how to write a critique essay on a play

How to Review a Play

Preparing to write a play review.

Below are some tips to help you prepare to write a play review:

The Nature of the Assignment

Because the performance of any play is such an ephemeral experience, writing a play review can be an exciting, though difficult, task. You have to be both spectator taking in and enjoying the performance and critical analyst of the production itself. You have to be able to provide a very brief summary of the play, a close objective analysis of the performance you attend, and an interpretation and evaluation of the entire ensemble of staging, acting, directing, and so on.

The review assignment asks you to analyze in an objective manner the relative success or failure of a given production. Note that you are not asked simply to summarize the plot or give an opinion regarding the text of the play being mounted; your review must be grounded in the production itself. Your job is to describe the production accurately, and then to render a value judgment of it based upon what you have seen and what you expected. The assignment will test your skill as a reader of the play and as an observer and critic of the production.

In addition to grounding your review on the production you witness, you must be careful to limit your review to a few essential observations in support of your thesis (which will be discussed below). You must concentrate on a few important ideas and aspects of the production and focus your attention on only what you consider the most significant parts of the production itself. Unlike a newspaper review, which can be loosely structured and superficial, your assignment is quite definite. You are not asked to cover a wide variety of production elements (i.e. performance of every actor, every costume change, every set change, every directorial decision, and so on); instead, the assignment demands that you develop a few key ideas in thoughtful detail.

Remember, too, that your stance is to be objective and critical, not impressionistic and merely nasty. A critic is not someone who simply “criticizes,” but a person who studies, analyzes, and then renders a rational judgment of what he/she has seen. Your tone will be very important in making your review reliable and intelligent.

Before You Attend the Production

Read the play before going to the production. (It is important to be prepared for the production you plan to attend; otherwise, you run the risk of having to see it several times.)

• In your mind, have a good sense of how a “standard” production might look, complete with a sense of what the characters might look like, the type of costuming that might be used, a suitable set design, and an appropriate rendering of the theme and tone of the work.
• Pick out, as you read, several critical or problematic points within the play that may be of particular interest to watch for in the production you are about to attend. If your instructor has asked you to pay particular attention to certain elements, make sure that you are prepared to recognize them in performance.

Attending the Production

Attend the play with an open mind, a willingness to accept the play as the director has presented it in production.

• Note any deviations from your concept of a “standard” production and try to find a good explanation for that deviation. (Is the director trying to “say” something new or different? Was your sense of the play somehow inaccurate, or were you shown new insights by the director’s production?)
• Why the choice of costumes, and why the set design?
• How did the actors deliver their lines (seriously, comically, realistically, formally)? Were there any significant actions or gestures that contributed to the play’s meaning?
• Were any “special effects” utilized (consider lighting, sound, audience participation, machinery)?
• Were any significant cuts made in the script?

After the performance, jot down the details you recall and talk about the performance with friends. You’ll need these details for your paper in order to substantiate your argument.

Evaluate the performance.

• Did the director miss any important opportunities to convey something you were able to see in your reading of the play?
• Would you have liked to have seen more attention paid to what you perceived as critical passages, passages the director seemed less interested in?
• Why would you have preferred this attention, and why do you think the director avoided giving the passage such attention?

Consider the following practical aspects:

• What kind of stage does the director have at his disposal? What kinds of restrictions does the stage impose on the director concerning movement and set design?
• Are the actors professionals, amateurs, or students? What restrictions does this impose on the director? Are the actors capable of dealing with the script’s requirements? (Be fair to the actors in your assessment of their talents and the level of their “craftsmanship.”)

Writing the Review

Below are some tips for writing play reviews:

Writing the Introduction

The introduction should include the following:

• The title of the play, the name of the playwright, and any pertinent historical information regarding them (other similar works from this period? by this writer?).
• The name of the director, the place and date of the production you attended, and the name of the production company (again, do you know of any previous work by this company? this director?).
• (Note that even if the production did not exactly coincide with your own conception of the play, you should not feel obliged to condemn the performance outright. Be open-minded and willing to weigh pros and cons.)
• (Note that this thesis asserts that Papp captured the essence of what is in the text itself — the expectations set up by the thesis are that the reviewer will then analyze the methods by which the director achieved this effect.)
• (This thesis suggests that “sympathy” was the director’s intention. Note also that the reviewer gives a strong indication of what he/she expected to find in the production.)
• Example: In You Can’t Take It With You, the acting by the family members on the open, exposed stage displayed an innocent and vigorous freedom, as well as a proud independence in their confrontation with accepted norms of behavior.

Writing the Statement and Summary

Include a brief thematic summary (but not a plot summary) of the play, and support that summary with concrete evidence from the text.

You can include this summary in the introduction; or, if you wish to expand the summary, include it in a separate paragraph following the introduction.

Writing the Body of the Paper: The Review

Remember that in the body of the paper you are obliged to deal specifically with each element of the production that you mentioned in the introduction and thesis.

In order to give your review a tight internal logic and cohesiveness, you should also discuss these elements in the order that you outlined in the introduction. Such points of discussion might include the non-technical (acting, directing) and/or the technical (lighting, scenery, costumes) aspects of the production.

For each element that you discuss:

• (Note the vivid description of what was seen, and the use of detail to convey that vividness. The passage will work nicely as evidence for an overall, positive evaluation of the production.)
• Interpret, Analyze, Evaluate : This part of the paper requires the most thought and organization and consequently receives the most attention from your reader. After you have finished describing important elements of the production, proceed to evaluate them.

For example, you would need to answer the following questions regarding the last description of Lear :

• Why were the lights dimmed at the beginning of the scene? (shock effect? slow unfolding of horror?)
• Why was the backdrop painted black? (contrast? mood?)
• Why was there no order to the skulls? Why seven? (emblem of disorder or chaos? significance in number?)

In other words, assume that everything used in production has significance, but don’t panic if you cannot find “answers” for all the questions raised by what you see in the production.

In the evaluation, you are given the opportunity to attack as well as commend the performance; if the production fails to answer questions that you feel need answers, then say so. If the question or problems are relatively minor, ignore them. Don’t quibble at the expense of missing the more important concerns.

Writing the Summary and Conclusion

Your conclusion should not merely recapitulate your thesis in a mechanical way.

Rather, you should try to show why your response to the play is valid and significant, based on what you have described in the body of the paper.

Do not add any significant new material, but don’t be afraid to leave your reader with something to think about.

Academic and Professional Writing

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How To Critique a Theater Performance

Critiquing a theater performance is a way for a writer to evaluate a production’s merit. It’s usually based on how effectively it combined all the aspects of theater, what message it put forward, and how effectively it did that. 

To critique a theater performance, you need to know what kind of performance you will watch and the norms for that genre . Describe and evaluate the significant aspects of the performance in an insightful but objective way. Then explain whether the performance as a whole was effective. 

This article will take an in-depth look at the essential points of a theater performance critique. This includes not only the format of a review but also the proper etiquette to follow when writing one. 

1. Describe the Context of the Performance

Every theater review begins with context, which is a way for the audience to situate themselves and understand the points that the performance is being evaluated.

Before you even step into a theater, you need to know:

• The name of the performance.
• The location of the performance. A high school rendition of Romeo and Juliet will be evaluated differently from a professional performance of the same title. 
• Prior knowledge of the title being performed. Read and understand a title before seeing it performed so you know exactly how it should be interpreted on stage. 
• Prior knowledge of the genre. If the performance is a comedy, ensure you’re well-versed in comedic standards and norms to offer up valuable criticism . 

It’s impossible to offer up any valuable commentary on something if you don’t understand it. So you’ll need to arrive at the performance with a checklist of crucial aspects you’d like to discuss in your review.

The review could focus more heavily on how well the actors played their characters or how the set and lighting enhanced the event’s mood. However, this all depends on what you hope to achieve with the review.

Bellevue College lists the main points to remember and comment on before, during, and after a performance, so take note of them to ensure you know what to look for. 

2. Summarize the Plot of the Performance 

Assume that the person reading your review has no prior knowledge of the performance. It’s always safer this way because you don’t know how much information your readers have about the performance or its key themes, and you don’t want anyone left confused. 

Give the audience the same amount of information about a well-known title as you would about a niche or original one. You’ll want to explain what the story is about, who the main characters are, where the story is set, and what the overarching themes and plot devices are.

For example, you might explain that Don Quixote is a parody with an ironic third-person perspective set in La Mancha, Spain. 

His motivation is righteousness and protecting the weak and innocent. 

His deluded ideas of his own knighthood and class struggles lead him into many adventures highlighting the play’s main point, which is a battle between different moral perspectives and ideas of worth vs. class. 

This is just a brief example of the setup you should create for the reader, giving them the facts before they make any judgments on the performance. Audience members may find the play foolish if they don’t know from the offset that it’s supposed to be a parody. 

It’s absolutely crucial to provide context before making an evaluation. 

Summaries need to be concise and informative , devoid of judgment and opinion, and capture the main points of a story. Use this MasterClass article to learn the main elements of a summary and how to write an effective one. 

MasterClass also has an excellent guide to literary themes that will guide you in identifying and applying them to the performance you’re reviewing. This article only lists a few, so be sure to also do thorough research on the piece you’ll be watching. 

3. Comment on Each Main Aspect of the Performance

Take notes on what you see when you arrive and throughout the performance. 

Don’t make any judgments or assumptions about the performance before you arrive or while watching the story unfold. 

Arrive open-minded, and simply write down anything significant you notice, which might be as small as something in the script. Maybe the language has been changed slightly, so take note of this, and reflect on why that might be later.

Take in the lighting, set design, costumes, makeup, stage directions, and the actors’ behavior. Again, reserve judgment for now, and just note the choices made regarding all of these factors. 

BBC has a fantastic explanation of set design , why it matters, and what to look for when analyzing and evaluating a performance’s set design. 

Focus your energy on noting what’s standard in this performance and what deviates from the norm. Ask questions like:

• Does the production have any critical differences from the original script? 
• Is that a coincidence, or was it done intentionally?

Now that you’ve jotted down these notes, it’s time to start questioning more deeply. The best method to use in this case is The Five Ws and one H :

Discuss the performance itself based on these questions:

• Were the actors comfortable and well-suited to their roles? 
• Did the lighting enhance the mood or make it hard to see what was going on?
• Did the audience react well to the performance, or were they bored or dissatisfied?
• Were the changes to the script intentional after all? 
• Did they add or subtract from the performance and the play’s overall message?

These are all questions you need to ask before making your final evaluation . 

The final assessment takes every aspect you’ve discussed in your critique and brings it together to offer a final judgment of the performance.

This judgment isn’t a matter of whether you enjoyed the performance but whether it achieved what it was supposed to. If it was a comedy , did it make the audience laugh? Were the script changes more jarring than refreshing?

Etiquette is crucial when reviewing someone else’s work, and there are a few guidelines to remember when reviewing a performance. Decide on how well the play fulfilled its purpose with authority and objectivity. 

