the best coursework writing service – it’s about finding quality insights from different sources. Start by choosing texts with similarities in theme or style, then identify their differences. Look at aspects like tone, structure, and literary devices. Note how each text approaches these elements uniquely.

This practice broadens your perspective, exposing you to diverse writing styles and ideas. By analyzing these differences and similarities, you can develop a more nuanced understanding of writing techniques, which can then be applied to enhance your own writing style and content.

Applying Analysis to Writing

Applying insights from text analysis to your writing can significantly improve your skills. Use the structures you’ve identified to organize your content effectively. If a certain tone resonates with you, try incorporating a similar style in your writing. Experiment with literary devices you’ve analyzed to add depth and interest to your work.

Remember, experimentation is key. Don’t be afraid to try different techniques and styles. This process helps you find your unique voice and enhances your writing versatility. Keep practicing and revisiting the texts you admire to continually refine and evolve your writing style.

Text analysis is an invaluable tool for writers, offering insights into various writing styles, structures, and techniques. By regularly analyzing texts , you can enhance your understanding of effective writing and apply these learnings to your work. Embrace this practice as part of your writing routine. It can sharpen your skills, broaden your perspectives, and ultimately lead to more refined and compelling writing. Keep exploring and learning from different texts to continually grow as a writer.

Academic writing

• Thinking about grammar
• Correct punctuation
• Writing in an academic style

Styles of writing

Descriptive writing, analytical writing, reflective writing.

• Effective proof reading

When you’re asked to write an assignment you might immediately think of an essay, and have an idea of the type of writing style that’s required.

This is likely to be a ‘discursive’ style, as often in an essay you’re asked to discuss various theories, ideas and concepts in relation to a given question. For those coming to study maths and science subjects, you might be mistaken in thinking that any guidance on writing styles is not relevant to you.

In reality, you’ll probably be asked to complete a range of different assignments, including reports, problem questions, blog posts, case studies and reflective accounts. So for the mathematicians and scientists amongst you, you’re likely to find that you’ll be expected to write more at university than perhaps you’re used to. You may be asked to write essays, literature reviews or short discussions, in which all the advice on this course, including the advice below, is of relevance. In addition, even writing up your equations or findings will require you to carefully consider your structure and style. Different types of assignment often call for different styles of writing, but within one assignment you might use a variety of writing styles depending on the purpose of that particular section.

Three main writing styles you may come across during your studies are:  descriptive ,  analytical  and  reflective . These will require you to develop your writing style and perhaps think more deeply about what you’ve read or experienced, in order to make more meaningful conclusions.

The diagram below shows examples of each of these writing styles. It takes as an example a trainee teacher’s experience within a classroom and shows how the writing style develops as they think more deeply about the evidence they are presented with.

All of these forms of writing are needed to write  critically . You’ll come across the term  critical  in lots of contexts during your studies, for example critical thinking, critical writing and critical analysis. Critical writing requires you to:

• view a topic from a variety of angles

• evaluate evidence

• present a clear conclusion

• and reflect on the limitations of your own argument.

So how will you know which writing style is needed in your assignments? As mentioned, most academic assignments will require a certain amount of description but your writing should mainly be analytical and critical. You’ll be given an assignment brief and marking guidelines, which will make clear the expectations with regards to writing style. Make sure you read these carefully before you begin your assignment.

It’s unlikely that you’ll be asked to only write  descriptively , though this form of writing is useful in certain sections of reports and essays. You’ll need elements of description in essays before you go on to analyse and evaluate. The description is there to help the reader understand the key principles and for you to set the scene. But description, in this case, needs to be kept to a minimum.

However  descriptive  writing is often used in the methodology and findings sections of a report, or when completing a laboratory report on an experiment. Here you’re describing (for instance) the methods you adopted so that someone else can replicate them should they need to. Descriptive writing focuses on answering the ‘what?’ ‘when’ and ‘who’ type questions.

Analytical  writing style is often called for at university level. It involves reviewing what you’ve read in light of other evidence. Analytical writing shows the thought processes you went through to arrive at a given conclusion and discusses the implications of this. Analytical writing usually follows a brief description and focuses on answering questions like: ‘why?’ ‘how?’ and ‘so what?’

Have a look at our LibGuide on Critical Analysis: Thinking, Reading, and Writing for more in-depth guidance on analytical writing.

Not all writing will require you to write  reflectively . However you might be asked to write a reflective account after a work placement or find that at the end of a report it might be appropriate to add some personal observations. This style of writing builds on analysis by considering the learning you’ve gained from practical experience. The purpose of the reflection is to help you to make improvements for the future and, as such, it is a more ‘personal’ form of academic writing often using the first person. Evidence still has a key role in reflective writing; it’s not just about retelling your story and how you felt. And evidence in the case of reflection will include your own personal experience which adds to the discussion. Reflective writing focuses on future improvements and answers questions like ‘what next?’

• Practice-based and reflective learning LibGuide More details on thinking and writing reflectively.
• << Previous: Writing in an academic style
• Next: Effective proof reading >>
• Last Updated: Feb 13, 2024 9:14 AM
• URL: https://libguides.reading.ac.uk/writing

On Writing Well

William zinsser, everything you need for every book you read., the elements of style quotes in on writing well.

One of the pictures hanging in my office in mid-Manhattan is a photograph of the writer E. B. White. It was taken by Jill Krementz when White was 77 years old, at his home in North Brooklin, Maine. A white-haired man is sitting on a plain wooden bench at a plain wooden table—three boards nailed to four legs—in a small boathouse. The window is open to a view across the water. White is typing on a manual typewriter, and the only other objects are an ashtray and a nail keg. The keg, I don’t have to be told, is his wastebasket.

The Elements of Style Term Timeline in On Writing Well

Ernest Hemingway’s Writing Style ✍️

Ernest Hemingway is remembered for many things-- his lifestyle, his classic works of literature, and for the style with which he wrote them.

Quick Facts

Written by Emma Baldwin

B.A. in English, B.F.A. in Fine Art, and B.A. in Art Histories from East Carolina University.

Hemingway’s stories and novels are uncompromising. The language is short, direct, and to the point. He does not, like his contemporaries, adorn his prose with extra words and poetic-sounding language. 

Hemingway’s style was semi-revolutionary. He stripped away everything he didn’t need from a sentence or paragraph and brought it down to the bare bones. There, he was able to create a new way of writing dialogue and descriptions that got to the heart of the story much quicker. While it might seem like this would simplify someone’s writing, that was certainly not the case. 

Hemingway’s characters and storylines are complex and multilayered. He was able to hide, within the dialogue of his characters, their personalities, quirks, and secrets. It takes dedicated readers to get to the heart of one of Hemingway’s dramas. (‘ Hills Like White Elephants ‘ is a prime example.)

Elements of Hemingway’s Writing Style 

One of the main features of Hemingway’s style is his use of short, one, or two-syllable words. In passages from his novels, such as ‘ The Old Man and the Sea ‘ , readers can find numerous examples of these techniques. The words are easy to understand but when strung together, they can create skillful images and lines of dialogue. 

Take a look at this line from ‘ For Whom the Bell Tolls ‘ as an example:

The world is a fine place and worth fighting for and I hate very much to leave it.

This simple sentence is eighteen words long and sixteen of those eighteen words are one syllable in length. The remaining two are only two syllables themselves.

In addition to short words, Ernest Hemingway also used short sentences. While this was not always the case, it is true throughout most of his work. When a very short sentence is included alongside longer sentences, it is emphasized. Readers might be met with a bit of surprise at the brevity of a phrase and know intuitively that it’s more important. 

He also chose to do away with extraneous adverbs and always chose the simpler word over the harder word. The latter is part of the reason why readers often feel as though Hemingway’s characters speak like real people. 

When Hemingway was awarded his Nobel Prize for Literature in 1954 the committee’s reasoning went as follows: 

for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style.

Hemingway and The Iceberg Theory 

“The Iceberg Theory” is a method of writing that suggests writers should focus on a simple, minimalistic style. This means they do not explicitly state what someone is feeling or what the consequences of an action are. The most important parts of the story, those which Hemingway did not spell out, are beneath the surface. This is compared to the way that the bulk of an iceberg is also hidden from view. 

Readers can look to this example from ‘ The Old Man and the Sea’ as an example of Hemingway’s minimalistic style, and use of short, simple words: 

He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish. 

This example also provides a wonderful instance of the iceberg theory in action. The words spell out clearly what’s going on but readers can easily add more on top of this before even getting to the next paragraphs of the novel. The “old man” is very likely suffering, he doesn’t have much money because he fishes in a “skiff” and he lives near the Gulf Stream. 

How Did Hemingway Develop His Writing Style?

Scholars have often cited Hemingway’s training and career as a journalist as the source of his writing style. In this format, poetic language has no place. It is the facts only in easy-to-understand and digest sentences. When characters speak in his novels, it often feels strikingly real. There is a great deal of emotion beneath the surface that has to be interpreted by the reader, just as they would be in good journalism. The facts first, emotions later. 

In one instance when Hemingway was speaking about his writing style, he explained that he often makes numerous, sometimes obsessive revisions. He once described how he revised/rewrote the entirety of ‘ The Old Man and the Sea ‘ many times before he was happy with it. This no doubt included cuts, removing bits of description, and unneeded dialogue.

About Emma Baldwin

Emma Baldwin, a graduate of East Carolina University, has a deep-rooted passion for literature. She serves as a key contributor to the Book Analysis team with years of experience.

Cite This Page

Baldwin, Emma " Ernest Hemingway's Writing Style ✍️ " Book Analysis , https://bookanalysis.com/ernest-hemingway/writing-style/ . Accessed 30 March 2024.

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Styles in Writing - Analyzing an Author's Style Lesson Plan

• Trent Lorcher
• Categories : English lesson plans for middle school
• Tags : Teaching middle school grades 6 8

Analyzing Styles in Writing

Key Aspects in Analyzing an Author’s Style

Discuss the following concepts about writing style:

• Analyzing author’s style involves understanding the particular way a piece is written.
• Style in writing is not what is said but how it is said.
• Analyzing author’s style involves analyzing the writer’s unique way of communicating ideas.
• Styles in writing are created deliberately by the author to convey a specific mood or effect.
• sentence length, structure, variation, and position
• the use of sensory details, figurative language , and other literary devices
• the use of sound devices --alliteration, onomatopoeia, rhythm, repetition
• the use of dialogue
• word choice
• the use of local color
• the use of irony

Styles in Writing Lesson Ideas

Use the following lesson ideas to help students analyze various styles in writing:

• Use a three column chart labeled Aspects of Style, Selection(s), and Example(s) . For example, an analysis of Homer’s style might include: 1) the use of stock epithets under aspects of style, The Odyssey for selections, and gray-eyed Athena under example. Instruct students to fill out the chart for a specific author.
• Write a style analysis using information from the chart.
• Write a style comparison of two different writers.
• In groups of three or four, choose one paragraph from a literary work, indicative of a particular author’s style, and find at least 5 examples. Each member of the group should become a specialist on one aspect of the author’s style. After 20 minutes, mix up the groups and have each expert discuss his or her findings (similar to a jigsaw activity).
• Play an audio recording of different literary selections, preferably those that demonstrate a distinct style–Hemingway, Steinbeck, Alice Walker, Bradbury, Poe, Hawthorne. Listening to an author helps students recognize rhythm and other stylistic devices.
• Have student’s imitate an author’s style or rewrite a selection in a completely different style. For example, How would Of Mice and Men read if Herman Melville wrote it? Remind students to review key aspects of style before they begin.
• Bust out the dreadlocks wig you wore to Jamaica or the ski boots you wore to Canada and discuss how culture affects style. Once you have their attention, read culturally distinctive authors–Alice Walker, Amy Tan, Mark Twain, Langston Hughes, for example.

Image by  Ryan McGuire  from  Pixabay

This post is part of the series: Reading Literature Lesson Plans

Help students read better with these great lesson plans

• Lesson Plan: Making Inferences and Predictions in Literature
• Teaching Reading Skills Lesson Plan: Strategies for Reading Comprehension
• Lesson Plan: Analyzing an Author&rsquo;s Style in Literature
• Reading Comprehension Strategies: How Writers Organize
• Strategy for Reading Modern Poetry

Style Analysis of Academic Writing

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• Stefan Conrad 19  

Part of the book series: Lecture Notes in Computer Science ((LNISA,volume 6716))

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This paper presents an approach which performs a Style Analysis of Academic Writing in terms of formal voice, readability and scientific language. Our intention is an analysis of academic writing style as a feedback for the authors and editors. The extracted features of a document collection are used to create Self-Organizing Maps which are the interim results to generate reports in our Full Automatic Paper Analysis System (Fapas). To evaluate this method, the system has to solve different tasks to verify the informative value of the generated maps and reports.

• Text Mining
• Linguistic Style Analysis
• User Interfaces and Visualization

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Argamon, S., Whitelaw, C., Chase, P., Hota, S.R., Garg, N., Levitan, S.: Stylistic text classification using functional lexical features: Research articles. J. Am. Soc. Inf. Sci. Technol. 58(6), 802–822 (2007)

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Scholz, T., Conrad, S. (2011). Style Analysis of Academic Writing. In: Muñoz, R., Montoyo, A., Métais, E. (eds) Natural Language Processing and Information Systems. NLDB 2011. Lecture Notes in Computer Science, vol 6716. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-642-22327-3_30

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Who do you write like?

Discover which famous writers match your style using automated text analysis.

October 11, 2016 by Mark

A person's writing style reflects a great deal about them. It can reveal much regarding their educational attainment, social class, reading habits, and patterns of thought. One's style is also an intensely personal thing - the inner voice made manifest on the page or screen. However, despite the seemingly ineffable qualities of style, great progress has been made in measuring writing quantitatively. This process, known as stylometry, can identify the influence of one writer on another or reveal the author of unattributed work . In a previous post , I explored the stylistic similarity between hundreds of historical authors whose works are freely available on Project Gutenberg . You can see the resulting network graph on the right (click to see a larger view in the original post). Here I've translated my text analysis code to javascript so that you can see where you fit in this network. If you enter a sample of your writing in the form below, you can see how similar your style is to that of some of history's most famous writers!

Edit: Wait! Please consider using the version of this tool on my research site: MySocialBrain.org . It's just like the version here, but your data can be used for Science(!) rather than just my personal blog.

Click on the name of a writer to see which texts written by them are freely available on Project Gutenberg. The magnitude of (dis)similarities between your style and these authors' styles depend on a number of factors. In theory, they range between -1 and 1, but it is unlikely that you will observe such large values even if you submit a text sample from one of the authors themselves (unless you submit a composite of all of their writing). Providing larger samples of text will on average increase the range of observable magnitudes because the resulting estimate of your style will be more reliable. Genre will likely also have a substantial effect on stylistic similarity. If and when enough responses accrue, I may post a follow-up on the effects of genre on user-submitted writing styles. It's also worth emphasizing that each author's style is aggregated across all of their work. Lewis Carroll, for instance, shows up at the bottom of the graph with great consistency because, in addition to Alice and Wonderland his books on mathematics and logic (which contain lots of exotic punctuation) are included. Chaucer suffers from a similar issue because the text of his Canterbury Tales is riddled with asterisks denoting the modern English equivalent of his Middle English.

To analyze your style, we made counts of the various "stop words" that you use. Stop words are grammatical, content-free words such as conjunctions and articles. We also counted how frequently you used various punctuation marks. The code then compared all of these counts to similar sets we measured in advance from a number of famous writers. This comparison consisted of calculating the rank correlation between the (frequency-normalized and standardized) counts from your writing and those of the famous authors. Not all of the writers shown in the network above were included in this analysis. To keep the results tractable, I focused on a few of the most famous, and also limited the list to writers who originally wrote in English to minimize the influence of translators. To be considered, the authors also had to be prolific, as described in my previous post. Thus many famous writers who wrote a small number of works do not appear on the list. This limitation made famous authors easier to identify, but had the more important virtue of limiting the analysis to authors for whom we can estimate style robustly, without leaning too heavily on any single work.

© 2016 Mark Allen Thornton. All rights reserved.

Analysing the Writing Style of Authors

Critiquing the work of other creators is a crucial part of creation itself. Be it music, art or literature, learners always try to dissect the masterpieces. When it comes to understanding ‘styles of writing’, reading other authors is a good place to start. However, you must take it up a notch and learn how to analyse their style.

Understanding the writing style of great authors helps you to observe their relationship with language. Each author has a unique way of conveying the mood purpose of the text. Essentially, it is not what is said but ‘how’ it is said.

An author’s style is made of a few key elements. This post explores these and also explains how to analyse them. Here’s an easy checklist that you can use:

Diction is the kind of vocabulary a writer uses. Take a look at the choice of words in a particular text. Are the words long or short, simple or complex, modern or archaic? Are these colloquial or slang words, or rather formal? Does the writer borrow from other languages and dialects?

Consider this excerpt from Train to Pakistan by Khushwant Singh:

“Go, go wherever you want to go. If you want to jump in a well, jump. If you want to hang like your father, go and hang. It is my lot to weep. My kismet …. it is all written there.”

Singh has used plenty of Hindi words like kismet, sahib, budmash, etc. This makes the characters in rural India seem more realistic.

● Sentence structure and length:

Ponder over whether the sentences are long or short or whether the author plays around with the length to create a rhythm. Observe if the sentences are fragmented or complete. Do they include a lot of commas and have a complex structure or are they straightforward? Are there any run-on sentences?

Try to see how these choices influence the mood or the meaning. Many authors like to maintain a variety of long and short sentences to strike a good rhythm, like Ernest Hemingway in his book The Old Man and the Sea:

“The punishment of the hook is nothing. The punishment of hunger, and that he is against something that he does not comprehend, is everything. Rest now, old man, and let him work until your next duty comes.”

● Use of dialogue:

We are all aware that dialogue is an integral part of most narrative writings. The dialogues an author uses can set the tone and the mood. They reveal the traits and motives of the characters and move the story forward.

Some authors tend to rely heavily on dialogues, thus minimizing narration. This gives a sense of fast action and intrigue, while others have the narrator taking ample space between dialogues, setting a slow pace.

The choice of dialogues is deeply intertwined with diction. Also, the choice of words in the dialogue reflect when and where the story is taking place.

● Figures of Speech:

Writers employ figures of speech without even trying. You can analyse if there is any pattern of them using metaphors or similes a lot.

Do they explore symbols, motifs and foreshadowing to make the story more mysterious? Are they vivid with the use of imagery? Are they personifying a non-living object?

Consider this fragment of a sentence from O Henry’s short story, The Gift of Magi:

“… and looked out dully at a grey cat walking a grey fence in a grey backyard”

We see imagery, symbolism using the colour grey to show despair, as well as repetition here.

● Sound devices:

Writing is not just about words written on paper; there’s a sense of music in it too. Authors use a variety of sound devices to create a phonetic impact with their words and sentences. This clearly has an impact on their overall style, tone and mood.

Onomatopoeia, repetition, alliteration and internal rhyme are some basic devices that writers commonly use. There are subtle ways in which choice of words and sentence structure also affect the way a text sounds.

“Double, double toil and trouble;

Fire burn, and cauldron bubble.”

This famous extract from Shakespeare’s Macbeth has alliteration, rhyme and an overall highly engaging phonetic impact.

● Structure:

You can also see whether there is linear structure and chronology in the narrative. Try to understand how it affects your interaction with the story. Notice if there are any flashbacks or flash-forwards in the story.

Virginia Woolf broke the rules of chronology in her book Mrs. Dalloway. The story only covers one day of the character’s life but is interspersed with flashbacks in a random sequence. This renders a disorienting nature to Woolf’s style.

The way a writer interacts with their work determines their tone. It shows their attitude towards the text or the events in a story. You can describe the tone in a variety of words.

You can ask yourself whether the tone is empathetic or condescending. Is it critical or sarcastic? Light and breezy or dark and sullen? Is it objective and distant or intimate? Is it humorous or serious? Think about how the tone brings out a certain emotion in you as a reader.

For instance, in the short story The Gift of Magi, the tone is warm, friendly and wise. It is as if the narrator is an old, wise man looking empathetically at the young and impulsive characters.

Learn Writing Online:

You get to learn a lot about writing by critiquing other authors’ style and picking elements that appeal to you. The creative writing needs time to develop and refine. So, just keep writing! For more tips on how to find your own writing style, join the unluclass by none other than Ruskin Bond.

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Microsoft 365 Life Hacks > Writing > How you can use AI to help you learn more about poetry

How you can use AI to help you learn more about poetry

Whether you’re a beginning writer, a literary award winner, or a curious reader, there’s always something more to learn about poetry—a writing genre that encompasses thousands of cultures and years. See how AI tools can generate writing prompts that can spark creativity, analyze existing works for powerful metaphors and themes, or generate comparable works in different poetic styles.

Ask AI for creative writing prompts

The beauty of creative writing is that anything can be used as a jumping-off point for a beautiful work. Use AI-powered tools to generate creative writing prompts such as a random phrase, a full line of poetry, or a set of words that can be connected into a unified work. All of these can be used as a starting point for writing poetry: you can challenge students to flex their creative muscles and see what kind of interesting and unusual angles that this work can lead to.

AI for poetry analysis

AI can be used for poetry analysis, no matter what style you’re exploring. The lengthy narratives of epic poetry , for example, can seem dense and daunting at first. But by asking AI to analyze a work for theme, tone, imagery, and other literary devices, you can discover meanings and clues to what a line might hold, how effective the work is at conveying its themes, and gain a deeper understanding of the mechanics of poetry.

If you’re looking to analyze your own work, AI tools can provide feedback on areas like grammar, syntax, and the voice of your narrator. This can help you discover hidden or subtle meanings that you may have never thought of before! Once you put another perspective on your own creative work, you might even wind up with a breakthrough in your own themes and message.

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Understand different poetic forms with AI-generated examples

You can easily explore poetic forms with AI by drawing upon it to provide examples of various forms. Many writers know what a haiku is, for example, but do you know what a ghazal or pantoum is?

In a ghazal, each couplet ends on the same word or phrase, and is preceded by the couplet’s rhyming word—notice how the couplets end with the first few lines of Aimee Nezhukumatathil’s “Red Ghazal:”

I’ve noticed after a few sips of tea, the tip of her tongue, thin and red with heat, quickens when she describes her cuts and bruises—deep violets and red.

The little girl I baby-sit, hair orange and wild, sits splayed and upside down on a couch, insists her giant book of dinosaurs is the only one she’ll ever read.

The night before I left him, I could not sleep, my eyes fixed on the freckles of his shoulder, the glow of the clock, my chest heavy with dread.

And in a pantoum, the second and fourth lines of each stanza are used as the first and third lines of the next one, and poems usually have four to five stanzas—such as in A.E. Stallings’ “Another Lullaby for Insomniacs:”

Sleep, she will not linger: She turns her moon-cold shoulder. With no ring on her finger, You cannot hope to hold her. She turns her moon-cold shoulder And tosses off the cover. You cannot hope to hold her: She has another lover. She tosses off the cover And lays the darkness bare. She has another lover. Her heart is otherwhere. She lays the darkness bare. You slowly realize Her heart is otherwhere. There’s distance in her eyes. You slowly realize That she will never linger, With distance in her eyes And no ring on her finger.

Asking AI what either of these forms is, and providing examples, can help you unlock new and unusual poetic forms. And when you ask AI to rewrite an existing work into a new poetic form, you might gain insight into how these phrasings, stanzas, and couplets work. These tools can enhance and supplement your creative writing process.

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What the Data Says About Pandemic School Closures, Four Years Later

The more time students spent in remote instruction, the further they fell behind. And, experts say, extended closures did little to stop the spread of Covid.

By Sarah Mervosh ,  Claire Cain Miller and Francesca Paris

Four years ago this month, schools nationwide began to shut down, igniting one of the most polarizing and partisan debates of the pandemic.

Some schools, often in Republican-led states and rural areas, reopened by fall 2020. Others, typically in large cities and states led by Democrats, would not fully reopen for another year.

A variety of data — about children’s academic outcomes and about the spread of Covid-19 — has accumulated in the time since. Today, there is broad acknowledgment among many public health and education experts that extended school closures did not significantly stop the spread of Covid, while the academic harms for children have been large and long-lasting.

While poverty and other factors also played a role, remote learning was a key driver of academic declines during the pandemic, research shows — a finding that held true across income levels.

Source: Fahle, Kane, Patterson, Reardon, Staiger and Stuart, “ School District and Community Factors Associated With Learning Loss During the COVID-19 Pandemic .” Score changes are measured from 2019 to 2022. In-person means a district offered traditional in-person learning, even if not all students were in-person.

“There’s fairly good consensus that, in general, as a society, we probably kept kids out of school longer than we should have,” said Dr. Sean O’Leary, a pediatric infectious disease specialist who helped write guidance for the American Academy of Pediatrics, which recommended in June 2020 that schools reopen with safety measures in place.

There were no easy decisions at the time. Officials had to weigh the risks of an emerging virus against the academic and mental health consequences of closing schools. And even schools that reopened quickly, by the fall of 2020, have seen lasting effects.

But as experts plan for the next public health emergency, whatever it may be, a growing body of research shows that pandemic school closures came at a steep cost to students.