Don’t slander or sing its praises too highly, as your opinion is secondary. 

Critiquing a piece too harshly might end up looking unprofessional and stirring up tension and conflict between you and the rest of the theater industry, which is the last thing you want if you want a successful career in it. 

Objective writing can be tricky, especially if you’re new to writing reviews or critiquing professionally. Practice makes perfect, so try and improve your understanding of objective language and practice it before writing a critique.

4. Show Readers Why Your Review Matters

Critiquing a theater performance isn’t a simple task. But anyone with sufficient knowledge of the theatrical arts and a grasp of tone and objectivity can take a stab at writing a critical review .

To make a mark on your audience and possibly even reach a larger demographic of theatrical and reviewing professionals, you should write your descriptions and evaluations in a unique way. 

Cover all your bases and don’t leave out any details on the meaty bits that really matter in a review. You also don’t want to make commentary that people will only understand at a stretch. 

Alongside this, however, take note of things other people wouldn’t consider, and try to connect this piece and other pieces in the same or different genres. 

Reference other reviews and other literature that could be applicable. For example, you could draw comparisons between the acting in a stage performance of The Boys in the Band and its later movie counterparts by the same name. 

Finally, don’t be afraid to take a different stance from other reviews you may have read if you genuinely disagree with their statements and evaluations. Consider using these tips on structural decisions and word choices to write an excellent review without making it inappropriate or unprofessional. 

Critiquing a theater performance isn’t something you can expect to master immediately. It takes practice and a great deal of knowledge of the theatrical arts. Luckily, through a lot of reading, observation, and practice, you can write a brilliant review. 

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Critique vs. Criticism: How to Write a Good Critique, with Examples

by Daniel Rodrigues-Martin

Understanding critique vs. criticism

We all assign merit to the information we experience daily. We “judge” what we hear on the news. We “evaluate” a university lecture. We “like” or “dislike” a movie, a meal, a photo, a story. We’re all critics.

Some writer-readers struggle with this point, especially if they are young to writing and editing. Sitting in a judgment of another writer’s work often feels distasteful, and doing so may conjure negative memories of when we were misunderstood or dismissed by others.

Conversely, we might be willing to share our opinions with other writers while struggling with our competence. We can’t seem to say anything constructive. If we’re critiquing on Scribophile, we may feel that we are wasting one of the author’s coveted “spotlight” critiques.

Having used Scribophile on-and-off since 2009, I’ve seen countless readers qualify their commentary on my own work (“I don’t read your genre,” “I haven’t read your previous chapters,” “I’m not good with grammar,” etc.) and I’ve seen even more cry woe on the forums about how they can’t critique because they’re not experienced enough, not educated enough, or not talented enough. Others decry the very sort of criticism writers’ groups and workshop sites like Scribophile foster, suggesting that the perfunctory nature of such criticism is ultimately more harmful than helpful.

Scribophile as a community thrives on the principle of serious commitment to serious writing, and the foundation of that commitment is reading and responding to others’ work. If you want to explore some elements helpful to improving your critiquing skills, I invite you to get yourself some hot caffeine, strap on your thinking cap, and read on.

How to write a great critique in 3 steps

Listed here are some ideas I’ve found helpful for approaching others’ work; these tips are about your mindset as a critic. These ideas are by no means exhaustive. The best teacher is experience, and I encourage all writers to reflect on the ways in which they approach others’ work as well as how they can best contribute to the growth of others on and off of Scribophile.

1. If you’re genuine, you’ll be constructive

Being constructive means coming to the critique with the ultimate goal of helping the writer improve. It means always criticizing with good intentions for the writer. It does not equate to coddling—being so nice you’ll never say a hard thing—nor does it equate to browbeating—being so hard you’ll never say a nice thing.

Being dishonest or refusing to offer valid criticism where you’re able is a disservice to the writer. Don’t shy away from honesty. Few things are more constructive than hard truths delivered by critics who genuinely want to help and who tailor their criticism with an attitude of genuine interest.

As you interact with works on Scribophile or elsewhere, remember to always approach the task of criticism with a desire to be genuinely helpful. If your criticism is built on this foundation, your commentary will be constructive regardless of your competence and experience.

2. No jerks

As for literary criticism in general: I have long felt that any reviewer who expresses rage and loathing for a novel or a play or a poem is preposterous. He or she is like a person who has put on full armor and attacked a hot fudge sundae or a banana split. —Kurt Vonnegut

Few things will more quickly deflate a writer than unnecessarily harsh criticism. Being honest and being brutal are not the same thing. Critics must learn to express hard truths without coddling and without being jerks.

Even rude people can be good writers with valuable insights into the craft. The problem is that if you express valid insights obnoxiously, the author won’t care. In order for people to listen, they must feel that the person criticizing them has their best interest in mind, and being harsh doesn’t communicate your best interest.

In my earliest days writing, I received some negative criticism from a writer who decided to berate me for penning a bad phrase rather than explaining to me why the phrase didn’t work. Because he was rude, I insulated myself to his criticism. Years later, I reviewed the work and realized his criticism was valid. The problem was not the content of his criticism, but its malicious delivery. Had he come to my work with the desire to be genuinely helpful, I would have listened to what he had to say, and I might even have gained some enlightenment during a formative time in my writing career. The critic did me doubly wrong not only by being obnoxious, but by retarding my growth as a writer.

Unnecessarily harsh criticism is a sign of literary and personal immaturity. Don’t be a jerk.

3. Don’t be too timid

Flattering friends corrupt. —St. Augustine

Every writer likes to be praised, especially by those not obligated to praise them due to marital status or having given birth to them. But depthless praise can be just as damaging as heartless criticism. The reason for this is that it offers no real commentary on the work.

Refusing to offer criticism where it’s needed is one of the greatest disservices you as a critic can do for other writers. Some critics may fret that their criticism might be too discouraging if fully disclosed. Critics must contend with the reality that writing is art, people have opinions about art, and those opinions are not always going to be eruptions of praise. There is no safer environment to honestly and succinctly point out problem areas in a piece of writing than a forum designed for that very purpose.

None of this is to say that you shouldn’t commend a piece of work if it truly is fantastic or that you should not highlight the gems within a work. Again: constructive criticism is honest criticism. If a work is so well-crafted in your eyes that nothing worse than grammatical hiccups are present, tell the writer. They deserve to know they’ve done a fine job. Sometimes people genuinely deserve a “well done.” Don’t skimp on encouragement where it can be authentically offered. Even if a piece is messy, do your best to find a few strong points to highlight. It will express your best interest—especially if you had a lot of hard things to say.

The difference between a critique vs. criticism is whether it’s constructive

Be constructive , meaning, have the best intentions for helping the writer. This may mean telling hard truths. If hard truths must be told, do so respectfully. If praise is deserved, offer it. Highlight the strong points of a piece—even if they are far outweighed by the negative points. Be genuine in your motivations, and genuine action will follow.

Considering authorial intent while critique writing

This section concerns authorial intent and has as its purpose the critic’s growth as an interpreter of that intent. This section is not so much about judging an author’s intent as it’s about being aware of that intent and factoring that awareness into your commentary.

1. Context is king

It is important to appreciate the amount of subjectivity and pre-understanding all readers and listeners bring to the process of interpreting acts of human communication. But unless a speaker or author can retain the right to correct someone’s interpretation by saying ‘but that’s not what I meant’ or ‘that’s not even consistent with what I meant,’ all human communication will quickly break down. —Craig L. Blomberg

While interpreters are always within their rights to read whatever they want however they want to, what they are not at liberty to decide is authorial intent —what the author desired the audience to receive from their work.

As a reader and a critic, you must be careful to understand an author’s work on their own terms while also interpreting those words. There is a substantial difference between, “This is how I’m hearing what you’re saying,” and, “This is what I say your words mean.” Don’t presume to tell an author what their work is supposed to mean, but do tell them how you’re interpreting what they’ve written.

A work-in-progress can suffer from a variety of ailments. Contextual questions are not cut-and-dry like questions of syntax, grammar, or, to a degree, plotting. Questions of context have to do with the interaction of author intent and reader interpretation. They’re murky waters to navigate because you as the reader have to exercise a bit of telepathy; you have to try and get inside the author’s head, ultimately “What is the author trying to convey with this sentence, this piece? Who is this piece for, and will it successfully communicate with that target audience? Is it clear that there is a target audience?”

Some authors are great at genre pieces; they know all the chords to strike, they know what the tone of the piece should be, the kinds of characters who should appear. Other authors can completely muck it up. They’ll write a romance piece that reads like a technical manual or a flowery memoir with a tangle of dead-ending tangents. It’s not always easy and natural for new critics to explain why something does or doesn’t work, but innately, we know. When those moments come up, let the author know.

2. The unintended/unspoken

Asking the question, “Is that really what you meant?” isn’t always bad. All of us have been misunderstood. Sometimes the results are humorous, but other times, we’re grateful for the opportunity to correct misunderstandings.

If in your criticism you find yourself questioning the use of a word or phrase, or even of a character, idea, or plot point, it’s advisable to bring such questions to the writer’s attention. It may just be you, but it may not just be you. Unless the writer has a philosophical axe to grind, they probably mean to communicate clearly, and it should at least be made known that they may have botched it up.

Conversely, there are instances where things left unwritten speak volumes. Perhaps a character “falls off the radar” in mid-scene, and it leaves you scratching your head? It may be appropriate to point out confusing instances of the unwritten for the author’s consideration.

Because my own novel employs many neologisms, critics jumping in mid-story often highlight those neologisms to make sure I’m using them as intended. While it can get tedious to say to myself, “Yes, that is what it means,” I am always thankful for keen eyes. This is the kind of sharp, considerate criticism each of us should aim for and be thankful for if we receive it.

3. Accounting for genre and intended audience

A genre is “A category of artistic composition, as in music or literature, marked by a distinctive style, form, or content.” When reading an author’s work, it’s crucial to take into account its genre and intended audience. If you’re even-handed in your critiquing, you’ll at some point be reading a story in a genre you might not otherwise touch, and while you might wish Twilight had been a one-off rather than a worldwide phenomenon, it’s inappropriate to harshly judge an author’s work simply because you don’t like their sort of story.

Consider the question of author intent and how that intent will resonate with an intended (or unintended!) audience. Sometimes, you must ignore whether or not a story resonates with you personally. Instead, ask yourself if it would resonate with your vampire-novel-loving daughter. Are the story, plot devices, characters, and verbiage appropriate for the intended audience? If yes, why or why not? If no, why or why not? Your personal tastes should not dictate the quality of your criticism. Train yourself to offer valuable insight even on writing you’d never pay money to read.

Remember these principles when reading work outside your sphere of interest. Being constructive doesn’t mean you have to love or even like the work. If something is written well, it’s written well—prejudices aside. If you’re truly unable to be objective, you would do the writer a better service by moving on.

4. Don’t pretend to be a non-writer

A film director watches other films differently than a moviegoer. A chef tastes a meal differently than the average person. As a writer, you necessarily see stories differently than non-writers. That’s not a bad thing.