The longer schools were closed, the more students fell behind.

At the state level, more time spent in remote or hybrid instruction in the 2020-21 school year was associated with larger drops in test scores, according to a New York Times analysis of school closure data and results from the National Assessment of Educational Progress , an authoritative exam administered to a national sample of fourth- and eighth-grade students.

At the school district level, that finding also holds, according to an analysis of test scores from third through eighth grade in thousands of U.S. districts, led by researchers at Stanford and Harvard. In districts where students spent most of the 2020-21 school year learning remotely, they fell more than half a grade behind in math on average, while in districts that spent most of the year in person they lost just over a third of a grade.

( A separate study of nearly 10,000 schools found similar results.)

Such losses can be hard to overcome, without significant interventions. The most recent test scores, from spring 2023, show that students, overall, are not caught up from their pandemic losses , with larger gaps remaining among students that lost the most ground to begin with. Students in districts that were remote or hybrid the longest — at least 90 percent of the 2020-21 school year — still had almost double the ground to make up compared with students in districts that allowed students back for most of the year.

Some time in person was better than no time.

As districts shifted toward in-person learning as the year went on, students that were offered a hybrid schedule (a few hours or days a week in person, with the rest online) did better, on average, than those in places where school was fully remote, but worse than those in places that had school fully in person.

Students in hybrid or remote learning, 2020-21

80% of students

Some schools return online, as Covid-19 cases surge. Vaccinations start for high-priority groups.

Teachers are eligible for the Covid vaccine in more than half of states.

Most districts end the year in-person or hybrid.

Source: Burbio audit of more than 1,200 school districts representing 47 percent of U.S. K-12 enrollment. Note: Learning mode was defined based on the most in-person option available to students.

Income and family background also made a big difference.

A second factor associated with academic declines during the pandemic was a community’s poverty level. Comparing districts with similar remote learning policies, poorer districts had steeper losses.

But in-person learning still mattered: Looking at districts with similar poverty levels, remote learning was associated with greater declines.

A community’s poverty rate and the length of school closures had a “roughly equal” effect on student outcomes, said Sean F. Reardon, a professor of poverty and inequality in education at Stanford, who led a district-level analysis with Thomas J. Kane, an economist at Harvard.

Score changes are measured from 2019 to 2022. Poorest and richest are the top and bottom 20% of districts by percent of students on free/reduced lunch. Mostly in-person and mostly remote are districts that offered traditional in-person learning for more than 90 percent or less than 10 percent of the 2020-21 year.

But the combination — poverty and remote learning — was particularly harmful. For each week spent remote, students in poor districts experienced steeper losses in math than peers in richer districts.

That is notable, because poor districts were also more likely to stay remote for longer .

Some of the country’s largest poor districts are in Democratic-leaning cities that took a more cautious approach to the virus. Poor areas, and Black and Hispanic communities , also suffered higher Covid death rates, making many families and teachers in those districts hesitant to return.

“We wanted to survive,” said Sarah Carpenter, the executive director of Memphis Lift, a parent advocacy group in Memphis, where schools were closed until spring 2021 .

“But I also think, man, looking back, I wish our kids could have gone back to school much quicker,” she added, citing the academic effects.

Other things were also associated with worse student outcomes, including increased anxiety and depression among adults in children’s lives, and the overall restriction of social activity in a community, according to the Stanford and Harvard research .

Even short closures had long-term consequences for children.

While being in school was on average better for academic outcomes, it wasn’t a guarantee. Some districts that opened early, like those in Cherokee County, Ga., a suburb of Atlanta, and Hanover County, Va., lost significant learning and remain behind.

At the same time, many schools are seeing more anxiety and behavioral outbursts among students. And chronic absenteeism from school has surged across demographic groups .

These are signs, experts say, that even short-term closures, and the pandemic more broadly, had lasting effects on the culture of education.

“There was almost, in the Covid era, a sense of, ‘We give up, we’re just trying to keep body and soul together,’ and I think that was corrosive to the higher expectations of schools,” said Margaret Spellings, an education secretary under President George W. Bush who is now chief executive of the Bipartisan Policy Center.

Closing schools did not appear to significantly slow Covid’s spread.

Perhaps the biggest question that hung over school reopenings: Was it safe?

That was largely unknown in the spring of 2020, when schools first shut down. But several experts said that had changed by the fall of 2020, when there were initial signs that children were less likely to become seriously ill, and growing evidence from Europe and parts of the United States that opening schools, with safety measures, did not lead to significantly more transmission.

“Infectious disease leaders have generally agreed that school closures were not an important strategy in stemming the spread of Covid,” said Dr. Jeanne Noble, who directed the Covid response at the U.C.S.F. Parnassus emergency department.

Politically, though, there remains some disagreement about when, exactly, it was safe to reopen school.

Republican governors who pushed to open schools sooner have claimed credit for their approach, while Democrats and teachers’ unions have emphasized their commitment to safety and their investment in helping students recover.

“I do believe it was the right decision,” said Jerry T. Jordan, president of the Philadelphia Federation of Teachers, which resisted returning to school in person over concerns about the availability of vaccines and poor ventilation in school buildings. Philadelphia schools waited to partially reopen until the spring of 2021 , a decision Mr. Jordan believes saved lives.

“It doesn’t matter what is going on in the building and how much people are learning if people are getting the virus and running the potential of dying,” he said.

Pandemic school closures offer lessons for the future.

Though the next health crisis may have different particulars, with different risk calculations, the consequences of closing schools are now well established, experts say.

In the future, infectious disease experts said, they hoped decisions would be guided more by epidemiological data as it emerged, taking into account the trade-offs.

“Could we have used data to better guide our decision making? Yes,” said Dr. Uzma N. Hasan, division chief of pediatric infectious diseases at RWJBarnabas Health in Livingston, N.J. “Fear should not guide our decision making.”

Source: Fahle, Kane, Patterson, Reardon, Staiger and Stuart, “ School District and Community Factors Associated With Learning Loss During the Covid-19 Pandemic. ”

The study used estimates of learning loss from the Stanford Education Data Archive . For closure lengths, the study averaged district-level estimates of time spent in remote and hybrid learning compiled by the Covid-19 School Data Hub (C.S.D.H.) and American Enterprise Institute (A.E.I.) . The A.E.I. data defines remote status by whether there was an in-person or hybrid option, even if some students chose to remain virtual. In the C.S.D.H. data set, districts are defined as remote if “all or most” students were virtual.

An earlier version of this article misstated a job description of Dr. Jeanne Noble. She directed the Covid response at the U.C.S.F. Parnassus emergency department. She did not direct the Covid response for the University of California, San Francisco health system.

How we handle corrections

Sarah Mervosh covers education for The Times, focusing on K-12 schools. More about Sarah Mervosh

Claire Cain Miller writes about gender, families and the future of work for The Upshot. She joined The Times in 2008 and was part of a team that won a Pulitzer Prize in 2018 for public service for reporting on workplace sexual harassment issues. More about Claire Cain Miller

Francesca Paris is a Times reporter working with data and graphics for The Upshot. More about Francesca Paris

Baltimore bridge collapse: a bridge engineer explains what happened, and what needs to change

Associate Professor, Civil Engineering, Monash University

Disclosure statement

Colin Caprani receives funding from the Department of Transport (Victoria) and the Level Crossing Removal Project. He is also Chair of the Confidential Reporting Scheme for Safer Structures - Australasia, Chair of the Australian Regional Group of the Institution of Structural Engineers, and Australian National Delegate for the International Association for Bridge and Structural Engineering.

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When the container ship MV Dali, 300 metres long and massing around 100,000 tonnes, lost power and slammed into one of the support piers of the Francis Scott Key Bridge in Baltimore, the bridge collapsed in moments . Six people are presumed dead, several others injured, and the city and region are expecting a months-long logistical nightmare in the absence of a crucial transport link.

It was a shocking event, not only for the public but for bridge engineers like me. We work very hard to ensure bridges are safe, and overall the probability of being injured or worse in a bridge collapse remains even lower than the chance of being struck by lightning.

However, the images from Baltimore are a reminder that safety can’t be taken for granted. We need to remain vigilant.

So why did this bridge collapse? And, just as importantly, how might we make other bridges more safe against such collapse?

A 20th century bridge meets a 21st century ship

The Francis Scott Key Bridge was built through the mid 1970s and opened in 1977. The main structure over the navigation channel is a “continuous truss bridge” in three sections or spans.

The bridge rests on four supports, two of which sit each side of the navigable waterway. It is these two piers that are critical to protect against ship impacts.

And indeed, there were two layers of protection: a so-called “dolphin” structure made from concrete, and a fender. The dolphins are in the water about 100 metres upstream and downstream of the piers. They are intended to be sacrificed in the event of a wayward ship, absorbing its energy and being deformed in the process but keeping the ship from hitting the bridge itself.

The fender is the last layer of protection. It is a structure made of timber and reinforced concrete placed around the main piers. Again, it is intended to absorb the energy of any impact.

Fenders are not intended to absorb impacts from very large vessels . And so when the MV Dali, weighing more than 100,000 tonnes, made it past the protective dolphins, it was simply far too massive for the fender to withstand.

Read more: I've captained ships into tight ports like Baltimore, and this is how captains like me work with harbor pilots to avoid deadly collisions

Video recordings show a cloud of dust appearing just before the bridge collapsed, which may well have been the fender disintegrating as it was crushed by the ship.

Once the massive ship had made it past both the dolphin and the fender, the pier – one of the bridge’s four main supports – was simply incapable of resisting the impact. Given the size of the vessel and its likely speed of around 8 knots (15 kilometres per hour), the impact force would have been around 20,000 tonnes .

Bridges are getting safer

This was not the first time a ship hit the Francis Scott Bridge. There was another collision in 1980 , damaging a fender badly enough that it had to be replaced.

Around the world, 35 major bridge collapses resulting in fatalities were caused by collisions between 1960 and 2015, according to a 2018 report from the World Association for Waterborne Transport Infrastructure. Collisions between ships and bridges in the 1970s and early 1980s led to a significant improvement in the design rules for protecting bridges from impact.

Further impacts in the 1970s and early 1980s instigated significant improvements in the design rules for impact.

The International Association for Bridge and Structural Engineering’s Ship Collision with Bridges guide, published in 1993, and the American Association of State Highway and Transporation Officials’ Guide Specification and Commentary for Vessel Collision Design of Highway Bridges (1991) changed how bridges were designed.

In Australia, the Australian Standard for Bridge Design (published in 2017) requires designers to think about the biggest vessel likely to come along in the next 100 years, and what would happen if it were heading for any bridge pier at full speed. Designers need to consider the result of both head-on collisions and side-on, glancing blows. As a result, many newer bridges protect their piers with entire human-made islands.

Of course, these improvements came too late to influence the design of the Francis Scott Key Bridge itself.

Lessons from disaster

So what are the lessons apparent at this early stage?

First, it’s clear the protection measures in place for this bridge were not enough to handle this ship impact. Today’s cargo ships are much bigger than those of the 1970s, and it seems likely the Francis Scott Key Bridge was not designed with a collision like this in mind.

So one lesson is that we need to consider how the vessels near our bridges are changing. This means we cannot just accept the structure as it was built, but ensure the protection measures around our bridges are evolving alongside the ships around them.

Second, and more generally, we must remain vigilant in managing our bridges. I’ve written previously about the current level of safety of Australian bridges, but also about how we can do better.

This tragic event only emphasises the need to spend more on maintaining our ageing infrastructure. This is the only way to ensure it remains safe and functional for the demands we put on it today.

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Everton at Bournemouth: Opposition Analysis | A Clash of Philosophies

The Blues return to action with no time to lose to find that hard-to-locate win

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Everton head towards the final quarter of the campaign at the weekend with a visit to a ground on the South Coast which has proven the scene of setbacks in the past: the Vitality Stadium, where they’ll face Bournemouth. The Blues’ form has deserted them since mid-December, when they achieved their last league victory, since when they’ve failed to win in eleven outings.

The squad will be coming off a well-earned three week break when they take to the pitch today and hopefully will have both rested and worked on some things in the interim, in preparation for the final push in Everton’s battle to stay in the Premier League.

The Cherries surprisingly opted to dispense with Gary O’Neil after the rookie manager guided them to safety last term, finishing 15th. The club’s ambitious owners headhunted the in-demand Andoni Iraola, who’d recently departed Rayo Vallecano, concluding an impressive three-year stint at the Madrid side.