We can be helpful to other writers by sharing our gut reactions no differently than an unversed beta reader. On the other hand, writers should be able to explain with more clarity than the average person why something does or doesn’t work in a story. A writer’s insight is of a different quality than a non-initiate’s insight. Both are needed for success, because if a writer one day moves on to pitch their work to those in the literary establishment, that work will not be judged by average readers until after it has survived the professional gauntlet.

All readers have the ability to share their gut reactions, but not all readers can slip on their “writer glasses” and offer critique on that level. Good critiques provide both types of insight, so as a fellow writer, bring your full experience to bear in helping others embarking on the same journey.

Understanding intent is part of a good critique

As best as you’re able, judge an author’s work on the basis of their intent—this includes noting instances of the unintended! In consideration of genre, judge the work not on the basis of your interest in the genre, but on the author’s skill at writing a piece that strikes the proper chords within the genre they’ve chosen. It’s not possible for you to read as a reader only, so don’t pretend to be something you’re not.

What makes a good critique?

A good writer may come out of any intellectual discipline at all. Every art and science gives the writer its own special ways of seeing, gives him experience with interesting people, and can provide him with means of making a living… It is not necessary—or perhaps even advisable—that the young writer major in literature. —John Gardner

Contrary to the belief of a lot of new writers, learning to write and critique doesn’t require sixty-four credits of college English or an MFA. Plenty of writers and editors don’t hold English or Creative Writing degrees, and while I in no way wish to discourage those who choose to improve their writing and reviewing by taking the high road of formal education, neither do I wish to discourage the 98% of you reading this who haven’t and won’t be able to front the money and time for such an education.

The ability to forge valid criticism is an applied skill learned through a combination of technical knowledge and experience. We’re fortunate to live in an age where vast quantities of technical information are available at our fingertips. Contemporary writers are able to write informed literature like never before. So, too, are critics able to fact-check writers like never before.

Just as you’re willing to fact-check history or science before you include something in your story, it doesn’t hurt to do that for those you critique. Granted, they should do that themselves, but maybe they’re writing a genre you write, or maybe they’re writing about your field of work or interest? Being educated or experienced in any field will enrich not only your writing, but your critiquing. If you’re a fry cook, your ability to write or critique a scene in a modern commercial kitchen is better than that of someone who hasn’t had that experience. Because you know what it’s like to really work in a kitchen, you can speak to the authenticity of any such scene, and you can speak to the authenticity of the kinds of people who work in commercial kitchens. Your grammar may not be the best, but you still have something valuable to contribute.

Great writers are keen observers of life, and their writing both informs and is by informed by life. Bring the authenticity of your life to your writing and your criticism. You have perspectives, knowledge, and experiences others don’t. As you read and respond to authors, employ the skills and knowledge you already possess. Put your formal and informal education and your life experience to work. This is what it means to “write what you know” and, in our case, “critique what you know.”

Immerse yourself in all sorts of stories to get better at critiquing

One of the cardinal “writing for dummies” rules is that if you want to write well, you need to read a lot. I don’t doubt the validity of this statement, but books are only one medium of storytelling among many. My contention is that by immersing yourself in movies, television, and other storytelling mediums, you can learn about dialogue, plot, characterization, and all the other aspects of “storytelling” that appear no matter what medium you choose.

If you want to understand what makes a story great, seek out great stories. Immerse yourself in them. Though you may not be able to verbalize it, your innate understanding of what makes a narrative work will grow. This will improve both your writing and your critiquing.

Steal critiquing techniques from smart people–yourself included

Consider the critiques that have been most helpful to you. Why did they work? Reread them if you must. Then find a way to adapt the good things from those critiques into your own criticism.

Consider the critiques you’ve shared that have been helpful to others. What stood out to the author? You may even consider asking an author for feedback on your critique. Ask how you could have been more helpful.

Critiquing is a skill you can improve over time just like writing itself. But like writing, it takes practice and discipline. Make it easier on yourself by nurturing what works.

A reading list to improving your critique writing skills

There are many solid books on writing that will not only improve your writing, but your critical reading skills. Rather than provide you a hundred sources, here are a few I’ve been able to get my claws on, have dug into, and can personally vouch for:

Good Prose , by Tracy Kidder & Richard Todd. The writer-editor combo of The Atlantic share their wisdom through a tightly-edited, insightful, and entertaining survey of nonfiction writing that has plenty of benefit for writers of all stripes. The book’s section on “proportion and order” in narrative has revolutionized my own thinking about how stories should be structured.

How to Write Science Fiction and Fantasy , by Orson Scott Card. A good resource if you write these genres, Card provides practical advice on publishing, agents, etc., in addition to familiarizing the reader with dos and don’ts for writing Sci-Fi/Fantasy, including some technical questions. The book’s a bit dated by now—especially the parts about the publishing world—but there are some nuggets of timeless truth within.

On Becoming a Novelist , by John Gardner. Despite the Modernistic tendency of abusing the pronoun “he,” this may be the most formative thing I’ve read about novel writing. It’s slim, readable, practical, and comprehensive.

On Writing , by Stephen King. Something of an autobiography penned by one of the most successful authors of all time, this book is snappy, humorous, entertaining, and more than a little instructive for anyone looking to write and read better. King reminds his fellow writers that “Life isn’t a support system for art; it’s the other way around.”

Story , by Robert McKee. Considered by many to be the “screenwriter’s bible,” Story belongs in the library of every serious writer whether or not they ever aspire to the silver screen. McKee is a master of properly balancing a plot to satisfy an audience, and all writers should glean from his wisdom.

The Modern Library Writer’s Workshop , by Stephen Koch. Koch flexes his student’s muscles by providing copious citations from the masters who have graced the past few centuries of literature. The author fades into the background at points while readers are treated to the musings and experiences of Dostoevsky, Flannery O’Connor, Hemingway, and others.

The Writer’s Journey: Mythic Structure for Writers , by Christopher Vogler. Vogler is one of the most proficient living writers of the entertainment industry. Working primarily from the theses of the late cultural anthropologist, Joseph Campbell, Vogler illustrates the plot devices and character tropes that underlie the world’s oldest stories. Recommended for new writers of the speculative fiction genres and those who wish to write epics.

The value of criticism and critiquing

The arts too can be taught, up to a point; but except for certain matters of technique, one does not learn the arts, one simply catches on. —John Gardner

The value of criticism is twofold: First and most obviously, it helps others. Second, and maybe not as apparent if you’re new to critiquing: It improves your own writing.

As you examine the work of others, you’ll be able to see what works and what doesn’t work. You will begin to notice patterns as you edit your own writing, and you’ll begin to sift out the problem areas. It’s difficult to judge your own work objectively. Doing it for others helps you get a clear head and recognize the ways in which you do the very things you criticize others for doing.

This article hasn’t had as a goal the outlining of a criticism “process.” The reason for this is that I could no more outline a criticism process than I could outline a fiction writing process. There is no single monolithic “right way to do it” that will unequivocally work for everyone. Herein are general guidelines and considerations that I’ve found helpful over the years and that others have appreciated. If you write critiques constructively, taking consideration of what the author is trying to do, and if you do so authentically, drawing on your experiences and knowledge, you’re on the right track for writing great critiques. The details of how exactly you accomplish that will become clearer to you as you engage in criticism. As in any discipline: Seek feedback and keep going.

Appendix I: “Line edits” and “critiques”

“Line edits” and “critiques” are not the same thing. These two types of reader responses address different issues, and in order to ensure that you receive the kind of criticism you’re seeking, you need to know what you’re displaying.

A “line edit” is a thorough, line-by-line examination of a manuscript. A good line edit requires an editor with a keen eye for detail and a working knowledge of contemporary grammar, syntax, and idiomatic English. The purpose of a line edit is to make a manuscript as readable as possible by removing technical errors. Typically, works that receive line edits receive them because they’re in need of them.

A “critique” is an in-depth review, touching on characterization, plot, theme, scene structure, poetry of language, and other related factors. Notice how I didn’t list anything about spelling or proper comma usage? It’s because that’s not critiquing; that’s editing. Typically, works that receive criticism as described here are free or mostly free of errors that distract readers from the story.

No one is perfect, and one of the best tools at our disposal on Scribophile is the inline critique option. Having never read nor submitted a flawless piece of writing for review, I can tell you that no one should be ashamed to receive a line edit. There are many sharp eyes and sharp minds browsing Scribophile, and even the best writer’s eyes glaze over after so many hours of staring at a white screen.

That said, part of what is absolutely necessary to receive genuine criticism as described above is a readable text. An unreadable text has never, in my experience, provided foundation for a fantastic piece of writing. Messy prose screams “messy story.” If you want criticism of story, your text must be as clean as possible.

If you’re willing to admit that your mastery of the technicalities of writing is not the sharpest, by all means, employ the knowledge and expertise of those on this site who do; it’s a wonderful resource. Readers can’t truly resonate with your story until you weave a piece of art that makes them forget they’re experiencing a piece of art. When you’re able to achieve this, you’ve removed the hurdles preventing your reader from authentically engaging with the story you’ve created. It’s at this stage in your writing that you can consistently receive deep criticism.

This is, of course, not to say that imperfect prose can’t be critiqued. Part of writing great critiques is learning to spot the gems in the story and encouraging the writer to press onward in spite of any shortcomings. If you’re honest and genuine, this won’t be a problem.

If all else fails, list at the top of your submitted piece the sort of critique you’re seeking by highlighting specific questions. “I’d love to know how you reacted when X happened,” for example. This will encourage readers to engage with the sorts of questions you’re asking.

Appendix II: The Benefits and Limits of Critique Groups

If you understand how to best leverage critique groups, they will be helpful and formative to your growth. As written above, critiquing others helps you grow; but there is more. The benefits of critique groups are threefold.

First, broad exposure. Want to know what people outside of your social circle will think of your work? A critique group will expose your work to people of different backgrounds. You can learn how a teen writer with big dreams or a Native American ex-botanist writing a memoir in retirement reacts to your story. This is the type of demographic insight you’d pay good money for when it comes time to sell your book. Even in small chunks, it’s valuable to know how different people experience your work.

Second, many eyes forge sharper prose. If three different people all trip over the same thing in your text, the problem is most likely not those three people, but your text. Especially if your text is hot off the press, you can catch errors early, and writers tend to be sharper with these sorts of things than the general population. Go look up the cost of a professional manuscript editor in your area, and you’ll be glad for many eyes combing over your writing.

Third, and most importantly: networking. The goal of sites like Scribophile and in-person critique groups should be to develop a network of people who will read the entirety of your work. Don’t get angry at forks for not being spoons—a reader jumping in mid-story will never give you the same level of commentary as someone who’s been reading since chapter one. If you’re ready for that level of reading, you need others to agree to read the book from start to finish. Use critique groups and sites like Scribophile to build relationships. Be attentive to others and share good critiques with them. As your relationships deepen, you’ll eventually find yourself with a list of contacts to trade with. But this requires you to be the kind of person people want reading their work. Behave professionally, and over time, you’ll find yourself surrounded by likeminded individuals who will give you the kind of meaty, informed commentary you need. The rule of thumb with critique groups and workshop websites is: You get out what you put in to them.

Appendix III: Still confused?

If you have questions I have failed to address in this article, I encourage you to contact me privately here on Scribophile or to reach out on social media. I’m happy to help.

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Useful Tips and a Play Critique Example to Guide You to Perfection

Writing a play critique essay can be both enjoyable and challenging. It requires students to have an understanding of dramatic techniques, as well as the ability to analyze and interpret the elements of a particular play. This essay gives students the opportunity to explore the ideas, themes, and characters presented in a play, in addition to the play’s historical and cultural context. Conducting research to gain an understanding of the play’s structure and content, as well as the role of the playwright, is an important aspect of writing a successful play critique essay. In this blog, we’ll go into detail about what a play critique essay is and its structure, check the helpful tips for writing one as well as a sample from our expert writers.

Elements of a Good Play Critique Format

A play critique essay is an analysis of a play that includes its key elements, such as setting, theme, characterization, and plot. It also includes an evaluation of the strengths and weaknesses of the production. Writing a play critique essay requires analysis and evaluation of the play’s elements, structure, and purpose. This essay should provide an overall summary of the play, and then narrow down to focus on specific points that support your argument.

How to Critique a Play: a Detailed Guide

Writing about a play requires understanding the context, themes, and characters involved in the performance. It is important to be familiar with the play before writing a critique essay. Additionally, research is important in order to understand the context and the significance of the play. It is important to be able to articulate what you saw and felt as a result of the play, so make sure to jot down a short play critique outline you can follow. Here are some tips to help you write an effective play critique essay:

• Read the Play: Before you can begin writing your critique of a play, you will need to read it first. Pay close attention to the characters, the dialogue, and the themes that the playwright is exploring. Take notes on any characters and plot points that stand out to you.
• Research Context of the Play: Knowing the context in which the play was written can be helpful for understanding the playwright’s overall aims and the historical relevance of the play. Research the author and the time period in which the play was written.
• Analyze the Characters: Analyze each character’s motives and actions, and how they contribute to the overall plot. Compare and contrast the characters and explore the relationships between them.
• Analyze the Plot: Discuss how the plot progresses and how it is affected by the choices of the characters. If there is a moral to the story, discuss how the characters illustrate this.
• Discuss Themes: Look for any themes that the playwright is exploring, such as love, responsibility, or justice. How are these themes presented in the play?
• Proofread: After you have written your essay, go back and proofread it for any typos or grammar mistakes. Make sure that your argument is clear and concise, and that your essay flows logically from one point to the next.

By following these tips, you can write a well-structured and informative play critique essay. Good luck!

Now that we’ve established all the steps to how to write a critique of a play, you might still need to check a play critique sample to get a general idea of what a good finished paper looks like. Our expert writers have prepared one just for you, so check it out!

Superb Play Critique Example You’ll Want to Copy

August Strindberg wrote A Dream Play in 1901. The play sought to break from the past aiming to find its own unique niche. While most former plays had a cast of well-developed characters, A Dream Play lacks such characters. The play’s characters are many and fascinating as well. This paper seeks to critically analyze the literal work with the aim of bringing out a clear understanding of the themes. In the short foreword of the play, August Strindberg acquaints the readers with the setting and characters found in the play. He says that the characters possess the ability to take any form or number whatsoever. This is entertained by their nature of multiplying, evaporating, splitting, condensing, dispersing as well as assembling. This is exceedingly intriguing. The nature of these characters is due to the existentialistic nature of life that August Strindberg led for a better part of his life. August Strindberg struggled much in his marital life. The Swedish playwright had an unhappy childhood devoid of parental love. This was as a result of his mother’s death at a remarkably tender age in his life and the rejection by his father. As if this was not enough, August Strindberg tried his hand in marital life with dismal failure – he married and divorced equally. Because of his unjust life, August ended up narrating these frustrations in most of his works, particularly in A Dream Play. A Dream Play, as a mythological masterpiece penned in 1902, highlights pertinent life issues such as life, family values, joys, and sorrows. I t survives in this by interrogating philosophical reflections, religious views, the mid and late 19th century defining values. The play is seen in movements, expeditions, and adventures of Agnes, the daughter of Indra. From Venus, Agnes in an attempt to remain loyal to the directives of his father sets out to explore the cause of humanity. Agnes is to identify whether the sorrows, litanies and lamentations of people are justifiable and whether they are genuinely founded on firm grounds. Agnes’ visit has to end with a report to Indra. Does this happen? What is the report? These are the question s that will guide this argument further. According to psychologists, dreams happen by their sheer intermittent nature. They are not continuous. They are constructive as well as destructive in the same capacity. Characters in dreams are capable of dying and resurrecting without hurdles. They can choose to suffer or to victimize. In short, life of dreams is the one that is truly empty. It is devoid of reality and can never be taken seriously although it can be used to unearth some underlying issues. August Strindberg understands this. To him, life is an illusion similar to the world of dreams. There will always be someone on the earth undergoing suffering as there will be a person talking off the suffering. Sad people, August believes, must exist in the midst of happy persons. It is inevitable to escape ill fate no matter how a person attempts to deny it or ran away from it. This, August believes, is a good indicator that life is extremely unfair if not meaningless. This is what puzzles Agnes in her quest for the absolute truth. Increase in Agnes’ contact with the dilapidated souls of the people escalates her pessimistic perception on her mission. She finally opts to be confident that the plight of humanity is not only unknowable but inescapable. This is evidenced by the characters’ ability of mutating, metamorphosing and hibernating mysteriously. In this play, which interrogates the authenticity of life itself as religion asserts, a sad tone has dominated the play. The narrating voice chooses not to condemn or praise. Life has condemned itself.

Need Help with Writing a Play Critique?

Writing a play critique essay can be a difficult task, as it requires a thorough understanding of a play’s characters, themes, and plot, as well as a keen eye for detail. It is also important to remember that the goal of the essay is to provide an analysis and evaluation of the play, so the essay should include the writer’s opinions, opinions supported by evidence from the play, and critique of the play. Additionally, the essay should be organized so that the writer is able to present their opinions in a clear, concise, and logical manner. At Best-Writing-Service.com, we are dedicated to providing our customers with the best play critique essay writing help . Our team of experts is trained to provide customized essays for you, no matter the style. Our writers are knowledgeable about all genres of plays and can provide extensive feedback on characterization, plot structure, language, and more. We also enable you to have direct communication with your assigned writer, so that your instructions and ideas are clearly understood. In addition, all our services are cost-effective and backed by a satisfaction guarantee. So if you’re looking for the best play critique essay writing help, look no further than Best-Writing-Service.com.

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To critique a piece of writing is to do the following:

• describe: give the reader a sense of the writer’s overall purpose and intent
• analyze: examine how the structure and language of the text convey its meaning
• interpret: state the significance or importance of each part of the text
• assess: make a judgment of the work’s worth or value

FORMATTING A CRITIQUE

Here are two structures for critiques, one for nonfiction and one for fiction/literature.

The Critique Format for Nonfiction

Introduction

• name of author and work
• general overview of subject and summary of author's argument
• focusing (or thesis) sentence indicating how you will divide the whole work for discussion or the particular elements you will discuss
• objective description of a major point in the work
• detailed analysis of how the work conveys an idea or concept
• interpretation of the concept
• repetition of description, analysis, interpretation if more than one major concept is covered
• overall interpretation
• relationship of particular interpretations to subject as a whole
• critical assessment of the value, worth, or meaning of the work, both negative and positive

The Critique Format for Fiction/Literature

• brief summary/description of work as a whole
• focusing sentence indicating what element you plan to examine
• general indication of overall significance of work
• literal description of the first major element or portion of the work
• detailed analysis
• interpretation
• literal description of second major element
• interpretation (including, if necessary, the relationship to the first major point)
• overall interpretation of the elements studied
• consideration of those elements within the context of the work as a whole
• critical assessment of the value, worth, meaning, or significance of the work, both positive and negative

You may not be asked in every critique to assess a work, only to analyze and interpret it. If you are asked for a personal response, remember that your assessment should not be the expression of an unsupported personal opinion. Your interpretations and your conclusions must be based on evidence from the text and follow from the ideas you have dealt with in the paper.

Remember also that a critique may express a positive as well as a negative assessment. Don't confuse critique with criticize in the popular sense of the word, meaning “to point out faults.”

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How to write a critique

• Starting well
• How to write an annotated bibliography
• How to write a case study response
• How to write an empirical article
• How to write an essay
• How to write a literature review
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Before you start writing, it is important to have a thorough understanding of the work that will be critiqued.

• Study the work under discussion.
• Make notes on key parts of the work.
• Develop an understanding of the main argument or purpose being expressed in the work.
• Consider how the work relates to a broader issue or context.

Example template

There are a variety of ways to structure a critique. You should always check your unit materials or Canvas site for guidance from your lecturer. The following template, which showcases the main features of a critique, is provided as one example.

Introduction

Typically, the introduction is short (less than 10% of the word length) and you should:

• name the work being reviewed as well as the date it was created and the name of the author/creator
• describe the main argument or purpose of the work
• explain the context in which the work was created - this could include the social or political context, the place of the work in a creative or academic tradition, or the relationship between the work and the creator’s life experience
• have a concluding sentence that signposts what your evaluation of the work will be - for instance, it may indicate whether it is a positive, negative, or mixed evaluation.

Briefly summarise the main points and objectively describe how the creator portrays these by using techniques, styles, media, characters or symbols. This summary should not be the focus of the critique and is usually shorter than the critical evaluation.

Critical evaluation

This section should give a systematic and detailed assessment of the different elements of the work, evaluating how well the creator was able to achieve the purpose through these. For example: you would assess the plot structure, characterisation and setting of a novel; an assessment of a painting would look at composition, brush strokes, colour and light; a critique of a research project would look at subject selection, design of the experiment, analysis of data and conclusions.

A critical evaluation does not simply highlight negative impressions. It should deconstruct the work and identify both strengths and weaknesses. It should examine the work and evaluate its success, in light of its purpose.

Examples of key critical questions that could help your assessment include:

• Who is the creator? Is the work presented objectively or subjectively?
• What are the aims of the work? Were the aims achieved?
• What techniques, styles, media were used in the work? Are they effective in portraying the purpose?
• What assumptions underlie the work? Do they affect its validity?
• What types of evidence or persuasion are used? Has evidence been interpreted fairly?
• How is the work structured? Does it favour a particular interpretation or point of view? Is it effective?
• Does the work enhance understanding of key ideas or theories? Does the work engage (or fail to engage) with key concepts or other works in its discipline?