The new man was backed heavily in the summer transfer window , with a new spend of €126m, bringing in USMNT midfielder Tyler Adams from Leeds United , promising teenagers Alex Scott and Milos Kerkez, one-time rumoured Everton target Max Aarons, Justin Kluivert from AS Roma and on-loan Leeds winger Luis Sinisterra. More than €40m was splashed on the pair of Hamed Junior Traore and Romain Faivre, who have either been sent out on loan (the former) or returned (the latter). The only major departure was Jefferson Lerma, to Crystal Palace.

Iraola got off to a rocky start at his new club, going winless in nine in the Premier League, registering just three draws and getting hammered 3-0 by the Toffees at Goodison Park in October. With early pressure already piling onto the Basque, mercifully the hapless Burnley arrived just in time, allowing Bournemouth to squeak a narrow victory, before being walloped 6-1 away at Manchester City next time out.

Abruptly, things appeared to gel for the young boss and his charges, with the side then embarking on a quite remarkable turnaround in form, signalled by an unbeaten run of six wins from seven, during which they found their scoring boots, firing 18 goals. Alas, such a hot streak could not last, with the Cherries failing to win any of the next seven, but any fears that they may be dragged into the relegation battle proved unfounded.

The South Coast outfit next took on the bottom three clubs, doing the double over the Clarets, but being held by Sheffield United and then, amazingly roaring back from a three-goal half-time deficit to overturn Luton Town 4-3, in a result which helped the Blues no end. The Cherries await Everton tomorrow sitting safe in 13th spot in the table, on 35 points.

Style of Play

Iraola was identified by Bournemouth as someone who would bring a modern, progressive ball-playing approach to the club and though the side is still a work in progress, great strides have been made. The 41-year-old has resolutely stuck to his guns and worked through what looked to be a catastrophic switch in the team’s playing identity in the early months of the season, which was in ample evidence as the Cherries were dismantled by Everton in the Autumn. He’s gone with a 4-2-3-1 formation throughout, with an emphasis on possession and an intense, pressing system.

Players incapable of making the adjustment from Bournemouth’s former, more passive direct counterattacking style - such as Philip Billing - have fallen by the wayside. The side’s share of possession (44.4% - ranking joint 13th) isn’t indicative of how they want to play, being more a measure of relative squad strength, rather than intent. Likewise a 16th-ranked 77.3% pass success rate - with 15.5% being long balls - suggests a slightly more pragmatic adaptation to Iraola’s original plan.

Offensively, the Cherries generate a solid 14.3 shots per game (eighth ranked), scoring 41, broadly in-line with an accumulated xG (Expected Goals) of 42.6. They are competent in attacking set-pieces, scoring ten to date and are effective on the counter, with four goals from transition. They’ve bagged twice the number of goals from general play (26) as have Everton.

Bournemouth allow 14.4 shots per 90 minutes, but have shipped an alarming 52 this term, from an xGA (Expected Goals Allowed) of 44.8; quite an underachievement. They’ve only succumbed once in transition, but have otherwise leaked goals from all quarters, conceding one less than the Blues via dead ball situations and ranking a lowly joint 15th from open play, permitting 36 - a staggering 21 more than Sean Dyche’s side.

Player Assessment

Unfortunate not to be called up by England over the international break, Dominic Solanke continues his breakout season. Once seen as promising but lacking a cutting edge, the versatile forward has hit 15 league goals this term, a far greater return than he’s previously attained in the top flight. A mobile, hard-working link-up striker, the 26-year-old has added a clinical edge to his game and presents Bournemouth’s major scoring threat.

Deployed as a conventional central midfielder, Ryan Christie has been one those to get Iraola’s system and is enjoying a strong campaign as a result. The Scot ranks highly in ball recoveries (6.87) and combined tackles and interceptions (4.12) per 90. He’s second in the team in SCA (Shot-Creating Actions) per game, with 3.49 and provides 1.52 key passes per 90 minutes.

Last time the two sides met, almost six months ago, Everton already had plenty of experience in playing in Dyche’s system, whereas Bournemouth were clearly struggling to adapt to the demands of their new manager. The Cherries are a very different team to the one exposed at Goodison and are now relatively comfortable in playing out from the back and pressing systematically.

However, they are no Manchester City - or even Brighton & Hove Albion. Whilst the squad has been heavily reinforced since their return to the top flight (almost a net spend of €210m across two campaigns), they are still only a lower mid-table outfit in terms of player quality and technical prowess. Hence, the visitors today have plenty of potential to disrupt their play and to take advantages of failures in possession, should the Toffees perform as we know they can.

Everton’s game plan will be familiar - there really is just a Plan A with Dyche - which will be to adopt a mid-level block and to press in a coordinated fashion in the centre of the park and in the opposition third, should the hosts attempt to pass out from the back, as is probable. Despite having three weeks preparation time I do not expect any significant departures from the Blues' tactical setup. There’ll be a focus on transitions, dead balls and plenty of long switches to either wing.

Dyche’s options are limited in many areas of the pitch, due to injury (the flanks) or a lack of viable competition (centre half, left back). The major questions are whether Beto will be again favoured over Dominic Calvert-Lewin, who of Amadou Onana, James Garner and Idrissa Gueye will miss out in the midfield and the eternal debate of who will line up at right back. Should centre half Ben Godfrey trot out once more, despite his obvious shortcomings in the position, then patience may be stretched to breaking point.

The Toffees really do need to secure that elusive victory sooner, rather than later in order to ease the mounting pressure, but is this the game the side can get over the hurdle? With six fruitless trips in a row to the Vitality Stadium (five defeats) I’m not so certain, but against that Dyche has won both his games as Everton boss against the Cherries - albeit at Goodison - but with the club’s current predicament, on and off the pitch, why not be optimistic?

Prediction: Everton 2-1 Bournemouth

Statistics provided courtesy of fbref.com , transfermarkt.co.uk and whoscored.com

More From Royal Blue Mersey

• Bournemouth 2-1 Everton: Match Report & Instant Reaction | Toffees succumb in poor display
• Everton at Bournemouth: kickoff time, starting lineups, TV schedule, live stream and how to watch online
• Everton at Bournemouth: Predicted Line-Up | Right Back Question
• Bournemouth v Everton: Match Preview | The run-in starts here
• Friday’s Everton News: Onana Bayern rumours, young Juventus winger linked
• Thursday’s Everton News: Rocco Vata link, Patterson defiance, Richarlison interview

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• Published: 26 March 2024

Predicting and improving complex beer flavor through machine learning

• Michiel Schreurs   ORCID: orcid.org/0000-0002-9449-5619 1 , 2 , 3   na1 ,
• Supinya Piampongsant 1 , 2 , 3   na1 ,
• Miguel Roncoroni   ORCID: orcid.org/0000-0001-7461-1427 1 , 2 , 3   na1 ,
• Lloyd Cool   ORCID: orcid.org/0000-0001-9936-3124 1 , 2 , 3 , 4 ,
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• Florian A. Theßeling 1 , 2 , 3 ,
• Łukasz Kreft   ORCID: orcid.org/0000-0001-7620-4657 5 ,
• Alexander Botzki   ORCID: orcid.org/0000-0001-6691-4233 5 ,
• Philippe Malcorps 6 ,
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Nature Communications volume  15 , Article number:  2368 ( 2024 ) Cite this article

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• Chemical engineering
• Gas chromatography
• Machine learning
• Metabolomics
• Taste receptors

The perception and appreciation of food flavor depends on many interacting chemical compounds and external factors, and therefore proves challenging to understand and predict. Here, we combine extensive chemical and sensory analyses of 250 different beers to train machine learning models that allow predicting flavor and consumer appreciation. For each beer, we measure over 200 chemical properties, perform quantitative descriptive sensory analysis with a trained tasting panel and map data from over 180,000 consumer reviews to train 10 different machine learning models. The best-performing algorithm, Gradient Boosting, yields models that significantly outperform predictions based on conventional statistics and accurately predict complex food features and consumer appreciation from chemical profiles. Model dissection allows identifying specific and unexpected compounds as drivers of beer flavor and appreciation. Adding these compounds results in variants of commercial alcoholic and non-alcoholic beers with improved consumer appreciation. Together, our study reveals how big data and machine learning uncover complex links between food chemistry, flavor and consumer perception, and lays the foundation to develop novel, tailored foods with superior flavors.

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Introduction

Predicting and understanding food perception and appreciation is one of the major challenges in food science. Accurate modeling of food flavor and appreciation could yield important opportunities for both producers and consumers, including quality control, product fingerprinting, counterfeit detection, spoilage detection, and the development of new products and product combinations (food pairing) 1 , 2 , 3 , 4 , 5 , 6 . Accurate models for flavor and consumer appreciation would contribute greatly to our scientific understanding of how humans perceive and appreciate flavor. Moreover, accurate predictive models would also facilitate and standardize existing food assessment methods and could supplement or replace assessments by trained and consumer tasting panels, which are variable, expensive and time-consuming 7 , 8 , 9 . Lastly, apart from providing objective, quantitative, accurate and contextual information that can help producers, models can also guide consumers in understanding their personal preferences 10 .

Despite the myriad of applications, predicting food flavor and appreciation from its chemical properties remains a largely elusive goal in sensory science, especially for complex food and beverages 11 , 12 . A key obstacle is the immense number of flavor-active chemicals underlying food flavor. Flavor compounds can vary widely in chemical structure and concentration, making them technically challenging and labor-intensive to quantify, even in the face of innovations in metabolomics, such as non-targeted metabolic fingerprinting 13 , 14 . Moreover, sensory analysis is perhaps even more complicated. Flavor perception is highly complex, resulting from hundreds of different molecules interacting at the physiochemical and sensorial level. Sensory perception is often non-linear, characterized by complex and concentration-dependent synergistic and antagonistic effects 15 , 16 , 17 , 18 , 19 , 20 , 21 that are further convoluted by the genetics, environment, culture and psychology of consumers 22 , 23 , 24 . Perceived flavor is therefore difficult to measure, with problems of sensitivity, accuracy, and reproducibility that can only be resolved by gathering sufficiently large datasets 25 . Trained tasting panels are considered the prime source of quality sensory data, but require meticulous training, are low throughput and high cost. Public databases containing consumer reviews of food products could provide a valuable alternative, especially for studying appreciation scores, which do not require formal training 25 . Public databases offer the advantage of amassing large amounts of data, increasing the statistical power to identify potential drivers of appreciation. However, public datasets suffer from biases, including a bias in the volunteers that contribute to the database, as well as confounding factors such as price, cult status and psychological conformity towards previous ratings of the product.

Classical multivariate statistics and machine learning methods have been used to predict flavor of specific compounds by, for example, linking structural properties of a compound to its potential biological activities or linking concentrations of specific compounds to sensory profiles 1 , 26 . Importantly, most previous studies focused on predicting organoleptic properties of single compounds (often based on their chemical structure) 27 , 28 , 29 , 30 , 31 , 32 , 33 , thus ignoring the fact that these compounds are present in a complex matrix in food or beverages and excluding complex interactions between compounds. Moreover, the classical statistics commonly used in sensory science 34 , 35 , 36 , 37 , 38 , 39 require a large sample size and sufficient variance amongst predictors to create accurate models. They are not fit for studying an extensive set of hundreds of interacting flavor compounds, since they are sensitive to outliers, have a high tendency to overfit and are less suited for non-linear and discontinuous relationships 40 .

In this study, we combine extensive chemical analyses and sensory data of a set of different commercial beers with machine learning approaches to develop models that predict taste, smell, mouthfeel and appreciation from compound concentrations. Beer is particularly suited to model the relationship between chemistry, flavor and appreciation. First, beer is a complex product, consisting of thousands of flavor compounds that partake in complex sensory interactions 41 , 42 , 43 . This chemical diversity arises from the raw materials (malt, yeast, hops, water and spices) and biochemical conversions during the brewing process (kilning, mashing, boiling, fermentation, maturation and aging) 44 , 45 . Second, the advent of the internet saw beer consumers embrace online review platforms, such as RateBeer (ZX Ventures, Anheuser-Busch InBev SA/NV) and BeerAdvocate (Next Glass, inc.). In this way, the beer community provides massive data sets of beer flavor and appreciation scores, creating extraordinarily large sensory databases to complement the analyses of our professional sensory panel. Specifically, we characterize over 200 chemical properties of 250 commercial beers, spread across 22 beer styles, and link these to the descriptive sensory profiling data of a 16-person in-house trained tasting panel and data acquired from over 180,000 public consumer reviews. These unique and extensive datasets enable us to train a suite of machine learning models to predict flavor and appreciation from a beer’s chemical profile. Dissection of the best-performing models allows us to pinpoint specific compounds as potential drivers of beer flavor and appreciation. Follow-up experiments confirm the importance of these compounds and ultimately allow us to significantly improve the flavor and appreciation of selected commercial beers. Together, our study represents a significant step towards understanding complex flavors and reinforces the value of machine learning to develop and refine complex foods. In this way, it represents a stepping stone for further computer-aided food engineering applications 46 .

To generate a comprehensive dataset on beer flavor, we selected 250 commercial Belgian beers across 22 different beer styles (Supplementary Fig.  S1 ). Beers with ≤ 4.2% alcohol by volume (ABV) were classified as non-alcoholic and low-alcoholic. Blonds and Tripels constitute a significant portion of the dataset (12.4% and 11.2%, respectively) reflecting their presence on the Belgian beer market and the heterogeneity of beers within these styles. By contrast, lager beers are less diverse and dominated by a handful of brands. Rare styles such as Brut or Faro make up only a small fraction of the dataset (2% and 1%, respectively) because fewer of these beers are produced and because they are dominated by distinct characteristics in terms of flavor and chemical composition.

Extensive analysis identifies relationships between chemical compounds in beer

For each beer, we measured 226 different chemical properties, including common brewing parameters such as alcohol content, iso-alpha acids, pH, sugar concentration 47 , and over 200 flavor compounds (Methods, Supplementary Table  S1 ). A large portion (37.2%) are terpenoids arising from hopping, responsible for herbal and fruity flavors 16 , 48 . A second major category are yeast metabolites, such as esters and alcohols, that result in fruity and solvent notes 48 , 49 , 50 . Other measured compounds are primarily derived from malt, or other microbes such as non- Saccharomyces yeasts and bacteria (‘wild flora’). Compounds that arise from spices or staling are labeled under ‘Others’. Five attributes (caloric value, total acids and total ester, hop aroma and sulfur compounds) are calculated from multiple individually measured compounds.

As a first step in identifying relationships between chemical properties, we determined correlations between the concentrations of the compounds (Fig.  1 , upper panel, Supplementary Data  1 and 2 , and Supplementary Fig.  S2 . For the sake of clarity, only a subset of the measured compounds is shown in Fig.  1 ). Compounds of the same origin typically show a positive correlation, while absence of correlation hints at parameters varying independently. For example, the hop aroma compounds citronellol, and alpha-terpineol show moderate correlations with each other (Spearman’s rho=0.39 and 0.57), but not with the bittering hop component iso-alpha acids (Spearman’s rho=0.16 and −0.07). This illustrates how brewers can independently modify hop aroma and bitterness by selecting hop varieties and dosage time. If hops are added early in the boiling phase, chemical conversions increase bitterness while aromas evaporate, conversely, late addition of hops preserves aroma but limits bitterness 51 . Similarly, hop-derived iso-alpha acids show a strong anti-correlation with lactic acid and acetic acid, likely reflecting growth inhibition of lactic acid and acetic acid bacteria, or the consequent use of fewer hops in sour beer styles, such as West Flanders ales and Fruit beers, that rely on these bacteria for their distinct flavors 52 . Finally, yeast-derived esters (ethyl acetate, ethyl decanoate, ethyl hexanoate, ethyl octanoate) and alcohols (ethanol, isoamyl alcohol, isobutanol, and glycerol), correlate with Spearman coefficients above 0.5, suggesting that these secondary metabolites are correlated with the yeast genetic background and/or fermentation parameters and may be difficult to influence individually, although the choice of yeast strain may offer some control 53 .

Spearman rank correlations are shown. Descriptors are grouped according to their origin (malt (blue), hops (green), yeast (red), wild flora (yellow), Others (black)), and sensory aspect (aroma, taste, palate, and overall appreciation). Please note that for the chemical compounds, for the sake of clarity, only a subset of the total number of measured compounds is shown, with an emphasis on the key compounds for each source. For more details, see the main text and Methods section. Chemical data can be found in Supplementary Data  1 , correlations between all chemical compounds are depicted in Supplementary Fig.  S2 and correlation values can be found in Supplementary Data  2 . See Supplementary Data  4 for sensory panel assessments and Supplementary Data  5 for correlation values between all sensory descriptors.

Interestingly, different beer styles show distinct patterns for some flavor compounds (Supplementary Fig.  S3 ). These observations agree with expectations for key beer styles, and serve as a control for our measurements. For instance, Stouts generally show high values for color (darker), while hoppy beers contain elevated levels of iso-alpha acids, compounds associated with bitter hop taste. Acetic and lactic acid are not prevalent in most beers, with notable exceptions such as Kriek, Lambic, Faro, West Flanders ales and Flanders Old Brown, which use acid-producing bacteria ( Lactobacillus and Pediococcus ) or unconventional yeast ( Brettanomyces ) 54 , 55 . Glycerol, ethanol and esters show similar distributions across all beer styles, reflecting their common origin as products of yeast metabolism during fermentation 45 , 53 . Finally, low/no-alcohol beers contain low concentrations of glycerol and esters. This is in line with the production process for most of the low/no-alcohol beers in our dataset, which are produced through limiting fermentation or by stripping away alcohol via evaporation or dialysis, with both methods having the unintended side-effect of reducing the amount of flavor compounds in the final beer 56 , 57 .

Besides expected associations, our data also reveals less trivial associations between beer styles and specific parameters. For example, geraniol and citronellol, two monoterpenoids responsible for citrus, floral and rose flavors and characteristic of Citra hops, are found in relatively high amounts in Christmas, Saison, and Brett/co-fermented beers, where they may originate from terpenoid-rich spices such as coriander seeds instead of hops 58 .

Tasting panel assessments reveal sensorial relationships in beer

To assess the sensory profile of each beer, a trained tasting panel evaluated each of the 250 beers for 50 sensory attributes, including different hop, malt and yeast flavors, off-flavors and spices. Panelists used a tasting sheet (Supplementary Data  3 ) to score the different attributes. Panel consistency was evaluated by repeating 12 samples across different sessions and performing ANOVA. In 95% of cases no significant difference was found across sessions ( p  > 0.05), indicating good panel consistency (Supplementary Table  S2 ).

Aroma and taste perception reported by the trained panel are often linked (Fig.  1 , bottom left panel and Supplementary Data  4 and 5 ), with high correlations between hops aroma and taste (Spearman’s rho=0.83). Bitter taste was found to correlate with hop aroma and taste in general (Spearman’s rho=0.80 and 0.69), and particularly with “grassy” noble hops (Spearman’s rho=0.75). Barnyard flavor, most often associated with sour beers, is identified together with stale hops (Spearman’s rho=0.97) that are used in these beers. Lactic and acetic acid, which often co-occur, are correlated (Spearman’s rho=0.66). Interestingly, sweetness and bitterness are anti-correlated (Spearman’s rho = −0.48), confirming the hypothesis that they mask each other 59 , 60 . Beer body is highly correlated with alcohol (Spearman’s rho = 0.79), and overall appreciation is found to correlate with multiple aspects that describe beer mouthfeel (alcohol, carbonation; Spearman’s rho= 0.32, 0.39), as well as with hop and ester aroma intensity (Spearman’s rho=0.39 and 0.35).

Similar to the chemical analyses, sensorial analyses confirmed typical features of specific beer styles (Supplementary Fig.  S4 ). For example, sour beers (Faro, Flanders Old Brown, Fruit beer, Kriek, Lambic, West Flanders ale) were rated acidic, with flavors of both acetic and lactic acid. Hoppy beers were found to be bitter and showed hop-associated aromas like citrus and tropical fruit. Malt taste is most detected among scotch, stout/porters, and strong ales, while low/no-alcohol beers, which often have a reputation for being ‘worty’ (reminiscent of unfermented, sweet malt extract) appear in the middle. Unsurprisingly, hop aromas are most strongly detected among hoppy beers. Like its chemical counterpart (Supplementary Fig.  S3 ), acidity shows a right-skewed distribution, with the most acidic beers being Krieks, Lambics, and West Flanders ales.

Tasting panel assessments of specific flavors correlate with chemical composition

We find that the concentrations of several chemical compounds strongly correlate with specific aroma or taste, as evaluated by the tasting panel (Fig.  2 , Supplementary Fig.  S5 , Supplementary Data  6 ). In some cases, these correlations confirm expectations and serve as a useful control for data quality. For example, iso-alpha acids, the bittering compounds in hops, strongly correlate with bitterness (Spearman’s rho=0.68), while ethanol and glycerol correlate with tasters’ perceptions of alcohol and body, the mouthfeel sensation of fullness (Spearman’s rho=0.82/0.62 and 0.72/0.57 respectively) and darker color from roasted malts is a good indication of malt perception (Spearman’s rho=0.54).

Heatmap colors indicate Spearman’s Rho. Axes are organized according to sensory categories (aroma, taste, mouthfeel, overall), chemical categories and chemical sources in beer (malt (blue), hops (green), yeast (red), wild flora (yellow), Others (black)). See Supplementary Data  6 for all correlation values.

Interestingly, for some relationships between chemical compounds and perceived flavor, correlations are weaker than expected. For example, the rose-smelling phenethyl acetate only weakly correlates with floral aroma. This hints at more complex relationships and interactions between compounds and suggests a need for a more complex model than simple correlations. Lastly, we uncovered unexpected correlations. For instance, the esters ethyl decanoate and ethyl octanoate appear to correlate slightly with hop perception and bitterness, possibly due to their fruity flavor. Iron is anti-correlated with hop aromas and bitterness, most likely because it is also anti-correlated with iso-alpha acids. This could be a sign of metal chelation of hop acids 61 , given that our analyses measure unbound hop acids and total iron content, or could result from the higher iron content in dark and Fruit beers, which typically have less hoppy and bitter flavors 62 .

Public consumer reviews complement expert panel data

To complement and expand the sensory data of our trained tasting panel, we collected 180,000 reviews of our 250 beers from the online consumer review platform RateBeer. This provided numerical scores for beer appearance, aroma, taste, palate, overall quality as well as the average overall score.

Public datasets are known to suffer from biases, such as price, cult status and psychological conformity towards previous ratings of a product. For example, prices correlate with appreciation scores for these online consumer reviews (rho=0.49, Supplementary Fig.  S6 ), but not for our trained tasting panel (rho=0.19). This suggests that prices affect consumer appreciation, which has been reported in wine 63 , while blind tastings are unaffected. Moreover, we observe that some beer styles, like lagers and non-alcoholic beers, generally receive lower scores, reflecting that online reviewers are mostly beer aficionados with a preference for specialty beers over lager beers. In general, we find a modest correlation between our trained panel’s overall appreciation score and the online consumer appreciation scores (Fig.  3 , rho=0.29). Apart from the aforementioned biases in the online datasets, serving temperature, sample freshness and surroundings, which are all tightly controlled during the tasting panel sessions, can vary tremendously across online consumers and can further contribute to (among others, appreciation) differences between the two categories of tasters. Importantly, in contrast to the overall appreciation scores, for many sensory aspects the results from the professional panel correlated well with results obtained from RateBeer reviews. Correlations were highest for features that are relatively easy to recognize even for untrained tasters, like bitterness, sweetness, alcohol and malt aroma (Fig.  3 and below).

RateBeer text mining results can be found in Supplementary Data  7 . Rho values shown are Spearman correlation values, with asterisks indicating significant correlations ( p  < 0.05, two-sided). All p values were smaller than 0.001, except for Esters aroma (0.0553), Esters taste (0.3275), Esters aroma—banana (0.0019), Coriander (0.0508) and Diacetyl (0.0134).

Besides collecting consumer appreciation from these online reviews, we developed automated text analysis tools to gather additional data from review texts (Supplementary Data  7 ). Processing review texts on the RateBeer database yielded comparable results to the scores given by the trained panel for many common sensory aspects, including acidity, bitterness, sweetness, alcohol, malt, and hop tastes (Fig.  3 ). This is in line with what would be expected, since these attributes require less training for accurate assessment and are less influenced by environmental factors such as temperature, serving glass and odors in the environment. Consumer reviews also correlate well with our trained panel for 4-vinyl guaiacol, a compound associated with a very characteristic aroma. By contrast, correlations for more specific aromas like ester, coriander or diacetyl are underrepresented in the online reviews, underscoring the importance of using a trained tasting panel and standardized tasting sheets with explicit factors to be scored for evaluating specific aspects of a beer. Taken together, our results suggest that public reviews are trustworthy for some, but not all, flavor features and can complement or substitute taste panel data for these sensory aspects.