This evaluation is written in formal academic style and logically presented. Group and order your ideas into paragraphs. Start with the broad impressions first and then move into the details of the technical elements. For shorter critiques, you may discuss the strengths of the works, and then the weaknesses. In longer critiques, you may wish to discuss the positive and negative of each key critical question in individual paragraphs.

To support the evaluation, provide evidence from the work itself, such as a quote or example, and you should also cite evidence from related sources. Explain how this evidence supports your evaluation of the work.

This is usually a very brief paragraph, which includes:

• a statement indicating the overall evaluation of the work
• a summary of the key reasons, identified during the critical evaluation, why this evaluation was formed
• in some circumstances, recommendations for improvement on the work may be appropriate.

Reference list

Include all resources cited in your critique. Check with your lecturer/tutor for which referencing style to use.

• Mentioned the name of the work, the date of its creation and the name of the creator?
• Accurately summarised the work being critiqued?
• Mainly focused on the critical evaluation of the work?
• Systematically outlined an evaluation of each element of the work to achieve the overall purpose?
• Used evidence, from the work itself as well as other sources, to back and illustrate my assessment of elements of the work?
• Formed an overall evaluation of the work, based on critical reading?
• Used a well structured introduction, body and conclusion?
• Used correct grammar, spelling and punctuation; clear presentation; and appropriate referencing style?

Further information

• University of New South Wales: Writing a Critical Review
• University of Toronto: The Book Review or Article Critique

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Play Review Examples and Samples

Though reviewing plays seems lighthearted to some, it actually requires an in-depth knowledge of the elements of playwriting and acting to be able to successfully review a play. Look at our play review samples to get a headstart at writing your own play review.

How to Review a Play: The Ultimate Guide

Stepping into the shoes of a critic is not an easy task, but it can be fulfilling and intellectually stimulating, especially when it comes to a theater critique or play review. This intricate assignment goes beyond merely expressing like or dislike. It requires an in-depth analysis of various aspects of the production, the performance, and even the staging. Understanding the director’s vision, interpreting the actors’ theatrical performances, and evaluating the staging, all contribute to a comprehensive play review.

A play review is more than just a casual observation or immediate reaction to a theatrical performance. It involves a thorough examination of various elements such as the plot, character development, staging, and overall production quality. Consider using an AI writting checker to ensure your review is clear and well-structured. It’s about understanding the drama, appreciating the theatrical interpretation, and articulating an informed response to the stage director’s vision.

Preparing to Write a Play Review

Before you set about writing a play review, preparation is crucial. This is not a task you can accomplish without adequate preparation and understanding of the subject matter. Consider approaching a writing center for academic writing support. They offer tutoring services which can help you understand the intricacies of critical writing and equip you with the necessary tools to write a compelling review.

Firstly, acquaint yourself with the play’s context. Understand its historical and cultural background. Read about the filmmaker or the stage director, and their style. Secondly, while watching the theatrical performance, pay attention to all the elements – the dialogue, the acting, the set design, the costumes, and the lighting. Keep notes of your observations. This process aids in creating a performance evaluation that is both comprehensive and insightful.

Writing a Play Review

The actual process of writing a play review involves both analytical and creative skills. As a reviewer or evaluator, you need to communicate your assessment of the production in a way that engages your readers and provides them with a holistic understanding of the theatrical performance. It is important to structure your review to include an introduction, a plot summary, an analysis of the production, a critique of the performances, a commentary on the staging, and a conclusion.

In the introduction , give the basic information about the play – the title, the playwright, the director, the place and time of the performance. The plot summary should be concise, avoiding too many spoilers. The production analysis involves a critique of the director’s interpretation, the set design, the lighting, the sound, the costumes, and other technical aspects.

The performance evaluation should focus on the acting – the actors’ interpretation of their roles, their stage presence, and their interaction with each other. The commentary on the staging considers the scenic arrangement, the use of space, and the overall visual aesthetics. Finally, the conclusion sums up your overall impression of the play, its strengths and weaknesses, and whether or not you would recommend it to others.

Remember, a good play review doesn’t just offer a personal opinion. Instead, it provides an objective analysis that can enlighten other spectators, help them make informed decisions, and contribute to the wider conversation about theater and drama.

The Role of Background Research in a Play Review

Behind every memorable theater critique, there’s substantial background research. Dive into the play’s origin, playwright’s perspective, historical setting, and any significant symbolisms or themes. Understanding the director’s past works can also offer valuable insight into their approach to the current production. Furthermore, the study of previous reviews, if any, can provide additional context and differing viewpoints. Conducting comprehensive research will not only enrich your review but also highlight your professionalism and dedication as a reviewer.

Crafting the Review: Tone, Style, and Language

While the content of your play review is important, equally crucial is how you deliver it. Adopt a tone that’s formal yet engaging, positioning you as an authority without losing the readers’ interest. Your writing style should be fluid and coherent, enabling readers to follow your thoughts effortlessly.

The language you use plays a significant role as well. It should reflect an understanding of theatrical terminologies and an ability to describe performances vividly. However, avoid overcomplicated words and jargon as it can alienate readers. Remember, a well-written review can make even those who haven’t seen the performance feel as though they’ve experienced it.

Conveying Criticism Constructively in a Play Review

Delivering criticism in a review can be a challenging task. The goal is to provide constructive feedback that is honest and balanced. Acknowledge the positives, highlight areas for improvement, and maintain a level-headed perspective. Use specific examples to support your points, and avoid personal attacks or harsh comments. Constructive criticism will reinforce your credibility as a reviewer and help the artists and the audience benefit from your insights.

The Importance of Revisions and Proofreading in Writing a Play Review

Even experienced critics need to revise and proofread their work. After writing your review, take some time away from it and return with a fresh perspective. Check for clarity, coherence, grammar, punctuation, and spelling. Make sure that your thoughts flow logically, and your critique is well-supported. Engage the services of an academic writing support center or online tutoring services for assistance. Revising and proofreading are essential to ensure the final product is polished, accurate, and professional.

Steps for Better Proofreading

In addition to the general advice about proofreading, consider the following steps to elevate your proofreading game. This will ensure that your play review is free from errors and reads as professionally as it should.

Step 1: Distance Yourself

Once you’ve completed your review, set it aside for a while. Giving yourself some time away from your work allows you to return with fresh eyes, making it easier to spot any errors or inconsistencies.

Step 2: Print it Out

Sometimes, changing the format in which you review your work can help highlight errors. Reading a hard copy can often make it easier to spot mistakes that you may have missed on the screen.

Step 3: Read Aloud

Reading your work aloud can be beneficial. It forces you to slow down and can help you notice awkward phrasing, run-on sentences, or other stylistic issues.

Step 4: Use a Checklist

Create a proofreading checklist that includes common grammar and spelling errors, citation issues, and structure problems. This checklist can guide you to look for specific things in your review.

Step 5: Seek External Help

Don’t hesitate to use external resources. A second pair of eyes can often spot errors that you’ve missed. This could be a friend, a colleague, or a professional from an academic writing support center. They can provide unbiased feedback and highlight areas you might have overlooked.

Step 6: Use Proofreading Tools

In this digital age, there are plenty of online tools that can assist with grammar, spelling, and punctuation. Tools like Grammarly or Hemingway Editor can provide additional assistance, but remember that these are only aids; they should not replace your careful review.

Proofreading might seem like a tedious task after writing an elaborate play review, but its importance cannot be overstated. An error-free, well-articulated review not only enhances the reader’s experience but also establishes your credibility as a competent and careful reviewer.

The Art and Value of Play Review

In conclusion, writing a play review is a delicate balance of analysis, critique, and appreciation. It’s a way for critics to interpret and evaluate a theatrical performance and share their insights with other spectators. It’s more than just an assignment or project – it’s a contribution to the theater world, a critical part of the ongoing dialogue about art, performance, and culture.

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How to Write a Critique Paper: Format, Tips, & Critique Essay Examples

A critique paper is an academic writing genre that summarizes and gives a critical evaluation of a concept or work. Or, to put it simply, it is no more than a summary and a critical analysis of a specific issue. This type of writing aims to evaluate the impact of the given work or concept in its field.

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Want to learn more? Continue reading this article written by Custom-writing experts! It contains:

• best tips on how to critique an article or a literary work,
• a critique paper example with introduction, body, and conclusion.

💁 What Is a Critique Paper?

• 👣 Critical Writing Steps

👀 Critical Essay Types

📝 critique paper format, 📑 critique paper outline, 🔗 references.

A critique is a particular academic writing genre that requires you to carefully study, summarize, and critically analyze a study or a concept. In other words, it is nothing more than a critical analysis. That is all you are doing when writing a critical essay: trying to understand the work and present an evaluation. Critical essays can be either positive or negative, as the work deserves.

👣 How to Write a Critique Essay: Main Steps

Starting critique essays is the most challenging part. You are supposed to substantiate your opinion with quotes and paraphrases, avoiding retelling the entire text. A critical analysis aims to find out whether an article or another piece of writing is compelling. First, you need to formulate the author’s thesis: what was the literary work supposed to convey? Then, explore the text on how this main idea was elaborated. Finally, draft your critique according to the structure given below.

Step 1: Critical Reading

1.1. Attentively read the literary work. While reading, make notes and underline the essentials.

• Try to come into the author’s world and think why they wrote such a piece.
• Point out which literary devices are successful. Some research in literary theory may be required.
• Find out what you dislike about the text, i.e., controversies, gaps, inconsistency, or incompleteness.

1.2. Find or formulate the author’s thesis. 

• What is the principal argument? In an article, it can be found in the first paragraph.
• In a literary work, formulate one of the principal themes, as the thesis is not explicit.
• If you write a critique of painting, find out what feelings, emotions, or ideas, the artist attempted to project.

1.3. Make a summary or synopsis of the analyzed text. 

• One paragraph will suffice. You can use it in your critique essay, if necessary.
• The point is to explore the gist.

Step 2: Analyzing the Text

After the reading phase, ask yourself the following questions :

• What was your emotional response to the text? Which techniques, images, or ideas made you feel so?
• Find out the author’s background. Which experiences made them raise such a thesis? What other significant works have they written that demonstrate the general direction of thought of this person?
• Are the concepts used correctly in the text? Are the references reliable, and do they sufficiently substantiate the author’s opinion?

Step 3: Drafting the Essay

Finally, it is time to draft your essay. First of all, you’ll need to write a brief overview of the text you’re analyzing. Then, formulate a thesis statement – one sentence that will contain your opinion of the work under scrutiny. After that, make a one-paragraph summary of the text.

You can use this simple template for the draft version of your analysis. Another thing that can help you at this step is a summary creator to make the creative process more efficient.

Critique Paper Template

• Start with an introductory phrase about the domain of the work in question.
• Tell which work you are going to analyze, its author, and year of publication.
• Specify the principal argument of the work under study.
• In the third sentence, clearly state your thesis.
• Here you can insert the summary you wrote before.
• This is the only place where you can use it. No summary can be written in the main body!
• Use one paragraph for every separate analyzed aspect of the text (style, organization, fairness/bias, etc.).
• Each paragraph should confirm your thesis (e.g., whether the text is effective or ineffective).
• Each paragraph shall start with a topic sentence, followed by evidence, and concluded with a statement referring to the thesis.
• Provide a final judgment on the effectiveness of the piece of writing.
• Summarize your main points and restate the thesis, indicating that everything you said above confirms it.