Models can predict beer sensory profiles from chemical data

The rich datasets of chemical analyses, tasting panel assessments and public reviews gathered in the first part of this study provided us with a unique opportunity to develop predictive models that link chemical data to sensorial features. Given the complexity of beer flavor, basic statistical tools such as correlations or linear regression may not always be the most suitable for making accurate predictions. Instead, we applied different machine learning models that can model both simple linear and complex interactive relationships. Specifically, we constructed a set of regression models to predict (a) trained panel scores for beer flavor and quality and (b) public reviews’ appreciation scores from beer chemical profiles. We trained and tested 10 different models (Methods), 3 linear regression-based models (simple linear regression with first-order interactions (LR), lasso regression with first-order interactions (Lasso), partial least squares regressor (PLSR)), 5 decision tree models (AdaBoost regressor (ABR), extra trees (ET), gradient boosting regressor (GBR), random forest (RF) and XGBoost regressor (XGBR)), 1 support vector regression (SVR), and 1 artificial neural network (ANN) model.

To compare the performance of our machine learning models, the dataset was randomly split into a training and test set, stratified by beer style. After a model was trained on data in the training set, its performance was evaluated on its ability to predict the test dataset obtained from multi-output models (based on the coefficient of determination, see Methods). Additionally, individual-attribute models were ranked per descriptor and the average rank was calculated, as proposed by Korneva et al. 64 . Importantly, both ways of evaluating the models’ performance agreed in general. Performance of the different models varied (Table  1 ). It should be noted that all models perform better at predicting RateBeer results than results from our trained tasting panel. One reason could be that sensory data is inherently variable, and this variability is averaged out with the large number of public reviews from RateBeer. Additionally, all tree-based models perform better at predicting taste than aroma. Linear models (LR) performed particularly poorly, with negative R 2 values, due to severe overfitting (training set R 2  = 1). Overfitting is a common issue in linear models with many parameters and limited samples, especially with interaction terms further amplifying the number of parameters. L1 regularization (Lasso) successfully overcomes this overfitting, out-competing multiple tree-based models on the RateBeer dataset. Similarly, the dimensionality reduction of PLSR avoids overfitting and improves performance, to some extent. Still, tree-based models (ABR, ET, GBR, RF and XGBR) show the best performance, out-competing the linear models (LR, Lasso, PLSR) commonly used in sensory science 65 .

GBR models showed the best overall performance in predicting sensory responses from chemical information, with R 2 values up to 0.75 depending on the predicted sensory feature (Supplementary Table  S4 ). The GBR models predict consumer appreciation (RateBeer) better than our trained panel’s appreciation (R 2 value of 0.67 compared to R 2 value of 0.09) (Supplementary Table  S3 and Supplementary Table  S4 ). ANN models showed intermediate performance, likely because neural networks typically perform best with larger datasets 66 . The SVR shows intermediate performance, mostly due to the weak predictions of specific attributes that lower the overall performance (Supplementary Table  S4 ).

Model dissection identifies specific, unexpected compounds as drivers of consumer appreciation

Next, we leveraged our models to infer important contributors to sensory perception and consumer appreciation. Consumer preference is a crucial sensory aspects, because a product that shows low consumer appreciation scores often does not succeed commercially 25 . Additionally, the requirement for a large number of representative evaluators makes consumer trials one of the more costly and time-consuming aspects of product development. Hence, a model for predicting chemical drivers of overall appreciation would be a welcome addition to the available toolbox for food development and optimization.

Since GBR models on our RateBeer dataset showed the best overall performance, we focused on these models. Specifically, we used two approaches to identify important contributors. First, rankings of the most important predictors for each sensorial trait in the GBR models were obtained based on impurity-based feature importance (mean decrease in impurity). High-ranked parameters were hypothesized to be either the true causal chemical properties underlying the trait, to correlate with the actual causal properties, or to take part in sensory interactions affecting the trait 67 (Fig.  4A ). In a second approach, we used SHAP 68 to determine which parameters contributed most to the model for making predictions of consumer appreciation (Fig.  4B ). SHAP calculates parameter contributions to model predictions on a per-sample basis, which can be aggregated into an importance score.

A The impurity-based feature importance (mean deviance in impurity, MDI) calculated from the Gradient Boosting Regression (GBR) model predicting RateBeer appreciation scores. The top 15 highest ranked chemical properties are shown. B SHAP summary plot for the top 15 parameters contributing to our GBR model. Each point on the graph represents a sample from our dataset. The color represents the concentration of that parameter, with bluer colors representing low values and redder colors representing higher values. Greater absolute values on the horizontal axis indicate a higher impact of the parameter on the prediction of the model. C Spearman correlations between the 15 most important chemical properties and consumer overall appreciation. Numbers indicate the Spearman Rho correlation coefficient, and the rank of this correlation compared to all other correlations. The top 15 important compounds were determined using SHAP (panel B).

Both approaches identified ethyl acetate as the most predictive parameter for beer appreciation (Fig.  4 ). Ethyl acetate is the most abundant ester in beer with a typical ‘fruity’, ‘solvent’ and ‘alcoholic’ flavor, but is often considered less important than other esters like isoamyl acetate. The second most important parameter identified by SHAP is ethanol, the most abundant beer compound after water. Apart from directly contributing to beer flavor and mouthfeel, ethanol drastically influences the physical properties of beer, dictating how easily volatile compounds escape the beer matrix to contribute to beer aroma 69 . Importantly, it should also be noted that the importance of ethanol for appreciation is likely inflated by the very low appreciation scores of non-alcoholic beers (Supplementary Fig.  S4 ). Despite not often being considered a driver of beer appreciation, protein level also ranks highly in both approaches, possibly due to its effect on mouthfeel and body 70 . Lactic acid, which contributes to the tart taste of sour beers, is the fourth most important parameter identified by SHAP, possibly due to the generally high appreciation of sour beers in our dataset.

Interestingly, some of the most important predictive parameters for our model are not well-established as beer flavors or are even commonly regarded as being negative for beer quality. For example, our models identify methanethiol and ethyl phenyl acetate, an ester commonly linked to beer staling 71 , as a key factor contributing to beer appreciation. Although there is no doubt that high concentrations of these compounds are considered unpleasant, the positive effects of modest concentrations are not yet known 72 , 73 .

To compare our approach to conventional statistics, we evaluated how well the 15 most important SHAP-derived parameters correlate with consumer appreciation (Fig.  4C ). Interestingly, only 6 of the properties derived by SHAP rank amongst the top 15 most correlated parameters. For some chemical compounds, the correlations are so low that they would have likely been considered unimportant. For example, lactic acid, the fourth most important parameter, shows a bimodal distribution for appreciation, with sour beers forming a separate cluster, that is missed entirely by the Spearman correlation. Additionally, the correlation plots reveal outliers, emphasizing the need for robust analysis tools. Together, this highlights the need for alternative models, like the Gradient Boosting model, that better grasp the complexity of (beer) flavor.

Finally, to observe the relationships between these chemical properties and their predicted targets, partial dependence plots were constructed for the six most important predictors of consumer appreciation 74 , 75 , 76 (Supplementary Fig.  S7 ). One-way partial dependence plots show how a change in concentration affects the predicted appreciation. These plots reveal an important limitation of our models: appreciation predictions remain constant at ever-increasing concentrations. This implies that once a threshold concentration is reached, further increasing the concentration does not affect appreciation. This is false, as it is well-documented that certain compounds become unpleasant at high concentrations, including ethyl acetate (‘nail polish’) 77 and methanethiol (‘sulfury’ and ‘rotten cabbage’) 78 . The inability of our models to grasp that flavor compounds have optimal levels, above which they become negative, is a consequence of working with commercial beer brands where (off-)flavors are rarely too high to negatively impact the product. The two-way partial dependence plots show how changing the concentration of two compounds influences predicted appreciation, visualizing their interactions (Supplementary Fig.  S7 ). In our case, the top 5 parameters are dominated by additive or synergistic interactions, with high concentrations for both compounds resulting in the highest predicted appreciation.

To assess the robustness of our best-performing models and model predictions, we performed 100 iterations of the GBR, RF and ET models. In general, all iterations of the models yielded similar performance (Supplementary Fig.  S8 ). Moreover, the main predictors (including the top predictors ethanol and ethyl acetate) remained virtually the same, especially for GBR and RF. For the iterations of the ET model, we did observe more variation in the top predictors, which is likely a consequence of the model’s inherent random architecture in combination with co-correlations between certain predictors. However, even in this case, several of the top predictors (ethanol and ethyl acetate) remain unchanged, although their rank in importance changes (Supplementary Fig.  S8 ).

Next, we investigated if a combination of RateBeer and trained panel data into one consolidated dataset would lead to stronger models, under the hypothesis that such a model would suffer less from bias in the datasets. A GBR model was trained to predict appreciation on the combined dataset. This model underperformed compared to the RateBeer model, both in the native case and when including a dataset identifier (R 2  = 0.67, 0.26 and 0.42 respectively). For the latter, the dataset identifier is the most important feature (Supplementary Fig.  S9 ), while most of the feature importance remains unchanged, with ethyl acetate and ethanol ranking highest, like in the original model trained only on RateBeer data. It seems that the large variation in the panel dataset introduces noise, weakening the models’ performances and reliability. In addition, it seems reasonable to assume that both datasets are fundamentally different, with the panel dataset obtained by blind tastings by a trained professional panel.

Lastly, we evaluated whether beer style identifiers would further enhance the model’s performance. A GBR model was trained with parameters that explicitly encoded the styles of the samples. This did not improve model performance (R2 = 0.66 with style information vs R2 = 0.67). The most important chemical features are consistent with the model trained without style information (eg. ethanol and ethyl acetate), and with the exception of the most preferred (strong ale) and least preferred (low/no-alcohol) styles, none of the styles were among the most important features (Supplementary Fig.  S9 , Supplementary Table  S5 and S6 ). This is likely due to a combination of style-specific chemical signatures, such as iso-alpha acids and lactic acid, that implicitly convey style information to the original models, as well as the low number of samples belonging to some styles, making it difficult for the model to learn style-specific patterns. Moreover, beer styles are not rigorously defined, with some styles overlapping in features and some beers being misattributed to a specific style, all of which leads to more noise in models that use style parameters.

Model validation

To test if our predictive models give insight into beer appreciation, we set up experiments aimed at improving existing commercial beers. We specifically selected overall appreciation as the trait to be examined because of its complexity and commercial relevance. Beer flavor comprises a complex bouquet rather than single aromas and tastes 53 . Hence, adding a single compound to the extent that a difference is noticeable may lead to an unbalanced, artificial flavor. Therefore, we evaluated the effect of combinations of compounds. Because Blond beers represent the most extensive style in our dataset, we selected a beer from this style as the starting material for these experiments (Beer 64 in Supplementary Data  1 ).

In the first set of experiments, we adjusted the concentrations of compounds that made up the most important predictors of overall appreciation (ethyl acetate, ethanol, lactic acid, ethyl phenyl acetate) together with correlated compounds (ethyl hexanoate, isoamyl acetate, glycerol), bringing them up to 95 th percentile ethanol-normalized concentrations (Methods) within the Blond group (‘Spiked’ concentration in Fig.  5A ). Compared to controls, the spiked beers were found to have significantly improved overall appreciation among trained panelists, with panelist noting increased intensity of ester flavors, sweetness, alcohol, and body fullness (Fig.  5B ). To disentangle the contribution of ethanol to these results, a second experiment was performed without the addition of ethanol. This resulted in a similar outcome, including increased perception of alcohol and overall appreciation.

Adding the top chemical compounds, identified as best predictors of appreciation by our model, into poorly appreciated beers results in increased appreciation from our trained panel. Results of sensory tests between base beers and those spiked with compounds identified as the best predictors by the model. A Blond and Non/Low-alcohol (0.0% ABV) base beers were brought up to 95th-percentile ethanol-normalized concentrations within each style. B For each sensory attribute, tasters indicated the more intense sample and selected the sample they preferred. The numbers above the bars correspond to the p values that indicate significant changes in perceived flavor (two-sided binomial test: alpha 0.05, n  = 20 or 13).

In a last experiment, we tested whether using the model’s predictions can boost the appreciation of a non-alcoholic beer (beer 223 in Supplementary Data  1 ). Again, the addition of a mixture of predicted compounds (omitting ethanol, in this case) resulted in a significant increase in appreciation, body, ester flavor and sweetness.

Predicting flavor and consumer appreciation from chemical composition is one of the ultimate goals of sensory science. A reliable, systematic and unbiased way to link chemical profiles to flavor and food appreciation would be a significant asset to the food and beverage industry. Such tools would substantially aid in quality control and recipe development, offer an efficient and cost-effective alternative to pilot studies and consumer trials and would ultimately allow food manufacturers to produce superior, tailor-made products that better meet the demands of specific consumer groups more efficiently.