You can evaluate the chosen work or concept in several ways. Pick the one you feel more comfortable with from the following:

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• Descriptive critical essays examine texts or other works. Their primary focus is usually on certain features of a work, and it is common to compare and contrast the subject of your analysis to a classic example of the genre to which it belongs.
• Evaluative critical essays provide an estimate of the value of the work. Was it as good as you expected based on the recommendations, or do you feel your time would have been better spent on something else?
• Interpretive essays provide your readers with answers that relate to the meaning of the work in question. To do this, you must select a method of determining the meaning, read/watch/observe your analysis subject using this method, and put forth an argument.

There are also different types of critiques. The University of North Carolina-Chapel Hill, in the article “ Writing critiques ,” discusses them as well as the appropriate critique language.

Critique Paper Topics

• Critique of the article Is Google Making Us Stupid? by Nicholas Carr .
• Interpret the symbolism of Edgar Alan Poe’s The Black Cat .
• Examine the topicality of the article Impact of Racial/Ethnic Differences on Child Mental Health Care .
• Critical essay on Alice Walker’s short story Everyday Use .
• Discuss the value of the essay The Hanging by George Orwell .
• A critique on the article Stocks Versus Bonds : Explaining the Equity Risk Premium .
• Explore the themes Tennessee Williams reveals in The Glass Menagerie.
• Analyze the relevance of the article Leadership Characteristics and Digital Transformation .
• Critical evaluation of Jonathan Harvey’s play Beautiful Thing .
• Analyze and critique Derek Raymond’s story He Died with His Eyes Open .
• Discuss the techniques author uses to present the problem of choice in The Plague .
• Examine and evaluate the research article Using Evidence-Based Practice to Prevent Ventilator-Associated Pneumonia .
• Explore the scientific value of the article Our Future: A Lancet Commission on Adolescent Health and Wellbeing .
• Describe the ideas E. Hemingway put into his A Clean, Well-Lighted Place .
• Analyze the literary qualities of Always Running La Vida Loca: Gang Days in L. A .
• Critical writing on The Incarnation of Power by Wright Mills .
• Explain the strengths and shortcomings of Tim Kreider’s article The Busy Trap .
• Critical response to Woolf’s novel Mrs. Dalloway .
• Examine the main idea of Richard Godbeer’s book Escaping Salem .
• The strong and weak points of the article The Confusion of Tongues by William G. Bellshaw .
• Critical review of Gulliver’s Travels .
• Analyze the stylistic devices Anthony Lewis uses in Gideon’s Trumpet.
• Examine the techniques Elie Wiesel uses to show relationship transformation in the book Night .
• Critique of the play Fences by August Wilson .
• The role of exposition in Achebe’s novel Things Fall Apart.
• The main themes John Maxwell discusses in his book Disgrace .
• Critical evaluation of Ray Bradbury’s Fahrenheit 451 .
• The ideas and concept of the book The Vegetarian Imperative .
• Different points of view on one historical figure in the book Two Lives of Charlemagne .

Since the APA critique paper format is one of the most common, let’s discuss it in more detail. Check out the information below to learn more:

The APA Manual recommends using the following fonts:

• 11-point Calibri,
• 11-point Arial,
• 10-point Lucida Sans Unicode,
• 12-point Times New Roman,
• 11-point Georgia,
• 10-point Computer Modern.

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Add 1-inch margins on all sides.

📌 Page numbers

Page numbers should appear at the top right-hand corner, starting with the title page.

📌 Line spacing

The entire document, including the title page and reference list, should be double-spaced.

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📌 Title page

The title page should include the following information:

• page number 1 in the top right-hand corner of the page header,
• paper title,
• the student’s name,
• the name of the department and the college or university,
• course number and name,
• the instructor’s name,
• due date (the date format used in your country).

📌 Critique paper title

The title of your critique paper should be no more than 12 words. In addition, it should be centered and typed in bold using title case.

📌 In-text citations

For the in-text citation, provide the author’s last name and publication year in brackets. If you are using direct citation, add the page number after the year.

📌 References

The last page of your paper should include a list of all sources cited in your essay. Here’s a general format of book and journal article citations you should use:

Book: Last name, First initial. Middle initial. (Year). Book title: Subtitle . Publisher.

Journal article: Last name, First initial. Middle initial. (Year). Title of the article. Journal Title, volume (issue number), start page–end page.

The main parts of good critical response essays are:

• Introduction. The introduction is the most essential part of the critical response. It should be concise and include the author and title of the work being analyzed, its main idea, and a strong thesis statement.
• Summary. This should be brief and to the point. Only the author’s/creator’s main ideas and arguments should be included.
• Analysis/interpretation. Discuss what the author’s/creator’s primary goal was and determine whether this goal was reached successfully. Use the evidence you have gathered to argue whether or not the author/creator achieved was adequately convincing (remember there should be no personal bias in this discussion).
• Evaluation/response. At this point, your readers are ready to learn your objective response to the work. It should be professional yet entertaining to read. Do not hesitate to use strong language. You can say that the work you analyzed was weak and poorly-structured if that is the case, but keep in mind that you have to have evidence to back up your claim.
• Conclusion. The last paragraph of your work should restate the thesis statement, summarize the key points, and create a sense of closure for the readers.

Critique Paper Introduction

The introduction is setting the stage for your analysis. Here are some tips to follow when working on it:

• Provide the reader with a brief synopsis of the main points of the work you are critiquing .
• State your general opinion of the work , using it as your thesis statement. The ideal situation is that you identify and use a controversial thesis.
• Remember that you will uncover a lot of necessary information about the work you are critiquing. You mustn’t make use of all of it, providing the reader with information that is unnecessary in your critique. If you are writing about Shakespeare, you don’t have to waste your or your reader’s time going through all of his works.

Critique Paper Body

The body of the critique contains the supporting paragraphs. This is where you will provide the facts that prove your main idea and support your thesis. Follow the tips below when writing the body of your critique.

• Every paragraph must focus on a precise concept from the paper under your scrutiny , and your job is to include arguments to support or disprove that concept. Concrete evidence is required.
• A critical essay is written in the third-person and ensures the reader is presented with an objective analysis.
• Discuss whether the author was able to achieve their goals and adequately get their point across.
• It is important not to confuse facts and opinions . An opinion is a personal thought and requires confirmation, whereas a fact is supported by reliable data and requires no further proof. Do not back up one idea with another one.
• Remember that your purpose is to provide the reader with an understanding of a particular piece of literature or other work from your perspective. Be as specific as possible.

Critique Paper Conclusion

Finally, you will need to write a conclusion for your critique. The conclusion reasserts your overall general opinion of the ideas presented in the text and ensures there is no doubt in the reader’s mind about what you believe and why. Follow these tips when writing your conclusion:

• Summarize the analysis you provided in the body of the critique.
• Summarize the primary reasons why you made your analysis .
• Where appropriate, provide recommendations on how the work you critiqued can be improved.

For more details on how to write a critique, check out the great critique analysis template provided by Thompson Rivers University.

If you want more information on essay writing in general, look at the Secrets of Essay Writing .

Example of Critique Paper with Introduction, Body, and Conclusion

Check out this critical response example to “The Last Inch” by James Aldridge to show how everything works in practice: 

Introduction 

In his story “The Last Inch,” James Aldridge addresses the issue of the relationship between parents and children. The author captured the young boy’s coming into maturity coinciding with a challenging trial. He also demonstrated how the twelve-year-old boy obtained his father’s character traits. Aldridge’s prose is both brutal and poetic, expressing his characters’ genuine emotions and the sad truths of their situations.

Body: Summary 

The story is about Ben Ensley, an unemployed professional pilot, who decides to capture underwater shots for money. He travels to Shark Bay with his son, Davy. Ben is severely injured after being attacked by a shark while photographing. His last hope of survival is to fly back to the little African hamlet from where they took off.

Body: Analysis 

The story effectively uses the themes of survival and fatherhood and has an intriguing and captivating plot. In addition, Ben’s metamorphosis from a failing pilot to a determined survivor is effectively presented. His bond with his son, Davy, adds depth and emotional importance to the story. At the same time, the background information about Ben’s past and his life before the shark attack could be more effectively integrated into the main story rather than being presented as separate blocks of text.

Body: Evaluation 

I find “The Last Inch” by James Aldridge a very engaging and emotional story since it highlights the idea of a father’s unconditional love and determination in the face of adversity. I was also impressed by the vivid descriptions and strong character development of the father and son.

Conclusion 

“The Last Inch” by James Aldridge is an engaging and emotional narrative that will appeal to readers of all ages. It is a story of strength, dedication, and the unbreakable link between father and son. Though some backstory could be integrated more smoothly, “The Last Inch” impresses with its emotional punch. It leaves the readers touched by the raw power of fatherly love and human will.

📚 Critique Essay Examples

With all of the information and tips provided above, your way will become clearer when you have a solid example of a critique essay.

Below is a critical response to The Yellow Wallpaper by Charlotte Perkins Gilman.

When speaking of feminist literature that is prominent and manages to touch on incredibly controversial issues, The Yellow Wallpaper is the first book that comes to mind. Written from a first-person perspective, magnifying the effect of the narrative, the short story by Charlotte Perkins Gilman introduces the reader to the problem of the physical and mental health of the women of the 19th century. However, the message that is intended to concern feminist ideas is rather subtle. Written in the form of several diary entries, the novel offers a mysterious plot, and at the same time, shockingly realistic details.

What really stands out about the novel is the fact that the reader is never really sure how much of the story takes place in reality and how much of it happens in the psychotic mind of the protagonist. In addition, the novel contains a plethora of description that contributes to the strain and enhances the correlation between the atmosphere and the protagonist’s fears: “The color is repellent, almost revolting; a smoldering unclean yellow, strangely faded by the slow-turning sunlight” (Gilman).

Despite Gilman’s obvious intent to make the novel a feminist story with a dash of thriller thrown in, the result is instead a thriller with a dash of feminism, as Allen (2009) explains. However, there is no doubt that the novel is a renowned classic. Offering a perfect portrayal of the 19th-century stereotypes, it is a treasure that is certainly worth the read.

If you need another critique essay example, take a look at our sample on “ The Importance of Being Earnest ” by Oscar Wilde.