A limited set of studies have previously tried, to varying degrees of success, to predict beer flavor and beer popularity based on (a limited set of) chemical compounds and flavors 79 , 80 . Current sensitive, high-throughput technologies allow measuring an unprecedented number of chemical compounds and properties in a large set of samples, yielding a dataset that can train models that help close the gaps between chemistry and flavor, even for a complex natural product like beer. To our knowledge, no previous research gathered data at this scale (250 samples, 226 chemical parameters, 50 sensory attributes and 5 consumer scores) to disentangle and validate the chemical aspects driving beer preference using various machine-learning techniques. We find that modern machine learning models outperform conventional statistical tools, such as correlations and linear models, and can successfully predict flavor appreciation from chemical composition. This could be attributed to the natural incorporation of interactions and non-linear or discontinuous effects in machine learning models, which are not easily grasped by the linear model architecture. While linear models and partial least squares regression represent the most widespread statistical approaches in sensory science, in part because they allow interpretation 65 , 81 , 82 , modern machine learning methods allow for building better predictive models while preserving the possibility to dissect and exploit the underlying patterns. Of the 10 different models we trained, tree-based models, such as our best performing GBR, showed the best overall performance in predicting sensory responses from chemical information, outcompeting artificial neural networks. This agrees with previous reports for models trained on tabular data 83 . Our results are in line with the findings of Colantonio et al. who also identified the gradient boosting architecture as performing best at predicting appreciation and flavor (of tomatoes and blueberries, in their specific study) 26 . Importantly, besides our larger experimental scale, we were able to directly confirm our models’ predictions in vivo.

Our study confirms that flavor compound concentration does not always correlate with perception, suggesting complex interactions that are often missed by more conventional statistics and simple models. Specifically, we find that tree-based algorithms may perform best in developing models that link complex food chemistry with aroma. Furthermore, we show that massive datasets of untrained consumer reviews provide a valuable source of data, that can complement or even replace trained tasting panels, especially for appreciation and basic flavors, such as sweetness and bitterness. This holds despite biases that are known to occur in such datasets, such as price or conformity bias. Moreover, GBR models predict taste better than aroma. This is likely because taste (e.g. bitterness) often directly relates to the corresponding chemical measurements (e.g., iso-alpha acids), whereas such a link is less clear for aromas, which often result from the interplay between multiple volatile compounds. We also find that our models are best at predicting acidity and alcohol, likely because there is a direct relation between the measured chemical compounds (acids and ethanol) and the corresponding perceived sensorial attribute (acidity and alcohol), and because even untrained consumers are generally able to recognize these flavors and aromas.

The predictions of our final models, trained on review data, hold even for blind tastings with small groups of trained tasters, as demonstrated by our ability to validate specific compounds as drivers of beer flavor and appreciation. Since adding a single compound to the extent of a noticeable difference may result in an unbalanced flavor profile, we specifically tested our identified key drivers as a combination of compounds. While this approach does not allow us to validate if a particular single compound would affect flavor and/or appreciation, our experiments do show that this combination of compounds increases consumer appreciation.

It is important to stress that, while it represents an important step forward, our approach still has several major limitations. A key weakness of the GBR model architecture is that amongst co-correlating variables, the largest main effect is consistently preferred for model building. As a result, co-correlating variables often have artificially low importance scores, both for impurity and SHAP-based methods, like we observed in the comparison to the more randomized Extra Trees models. This implies that chemicals identified as key drivers of a specific sensory feature by GBR might not be the true causative compounds, but rather co-correlate with the actual causative chemical. For example, the high importance of ethyl acetate could be (partially) attributed to the total ester content, ethanol or ethyl hexanoate (rho=0.77, rho=0.72 and rho=0.68), while ethyl phenylacetate could hide the importance of prenyl isobutyrate and ethyl benzoate (rho=0.77 and rho=0.76). Expanding our GBR model to include beer style as a parameter did not yield additional power or insight. This is likely due to style-specific chemical signatures, such as iso-alpha acids and lactic acid, that implicitly convey style information to the original model, as well as the smaller sample size per style, limiting the power to uncover style-specific patterns. This can be partly attributed to the curse of dimensionality, where the high number of parameters results in the models mainly incorporating single parameter effects, rather than complex interactions such as style-dependent effects 67 . A larger number of samples may overcome some of these limitations and offer more insight into style-specific effects. On the other hand, beer style is not a rigid scientific classification, and beers within one style often differ a lot, which further complicates the analysis of style as a model factor.

Our study is limited to beers from Belgian breweries. Although these beers cover a large portion of the beer styles available globally, some beer styles and consumer patterns may be missing, while other features might be overrepresented. For example, many Belgian ales exhibit yeast-driven flavor profiles, which is reflected in the chemical drivers of appreciation discovered by this study. In future work, expanding the scope to include diverse markets and beer styles could lead to the identification of even more drivers of appreciation and better models for special niche products that were not present in our beer set.

In addition to inherent limitations of GBR models, there are also some limitations associated with studying food aroma. Even if our chemical analyses measured most of the known aroma compounds, the total number of flavor compounds in complex foods like beer is still larger than the subset we were able to measure in this study. For example, hop-derived thiols, that influence flavor at very low concentrations, are notoriously difficult to measure in a high-throughput experiment. Moreover, consumer perception remains subjective and prone to biases that are difficult to avoid. It is also important to stress that the models are still immature and that more extensive datasets will be crucial for developing more complete models in the future. Besides more samples and parameters, our dataset does not include any demographic information about the tasters. Including such data could lead to better models that grasp external factors like age and culture. Another limitation is that our set of beers consists of high-quality end-products and lacks beers that are unfit for sale, which limits the current model in accurately predicting products that are appreciated very badly. Finally, while models could be readily applied in quality control, their use in sensory science and product development is restrained by their inability to discern causal relationships. Given that the models cannot distinguish compounds that genuinely drive consumer perception from those that merely correlate, validation experiments are essential to identify true causative compounds.

Despite the inherent limitations, dissection of our models enabled us to pinpoint specific molecules as potential drivers of beer aroma and consumer appreciation, including compounds that were unexpected and would not have been identified using standard approaches. Important drivers of beer appreciation uncovered by our models include protein levels, ethyl acetate, ethyl phenyl acetate and lactic acid. Currently, many brewers already use lactic acid to acidify their brewing water and ensure optimal pH for enzymatic activity during the mashing process. Our results suggest that adding lactic acid can also improve beer appreciation, although its individual effect remains to be tested. Interestingly, ethanol appears to be unnecessary to improve beer appreciation, both for blond beer and alcohol-free beer. Given the growing consumer interest in alcohol-free beer, with a predicted annual market growth of >7% 84 , it is relevant for brewers to know what compounds can further increase consumer appreciation of these beers. Hence, our model may readily provide avenues to further improve the flavor and consumer appreciation of both alcoholic and non-alcoholic beers, which is generally considered one of the key challenges for future beer production.

Whereas we see a direct implementation of our results for the development of superior alcohol-free beverages and other food products, our study can also serve as a stepping stone for the development of novel alcohol-containing beverages. We want to echo the growing body of scientific evidence for the negative effects of alcohol consumption, both on the individual level by the mutagenic, teratogenic and carcinogenic effects of ethanol 85 , 86 , as well as the burden on society caused by alcohol abuse and addiction. We encourage the use of our results for the production of healthier, tastier products, including novel and improved beverages with lower alcohol contents. Furthermore, we strongly discourage the use of these technologies to improve the appreciation or addictive properties of harmful substances.

The present work demonstrates that despite some important remaining hurdles, combining the latest developments in chemical analyses, sensory analysis and modern machine learning methods offers exciting avenues for food chemistry and engineering. Soon, these tools may provide solutions in quality control and recipe development, as well as new approaches to sensory science and flavor research.

Beer selection

250 commercial Belgian beers were selected to cover the broad diversity of beer styles and corresponding diversity in chemical composition and aroma. See Supplementary Fig.  S1 .

Chemical dataset

Sample preparation.

Beers within their expiration date were purchased from commercial retailers. Samples were prepared in biological duplicates at room temperature, unless explicitly stated otherwise. Bottle pressure was measured with a manual pressure device (Steinfurth Mess-Systeme GmbH) and used to calculate CO 2 concentration. The beer was poured through two filter papers (Macherey-Nagel, 500713032 MN 713 ¼) to remove carbon dioxide and prevent spontaneous foaming. Samples were then prepared for measurements by targeted Headspace-Gas Chromatography-Flame Ionization Detector/Flame Photometric Detector (HS-GC-FID/FPD), Headspace-Solid Phase Microextraction-Gas Chromatography-Mass Spectrometry (HS-SPME-GC-MS), colorimetric analysis, enzymatic analysis, Near-Infrared (NIR) analysis, as described in the sections below. The mean values of biological duplicates are reported for each compound.

HS-GC-FID/FPD

HS-GC-FID/FPD (Shimadzu GC 2010 Plus) was used to measure higher alcohols, acetaldehyde, esters, 4-vinyl guaicol, and sulfur compounds. Each measurement comprised 5 ml of sample pipetted into a 20 ml glass vial containing 1.75 g NaCl (VWR, 27810.295). 100 µl of 2-heptanol (Sigma-Aldrich, H3003) (internal standard) solution in ethanol (Fisher Chemical, E/0650DF/C17) was added for a final concentration of 2.44 mg/L. Samples were flushed with nitrogen for 10 s, sealed with a silicone septum, stored at −80 °C and analyzed in batches of 20.

The GC was equipped with a DB-WAXetr column (length, 30 m; internal diameter, 0.32 mm; layer thickness, 0.50 µm; Agilent Technologies, Santa Clara, CA, USA) to the FID and an HP-5 column (length, 30 m; internal diameter, 0.25 mm; layer thickness, 0.25 µm; Agilent Technologies, Santa Clara, CA, USA) to the FPD. N 2 was used as the carrier gas. Samples were incubated for 20 min at 70 °C in the headspace autosampler (Flow rate, 35 cm/s; Injection volume, 1000 µL; Injection mode, split; Combi PAL autosampler, CTC analytics, Switzerland). The injector, FID and FPD temperatures were kept at 250 °C. The GC oven temperature was first held at 50 °C for 5 min and then allowed to rise to 80 °C at a rate of 5 °C/min, followed by a second ramp of 4 °C/min until 200 °C kept for 3 min and a final ramp of (4 °C/min) until 230 °C for 1 min. Results were analyzed with the GCSolution software version 2.4 (Shimadzu, Kyoto, Japan). The GC was calibrated with a 5% EtOH solution (VWR International) containing the volatiles under study (Supplementary Table  S7 ).

HS-SPME-GC-MS

HS-SPME-GC-MS (Shimadzu GCMS-QP-2010 Ultra) was used to measure additional volatile compounds, mainly comprising terpenoids and esters. Samples were analyzed by HS-SPME using a triphase DVB/Carboxen/PDMS 50/30 μm SPME fiber (Supelco Co., Bellefonte, PA, USA) followed by gas chromatography (Thermo Fisher Scientific Trace 1300 series, USA) coupled to a mass spectrometer (Thermo Fisher Scientific ISQ series MS) equipped with a TriPlus RSH autosampler. 5 ml of degassed beer sample was placed in 20 ml vials containing 1.75 g NaCl (VWR, 27810.295). 5 µl internal standard mix was added, containing 2-heptanol (1 g/L) (Sigma-Aldrich, H3003), 4-fluorobenzaldehyde (1 g/L) (Sigma-Aldrich, 128376), 2,3-hexanedione (1 g/L) (Sigma-Aldrich, 144169) and guaiacol (1 g/L) (Sigma-Aldrich, W253200) in ethanol (Fisher Chemical, E/0650DF/C17). Each sample was incubated at 60 °C in the autosampler oven with constant agitation. After 5 min equilibration, the SPME fiber was exposed to the sample headspace for 30 min. The compounds trapped on the fiber were thermally desorbed in the injection port of the chromatograph by heating the fiber for 15 min at 270 °C.

The GC-MS was equipped with a low polarity RXi-5Sil MS column (length, 20 m; internal diameter, 0.18 mm; layer thickness, 0.18 µm; Restek, Bellefonte, PA, USA). Injection was performed in splitless mode at 320 °C, a split flow of 9 ml/min, a purge flow of 5 ml/min and an open valve time of 3 min. To obtain a pulsed injection, a programmed gas flow was used whereby the helium gas flow was set at 2.7 mL/min for 0.1 min, followed by a decrease in flow of 20 ml/min to the normal 0.9 mL/min. The temperature was first held at 30 °C for 3 min and then allowed to rise to 80 °C at a rate of 7 °C/min, followed by a second ramp of 2 °C/min till 125 °C and a final ramp of 8 °C/min with a final temperature of 270 °C.

Mass acquisition range was 33 to 550 amu at a scan rate of 5 scans/s. Electron impact ionization energy was 70 eV. The interface and ion source were kept at 275 °C and 250 °C, respectively. A mix of linear n-alkanes (from C7 to C40, Supelco Co.) was injected into the GC-MS under identical conditions to serve as external retention index markers. Identification and quantification of the compounds were performed using an in-house developed R script as described in Goelen et al. and Reher et al. 87 , 88 (for package information, see Supplementary Table  S8 ). Briefly, chromatograms were analyzed using AMDIS (v2.71) 89 to separate overlapping peaks and obtain pure compound spectra. The NIST MS Search software (v2.0 g) in combination with the NIST2017, FFNSC3 and Adams4 libraries were used to manually identify the empirical spectra, taking into account the expected retention time. After background subtraction and correcting for retention time shifts between samples run on different days based on alkane ladders, compound elution profiles were extracted and integrated using a file with 284 target compounds of interest, which were either recovered in our identified AMDIS list of spectra or were known to occur in beer. Compound elution profiles were estimated for every peak in every chromatogram over a time-restricted window using weighted non-negative least square analysis after which peak areas were integrated 87 , 88 . Batch effect correction was performed by normalizing against the most stable internal standard compound, 4-fluorobenzaldehyde. Out of all 284 target compounds that were analyzed, 167 were visually judged to have reliable elution profiles and were used for final analysis.

Discrete photometric and enzymatic analysis

Discrete photometric and enzymatic analysis (Thermo Scientific TM Gallery TM Plus Beermaster Discrete Analyzer) was used to measure acetic acid, ammonia, beta-glucan, iso-alpha acids, color, sugars, glycerol, iron, pH, protein, and sulfite. 2 ml of sample volume was used for the analyses. Information regarding the reagents and standard solutions used for analyses and calibrations is included in Supplementary Table  S7 and Supplementary Table  S9 .

NIR analyses

NIR analysis (Anton Paar Alcolyzer Beer ME System) was used to measure ethanol. Measurements comprised 50 ml of sample, and a 10% EtOH solution was used for calibration.

Correlation calculations

Pairwise Spearman Rank correlations were calculated between all chemical properties.

Sensory dataset

Trained panel.

Our trained tasting panel consisted of volunteers who gave prior verbal informed consent. All compounds used for the validation experiment were of food-grade quality. The tasting sessions were approved by the Social and Societal Ethics Committee of the KU Leuven (G-2022-5677-R2(MAR)). All online reviewers agreed to the Terms and Conditions of the RateBeer website.

Sensory analysis was performed according to the American Society of Brewing Chemists (ASBC) Sensory Analysis Methods 90 . 30 volunteers were screened through a series of triangle tests. The sixteen most sensitive and consistent tasters were retained as taste panel members. The resulting panel was diverse in age [22–42, mean: 29], sex [56% male] and nationality [7 different countries]. The panel developed a consensus vocabulary to describe beer aroma, taste and mouthfeel. Panelists were trained to identify and score 50 different attributes, using a 7-point scale to rate attributes’ intensity. The scoring sheet is included as Supplementary Data  3 . Sensory assessments took place between 10–12 a.m. The beers were served in black-colored glasses. Per session, between 5 and 12 beers of the same style were tasted at 12 °C to 16 °C. Two reference beers were added to each set and indicated as ‘Reference 1 & 2’, allowing panel members to calibrate their ratings. Not all panelists were present at every tasting. Scores were scaled by standard deviation and mean-centered per taster. Values are represented as z-scores and clustered by Euclidean distance. Pairwise Spearman correlations were calculated between taste and aroma sensory attributes. Panel consistency was evaluated by repeating samples on different sessions and performing ANOVA to identify differences, using the ‘stats’ package (v4.2.2) in R (for package information, see Supplementary Table  S8 ).

Online reviews from a public database

The ‘scrapy’ package in Python (v3.6) (for package information, see Supplementary Table  S8 ). was used to collect 232,288 online reviews (mean=922, min=6, max=5343) from RateBeer, an online beer review database. Each review entry comprised 5 numerical scores (appearance, aroma, taste, palate and overall quality) and an optional review text. The total number of reviews per reviewer was collected separately. Numerical scores were scaled and centered per rater, and mean scores were calculated per beer.

For the review texts, the language was estimated using the packages ‘langdetect’ and ‘langid’ in Python. Reviews that were classified as English by both packages were kept. Reviewers with fewer than 100 entries overall were discarded. 181,025 reviews from >6000 reviewers from >40 countries remained. Text processing was done using the ‘nltk’ package in Python. Texts were corrected for slang and misspellings; proper nouns and rare words that are relevant to the beer context were specified and kept as-is (‘Chimay’,’Lambic’, etc.). A dictionary of semantically similar sensorial terms, for example ‘floral’ and ‘flower’, was created and collapsed together into one term. Words were stemmed and lemmatized to avoid identifying words such as ‘acid’ and ‘acidity’ as separate terms. Numbers and punctuation were removed.

Sentences from up to 50 randomly chosen reviews per beer were manually categorized according to the aspect of beer they describe (appearance, aroma, taste, palate, overall quality—not to be confused with the 5 numerical scores described above) or flagged as irrelevant if they contained no useful information. If a beer contained fewer than 50 reviews, all reviews were manually classified. This labeled data set was used to train a model that classified the rest of the sentences for all beers 91 . Sentences describing taste and aroma were extracted, and term frequency–inverse document frequency (TFIDF) was implemented to calculate enrichment scores for sensorial words per beer.

The sex of the tasting subject was not considered when building our sensory database. Instead, results from different panelists were averaged, both for our trained panel (56% male, 44% female) and the RateBeer reviews (70% male, 30% female for RateBeer as a whole).

Beer price collection and processing

Beer prices were collected from the following stores: Colruyt, Delhaize, Total Wine, BeerHawk, The Belgian Beer Shop, The Belgian Shop, and Beer of Belgium. Where applicable, prices were converted to Euros and normalized per liter. Spearman correlations were calculated between these prices and mean overall appreciation scores from RateBeer and the taste panel, respectively.

Pairwise Spearman Rank correlations were calculated between all sensory properties.

Machine learning models

Predictive modeling of sensory profiles from chemical data.

Regression models were constructed to predict (a) trained panel scores for beer flavors and quality from beer chemical profiles and (b) public reviews’ appreciation scores from beer chemical profiles. Z-scores were used to represent sensory attributes in both data sets. Chemical properties with log-normal distributions (Shapiro-Wilk test, p  <  0.05 ) were log-transformed. Missing chemical measurements (0.1% of all data) were replaced with mean values per attribute. Observations from 250 beers were randomly separated into a training set (70%, 175 beers) and a test set (30%, 75 beers), stratified per beer style. Chemical measurements (p = 231) were normalized based on the training set average and standard deviation. In total, three linear regression-based models: linear regression with first-order interaction terms (LR), lasso regression with first-order interaction terms (Lasso) and partial least squares regression (PLSR); five decision tree models, Adaboost regressor (ABR), Extra Trees (ET), Gradient Boosting regressor (GBR), Random Forest (RF) and XGBoost regressor (XGBR); one support vector machine model (SVR) and one artificial neural network model (ANN) were trained. The models were implemented using the ‘scikit-learn’ package (v1.2.2) and ‘xgboost’ package (v1.7.3) in Python (v3.9.16). Models were trained, and hyperparameters optimized, using five-fold cross-validated grid search with the coefficient of determination (R 2 ) as the evaluation metric. The ANN (scikit-learn’s MLPRegressor) was optimized using Bayesian Tree-Structured Parzen Estimator optimization with the ‘Optuna’ Python package (v3.2.0). Individual models were trained per attribute, and a multi-output model was trained on all attributes simultaneously.

Model dissection

GBR was found to outperform other methods, resulting in models with the highest average R 2 values in both trained panel and public review data sets. Impurity-based rankings of the most important predictors for each predicted sensorial trait were obtained using the ‘scikit-learn’ package. To observe the relationships between these chemical properties and their predicted targets, partial dependence plots (PDP) were constructed for the six most important predictors of consumer appreciation 74 , 75 .

The ‘SHAP’ package in Python (v0.41.0) was implemented to provide an alternative ranking of predictor importance and to visualize the predictors’ effects as a function of their concentration 68 .

Validation of causal chemical properties

To validate the effects of the most important model features on predicted sensory attributes, beers were spiked with the chemical compounds identified by the models and descriptive sensory analyses were carried out according to the American Society of Brewing Chemists (ASBC) protocol 90 .

Compound spiking was done 30 min before tasting. Compounds were spiked into fresh beer bottles, that were immediately resealed and inverted three times. Fresh bottles of beer were opened for the same duration, resealed, and inverted thrice, to serve as controls. Pairs of spiked samples and controls were served simultaneously, chilled and in dark glasses as outlined in the Trained panel section above. Tasters were instructed to select the glass with the higher flavor intensity for each attribute (directional difference test 92 ) and to select the glass they prefer.

The final concentration after spiking was equal to the within-style average, after normalizing by ethanol concentration. This was done to ensure balanced flavor profiles in the final spiked beer. The same methods were applied to improve a non-alcoholic beer. Compounds were the following: ethyl acetate (Merck KGaA, W241415), ethyl hexanoate (Merck KGaA, W243906), isoamyl acetate (Merck KGaA, W205508), phenethyl acetate (Merck KGaA, W285706), ethanol (96%, Colruyt), glycerol (Merck KGaA, W252506), lactic acid (Merck KGaA, 261106).

Significant differences in preference or perceived intensity were determined by performing the two-sided binomial test on each attribute.

Reporting summary

Further information on research design is available in the  Nature Portfolio Reporting Summary linked to this article.

Data availability

The data that support the findings of this work are available in the Supplementary Data files and have been deposited to Zenodo under accession code 10653704 93 . The RateBeer scores data are under restricted access, they are not publicly available as they are property of RateBeer (ZX Ventures, USA). Access can be obtained from the authors upon reasonable request and with permission of RateBeer (ZX Ventures, USA).  Source data are provided with this paper.

Code availability

The code for training the machine learning models, analyzing the models, and generating the figures has been deposited to Zenodo under accession code 10653704 93 .

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Acknowledgements

We thank all lab members for their discussions and thank all tasting panel members for their contributions. Special thanks go out to Dr. Karin Voordeckers for her tremendous help in proofreading and improving the manuscript. M.S. was supported by a Baillet-Latour fellowship, L.C. acknowledges financial support from KU Leuven (C16/17/006), F.A.T. was supported by a PhD fellowship from FWO (1S08821N). Research in the lab of K.J.V. is supported by KU Leuven, FWO, VIB, VLAIO and the Brewing Science Serves Health Fund. Research in the lab of T.W. is supported by FWO (G.0A51.15) and KU Leuven (C16/17/006).

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These authors contributed equally: Michiel Schreurs, Supinya Piampongsant, Miguel Roncoroni.

Authors and Affiliations

VIB—KU Leuven Center for Microbiology, Gaston Geenslaan 1, B-3001, Leuven, Belgium

Michiel Schreurs, Supinya Piampongsant, Miguel Roncoroni, Lloyd Cool, Beatriz Herrera-Malaver, Florian A. Theßeling & Kevin J. Verstrepen

CMPG Laboratory of Genetics and Genomics, KU Leuven, Gaston Geenslaan 1, B-3001, Leuven, Belgium

Leuven Institute for Beer Research (LIBR), Gaston Geenslaan 1, B-3001, Leuven, Belgium

Laboratory of Socioecology and Social Evolution, KU Leuven, Naamsestraat 59, B-3000, Leuven, Belgium

Lloyd Cool, Christophe Vanderaa & Tom Wenseleers

VIB Bioinformatics Core, VIB, Rijvisschestraat 120, B-9052, Ghent, Belgium

Łukasz Kreft & Alexander Botzki

AB InBev SA/NV, Brouwerijplein 1, B-3000, Leuven, Belgium

Philippe Malcorps & Luk Daenen

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Contributions

S.P., M.S. and K.J.V. conceived the experiments. S.P., M.S. and K.J.V. designed the experiments. S.P., M.S., M.R., B.H. and F.A.T. performed the experiments. S.P., M.S., L.C., C.V., L.K., A.B., P.M., L.D., T.W. and K.J.V. contributed analysis ideas. S.P., M.S., L.C., C.V., T.W. and K.J.V. analyzed the data. All authors contributed to writing the manuscript.

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Correspondence to Kevin J. Verstrepen .

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K.J.V. is affiliated with bar.on. The other authors declare no competing interests.

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Schreurs, M., Piampongsant, S., Roncoroni, M. et al. Predicting and improving complex beer flavor through machine learning. Nat Commun 15 , 2368 (2024). https://doi.org/10.1038/s41467-024-46346-0

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Received : 30 October 2023

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Published : 26 March 2024

DOI : https://doi.org/10.1038/s41467-024-46346-0

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