And here are some more critique paper examples for you check out:

• A Good Man Is Hard to Find: Critique Paper
• Critique on “The Yellow Wallpaper” by Charlotte Perkins Gilman
• “When the Five Rights Go Wrong” Article Critique
• Homer’s Iliad and Odyssey — Comparison & Critique
• “The TrueBlue Study”: Qualitative Article Critique
• Ethical Conflict Associated With Managed Care: Views of Nurse Practitioners’: Article Critique
• Benefits and Disadvantages of Prone Positioning in Severe Acute Respiratory Distress: Article Critique
• Reducing Stress in Student Nurses: Article Critique
• Management of Change and Professional Safety – Article Critique
• “Views of Young People Towards Physical Activity”: Article Critique

Seeing an example of a critique is so helpful. You can find many other examples of a critique paper at the University of Minnesota and John Hopkins University. Plus, you can check out this video for a great explanation of how to write a critique.

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Writing a Critique

• About this Guide
• What Is a Critique?
• Getting Started
• Components of a Critique Essay

Further Reading

This article provides additional guidance for writing critiques:

Vance DE, Talley M, Azuero A, Pearce PF, & Christian BJ. (2013). Conducting an article critique for a quantitative research study: perspectives for doctoral students and other novice readers.  Nursing : Research and Reviews ,  2013 , 67–75.

Parts of a Critique Essay

There are 4 distinct components to a critique, and those are the:

Introduction

Each of these components is described in further detail in the boxes on this page of the guide.

An effective introduction:

• Provides a quick snapshot of background information readers may need in order to follow along with the argument
• Defines key terminology as needed
• Ends with a strong argument (thesis)

For additional guidance on writing introduction paragraphs, librarians recommend:

Need some extra help on thesis statements? Check out our Writing Effective Thesis Statements guide .

A summary is a broad overview of what is discussed in a source. In a critique essay, writers should always assume that those reading the essay may be unfamiliar with the work being examined. For that reason, the following should be included early in the paper:

• The name of the author(s) of the work
• The title of the work
• Main ideas presented in the work
• Arguments presented in the work
• Any conclusions presented in the work

Depending on the requirements of your particular assignment, the summary may appear as part of the introduction, or it may be a separate paragraph. The summary should always be included before the analysis, as readers need a base-level familiarity of the resource before you can effectively present an argument about what the source does well and where improvements are needed.

More information about summaries can be found on our Writing an Effective Summary guide .

The critique is your evaluation of the resource. A strong critique:

• Discusses the strengths of the resource
• Discusses the weaknesses of the resource
• Provides specific examples (direct quotes, with proper citation) as needed to support your evaluation
• The accuracy of the resource
• Any bias found within the resource
• The relevance of the resource
• The clarity of the resource

A critique is your opinion  of the text, supported by evidence from the text.

If you need further guidance on how to evaluate your source, you can also consult our Evaluating Your Sources guide .

Need help with citation?  

Compose papers in pre-formatted APA templates. Manage references in forms that help craft APA citations. Learn the rules of APA style through tutorials and practice quizzes.

Academic Writer will continue to use the 6th edition guidelines until August 2020. A preview of the 7th edition is available in the footer of the resource's site. Previously known as APA Style Central.

• APA Style Help Learn more about APA style through our research guide.

A conclusion has three main functions in an essay. A conclusion will:

• Summarize the main ideas presented in the essay
• Remind readers of the thesis (argument)
• Draw the paper to a close 

For additional guidance, the library recommends:

• << Previous: Getting Started
• Next: Examples >>
• Last Updated: May 22, 2023 10:46 AM
• URL: https://library.tiffin.edu/critique

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When you hear that your writing assignment is a “critique,” here’s what you do: instantly substitute the word “evaluation.” You see, essentially, that’s what a critique is—an e-value-ation. You rate the value of something. The value can be positive, negative or, most likely, a mix of the two.

Evaluating or critiquing is something that you do every day, whether you are aware of it or not. You do it personally—is this the right outfit for today’s video? I can’t believe my spouse did our townhouse totally in beige.

But you also do it professionally: Will my team’s plans for the new product launch work? Should I hire or promote this person? What’s the best notebook computer for the sales team? All of those contain an evaluation. As a matter of fact, your ability to think critically (in an evaluative fashion) and to offer compelling reasons and evidence for your evaluations is one of the most valued skills in the workplace and will play a crucial role in your career advancement.

Let’s take a look at the typical parts of a critique or evaluation essay and get to know what should be done in each one:

Introduction

Unlike the introduction to most of the essays you write in school, where the main purpose is simply to introduce the thesis, the introduction of a critique or evaluation essay is more complex.

First, you must introduce the author and the title of the work being critiqued. This information is often in the first sentence of a critique’s introduction, but so long as the info is at or near the top you are fine.

Second,  state the author’s main point (whether in the entire work or the section of the work you are critiquing). The main point is sometimes called the “take away”—what the author wants the reader to remember or do after reading.

Third, state in 1-2 sentences your overall evaluation of the work you are critiquing. If “overall evaluation” sounds like your conclusion, bingo, you are correct. So, it may be wise to leave this portion of your intro unwritten until you have finished your first draft.

Fourth, be sure to add any background information the reader needs to place the author’s work in context. What overall topic is the work related to? Is there a controversy involved? Be sure to set the stage since your reader has not read the work.

After the introduction comes part two: the summary of the work or that part of the work under consideration. When writing this summary, you are an objective reporter providing an unbiased statement of two things:

• the author’s overall point or take-away
• the main supports offered for that point

And like a good reporter, your language should be untainted by your own views and certainly be written in the third person—no I’s or you’s. Your goal: After someone reads a good summary (also called an abstract), that reader should know the author’s thesis and main points without detecting any of your opinion.

Part three is the evaluation. This is where you transition from being a reporter to being a judge. Just like a judge at a gymnastics meet, you weigh the strong points and the weak points of the performance, then provide an overall rating. Also, just like at a gymnastics meet, you have a scorecard of criteria that you use to make this judgment, this rating. However, instead of mount and dismount, flexibility and strength, your criteria are more likely to be items like this:

• Accuracy of information
• Presence or lack of definition of key terms
• Hidden assumptions
• Clarity of language
• Fairness—the author weighed both sides without undue bias
• Logic and Organization—do the main points link together in a meaningful way and add up to a valid argument? Are there gaps in the argument?
• Fallacies—these refer to such argument no-no’s as name calling, hasty generalization, oversimplification, substituting emotional language for fact or logic, or the black/white or either/or fallacy, the bandwagon appeal (everybody is doing it, so it must be OK), and so on.

Part four is the response. Now it’s your turn. You are no longer a reporter or a judge. You are you, providing your personal take on this work. How do you do that? Simple: Ask yourself questions like these:

• What do I agree and disagree with?
• What does the author get right, what does she/he get wrong, in my opinion?
• What ultimate merit does this work have—some, a little, none?
• Would I recommend this work as a source on this topic or should it be avoided—why or why not?

The response section is also where you would use outside sources to back up your opinion of this work and its merits or demerits. In that sense, your response section is like a miniature essay, where your thesis is your opinion of the work and your main points support your opinion.

Part five is the wrap up. It doesn’t have to be long. Your main tasks are to:

• Remind your audience of the overall importance of the topic—bring the reader back to ground zero, the topic at hand.
• Bring together your assessment or rating of the work, together with your personal response to it. In doing so, focus on overall strengths and weaknesses. Then use both to state what you believe is the ultimate success of the work .

So there you are—the mysteries of the “critique” demystified. You simply

• Introduce the work
• Summarize the work
• Rate the work based on a set of clear criteria
• Respond to the work in a personal way
• Wrap it up by talking about overall success failure of the work and the importance of the topic it tries to address.

Do those things—in that order—and you will end up with a critique that is sound and meaningful.

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How to Write a Good Critique Essay

How to Write a Close Reading Essay

The word "criticize," has by definition and perception largely negative connotations attached. Students may dread having their creative writing critiqued in a group setting. However, a fair assessment of any text, object, place or experience deeply analyzes all component parts and then renders judgment. When writing a critique essay, your readers need to understand how and why you arrived at your conclusion. A thorough and analytic critique provides them with an understanding of the critic’s values.

Describe Author and Work

Describe the work and its creator in the first paragraph. Do not assume that readers know the work or author prior to reading the critique. It is necessary to place the work in context so the reader has a sense of what is happening. Determine if the text is a first outing for the author or the latest in a long series. Does the author have a reputation or expertise in a certain field? Is the work controversial or well-known or little-known, and why? What is the intended audience for this work? By answering these questions, the reader has a stronger base of information to add clarity to the rest of the critique.

Write an accurate summary of the work’s main ideas in the second paragraph. Do not mingle your own evaluation with this summary. Instead, use the summary to explain the most important ideas the author tried to convey in the entire work and any other literary details that might guide or enlighten your reader.

In this section, critique the author’s presentation. Ask yourself a series of questions as you write the critique. Did the author present accurate and relevant data in a logical manner? Did the author clearly define important terms or jargon? Did the author offer sound interpretations? Focus in this paragraph, on whether the author achieved his or her purpose for creating the piece of writing.

State Your Opinion

Here, you will state both your own agreements and disagreements with the author. Develop your ideas by explaining why you agree and disagree with the author’s ideas. To further support your critique, cite other critics who support your interpretation.

In the last paragraphs, compose the conclusion that restates the main agreements and objections to the work. This conclusion is often the shortest paragraph in the critique but may also be the most important as it sums up the entire critique. In the closing, do not mention any new idea that does not already appear in the body paragraphs. The final paragraph is included to give an overview of the entire essay by restating its main ideas.

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How to Write an Eighth Grade Book Report

• Goshen College: Essay Critique Guidelines
• Massey University: Article Critique
• Writing Forward: How to Critique Other Writers' Works
• College Essay Tips: How To Write A Critique Essay for College
• Document in instructor-recommended citation style all quotes, paraphrases and summaries.
• Write a detailed summary of the text before writing the critique.

Patricia Hunt first found her voice as a fiction and nonfiction writer in 1974. An English teacher for over 27 years, Hunt's works have appeared in "The Alaska Quarterly Review," "The New Southern Literary Messenger" and "San Jose Studies." She has a Master of Fine Arts in creative writing from American University and a doctorate in studies of America from the University of Maryland.

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• Writing Paragraphs

How to Write a Critique in Five Paragraphs

Last Updated: January 20, 2024 Fact Checked

This article was co-authored by Diane Stubbs . Diane Stubbs is a Secondary English Teacher with over 22 years of experience teaching all high school grade levels and AP courses. She specializes in secondary education, classroom management, and educational technology. Diane earned a Bachelor of Arts in English from the University of Delaware and a Master of Education from Wesley College. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 972,028 times.

A critique is usually written in response to a creative work, such as a novel, a film, poetry, or a painting. However, critiques are also sometimes assigned for research articles and media items, such as news articles or features. A critique is slightly different than a traditional 5-paragraph theme, as it is usually focused on the overall effectiveness and usefulness of the work it is critiquing, rather than making a strictly analytical argument about it. Organizing your critique into 5 paragraphs can help you structure your thoughts.

Laying the Groundwork

• Does the creator clearly state her/his main point or goal? If not, why do you think that is?
• Who do you think is the creator’s intended audience? This can be crucial to determining the success of a work; for example, a movie intended for young children might work well for its intended audience but not for adult viewers.
• What reactions do you have when reading or viewing this work? Does it provoke emotional responses? Do you feel confused?
• What questions does the work make you think of? Does it suggest other avenues of exploration or observation to you?

• For example, if you're critiquing a research article about a new treatment for the flu, a little research about other flu treatments currently available could be helpful to you when situating the work in context.
• As another example, if you're writing about a movie, you might want to briefly discuss the director's other films, or other important movies in this particular genre (indie, action, drama, etc.).
• Your school or university library is usually a good place to start when conducting research, as their databases provide verified, expert sources. Google Scholar can also be a good source for research.

Writing the Introductory Paragraph

• For a work of fiction or a published work of journalism or research, this information is usually available in the publication itself, such as on the copyright page for a novel.
• For a film, you may wish to refer to a source such as IMDb to get the information you need. If you're critiquing a famous artwork, an encyclopedia of art would be a good place to find information on the creator, the title, and important dates (date of creation, date of exhibition, etc.).

• For example, if you’re assessing a research article in the sciences, a quick overview of its place in the academic discussion could be useful (e.g., “Professor X’s work on fruit flies is part of a long research tradition on Blah Blah Blah.”)
• If you are evaluating a painting, giving some brief information on where it was first displayed, for whom it was painted, etc., would be useful.
• If you are assessing a novel, it could be good to talk about what genre or literary tradition the novel is written within (e.g., fantasy, High Modernism, romance). You may also want to include details about the author’s biography that seem particularly relevant to your critique.
• For a media item, such as a news article, consider the social and/or political context of the media outlet the item came from (e.g., Fox News, BBC, etc.) and of the issue it is dealing with (e.g., immigration, education, entertainment).

• The authors of research articles will often state very clearly in the abstract and in the introduction to their work what they are investigating, often with sentences that say something like this: "In this article we provide a new framework for analyzing X and argue that it is superior to previous methods because of reason A and reason B."
• For creative works, you may not have an explicit statement from the author or creator about their purpose, but you can often infer one from the context the work occupies. For example, if you were examining the movie The Shining, you might argue that the filmmaker Stanley Kubrick's goal is to call attention to the poor treatment of Native Americans because of the strong Native American themes present in the movie. You could then present the reasons why you think that in the rest of the essay.

• For example, if you were writing about The Shining, you could summarize the main points this way: "Stanley Kubrick uses strong symbolism, such as the placement of the movie's hotel on an Indian burial ground, the naming of the hotel "Overlook," and the constant presence of Native American artwork and representation, to call viewers' attention to America's treatment of Native Americans in history."

• For a research article, you will probably want to focus your thesis on whether the research and discussion supported the authors' claims. You may also wish to critique the research methodology, if there are obvious flaws present.
• For creative works, consider what you believe the author or creator's goal was in making the work, and then present your assessment of whether or not they achieved that goal.

Writing the 3 Body Paragraphs

• If you have three clear points about your work, you can organize each paragraph by point. For example, if you are analyzing a painting, you might critique the painter’s use of color, light, and composition, devoting a paragraph to each topic.
• If you have more than three points about your work, you can organize each paragraph thematically. For example, if you are critiquing a movie and want to talk about its treatment of women, its screenwriting, its pacing, its use of color and framing, and its acting, you might think about the broader categories that these points fall into, such as “production” (pacing, color and framing, screenwriting), “social commentary” (treatment of women), and “performance” (acting).
• Alternatively, you could organize your critique by “strengths” and “weaknesses.” The aim of a critique is not merely to criticize, but to point out what the creator or author has done well and what s/he has not.

• For example, if you are critiquing a song, you could consider how the beat or tone of the music supports or detracts from the lyrics.
• For a research article or a media item, you may want to consider questions such as how the data was gathered in an experiment, or what method a journalist used to discover information.

• Does the author use primary sources (e.g., historical documents, interviews, etc.)? Secondary sources? Quantitative data? Qualitative data? Are these sources appropriate for the argument?
• Has evidence been presented fairly, without distortion or selectivity?
• Does the argument proceed logically from the evidence used?

• If the work is a creative work, consider whether it presents its ideas in an original or interesting way. You can also consider whether it engages with key concepts or ideas in popular culture or society.
• If the work is a research article, you can consider whether the work enhances your understanding of a particular theory or idea in its discipline. Research articles often include a section on “further research” where they discuss the contributions their research has made and what future contributions they hope to make.

Writing the Conclusion Paragraph and References

Sample Critiques

Community Q&A

• Before you begin writing, take notes while you are watching or reading the subject of your critique. Keep to mind certain aspects such as how it made you feel. What was your first impression? With deeper examination, what is your overall opinion? How did you come to this opinion? Thanks Helpful 0 Not Helpful 0
• While the 5-paragraph form can work very well to help you organize your ideas, some instructors do not allow this type of essay. Be sure that you understand the assignment. If you’re not sure whether a 5-paragraph format is acceptable to your teacher, ask! Thanks Helpful 0 Not Helpful 0

• Avoid using first and second person pronouns such as, “you”, “your”, “I”, “my”, or “mine.” State your opinion objectively for a more credible approach. Thanks Helpful 39 Not Helpful 14

You Might Also Like

• ↑ https://www.indeed.com/career-advice/career-development/how-to-write-a-critique
• ↑ https://writingcenter.uagc.edu/writing-article-critique
• ↑ https://www.citewrite.qut.edu.au/write/writing-well/critique.html
• ↑ http://www.writing.utoronto.ca/advice/specific-types-of-writing/book-review
• ↑ https://www.hunter.cuny.edu/rwc/handouts/the-writing-process-1/invention/Writing-a-Critique
• ↑ https://writingcenter.unc.edu/esl/resources/writing-critiques/

About This Article

To write a 5-paragraph critique, provide the basic information about the work you're critiquing in the first paragraph, including the author, when it was published, and what its key themes are. Then, conclude this paragraph with a statement of your opinion of the work. Next, identify 3 central positive or negative issues in the work and write a paragraph about each one. For example, you could focus on the color, light, and composition of a painting. In the final paragraph, state your overall assessment of the work, and give reasons to back it up. For tips on how to take notes on the piece your critiquing, read on! Did this summary help you? Yes No

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Guest Essay

A.I.-Generated Garbage Is Polluting Our Culture

By Erik Hoel

Mr. Hoel is a neuroscientist and novelist and the author of The Intrinsic Perspective newsletter.

Increasingly, mounds of synthetic A.I.-generated outputs drift across our feeds and our searches. The stakes go far beyond what’s on our screens. The entire culture is becoming affected by A.I.’s runoff, an insidious creep into our most important institutions.

Consider science. Right after the blockbuster release of GPT-4, the latest artificial intelligence model from OpenAI and one of the most advanced in existence, the language of scientific research began to mutate. Especially within the field of A.I. itself.

Adjectives associated with A.I.-generated text have increased in peer reviews of scientific papers about A.I.

Frequency of adjectives per one million words

Commendable

A study published this month examined scientists’ peer reviews — researchers’ official pronouncements on others’ work that form the bedrock of scientific progress — across a number of high-profile and prestigious scientific conferences studying A.I. At one such conference, those peer reviews used the word “meticulous” more than 34 times as often as reviews did the previous year. Use of “commendable” was around 10 times as frequent, and “intricate,” 11 times. Other major conferences showed similar patterns.

Such phrasings are, of course, some of the favorite buzzwords of modern large language models like ChatGPT. In other words, significant numbers of researchers at A.I. conferences were caught handing their peer review of others’ work over to A.I. — or, at minimum, writing them with lots of A.I. assistance. And the closer to the deadline the submitted reviews were received, the more A.I. usage was found in them.

If this makes you uncomfortable — especially given A.I.’s current unreliability — or if you think that maybe it shouldn’t be A.I.s reviewing science but the scientists themselves, those feelings highlight the paradox at the core of this technology: It’s unclear what the ethical line is between scam and regular usage. Some A.I.-generated scams are easy to identify, like the medical journal paper featuring a cartoon rat sporting enormous genitalia. Many others are more insidious, like the mislabeled and hallucinated regulatory pathway described in that same paper — a paper that was peer reviewed as well (perhaps, one might speculate, by another A.I.?).

What about when A.I. is used in one of its intended ways — to assist with writing? Recently, there was an uproar when it became obvious that simple searches of scientific databases returned phrases like “As an A.I. language model” in places where authors relying on A.I. had forgotten to cover their tracks. If the same authors had simply deleted those accidental watermarks, would their use of A.I. to write their papers have been fine?

What’s going on in science is a microcosm of a much bigger problem. Post on social media? Any viral post on X now almost certainly includes A.I.-generated replies, from summaries of the original post to reactions written in ChatGPT’s bland Wikipedia-voice, all to farm for follows. Instagram is filling up with A.I.-generated models, Spotify with A.I.-generated songs. Publish a book? Soon after, on Amazon there will often appear A.I.-generated “workbooks” for sale that supposedly accompany your book (which are incorrect in their content; I know because this happened to me). Top Google search results are now often A.I.-generated images or articles. Major media outlets like Sports Illustrated have been creating A.I.-generated articles attributed to equally fake author profiles. Marketers who sell search engine optimization methods openly brag about using A.I. to create thousands of spammed articles to steal traffic from competitors.

Then there is the growing use of generative A.I. to scale the creation of cheap synthetic videos for children on YouTube. Some example outputs are Lovecraftian horrors, like music videos about parrots in which the birds have eyes within eyes, beaks within beaks, morphing unfathomably while singing in an artificial voice, “The parrot in the tree says hello, hello!” The narratives make no sense, characters appear and disappear randomly, and basic facts like the names of shapes are wrong. After I identified a number of such suspicious channels on my newsletter, The Intrinsic Perspective, Wired found evidence of generative A.I. use in the production pipelines of some accounts with hundreds of thousands or even millions of subscribers.

As a neuroscientist, this worries me. Isn’t it possible that human culture contains within it cognitive micronutrients — things like cohesive sentences, narrations and character continuity — that developing brains need? Einstein supposedly said : “If you want your children to be intelligent, read them fairy tales. If you want them to be very intelligent, read them more fairy tales.” But what happens when a toddler is consuming mostly A.I.-generated dream-slop? We find ourselves in the midst of a vast developmental experiment.

There’s so much synthetic garbage on the internet now that A.I. companies and researchers are themselves worried, not about the health of the culture, but about what’s going to happen with their models. As A.I. capabilities ramped up in 2022, I wrote on the risk of culture’s becoming so inundated with A.I. creations that when future A.I.s are trained, the previous A.I. output will leak into the training set, leading to a future of copies of copies of copies, as content became ever more stereotyped and predictable. In 2023 researchers introduced a technical term for how this risk affected A.I. training: model collapse . In a way, we and these companies are in the same boat, paddling through the same sludge streaming into our cultural ocean.

With that unpleasant analogy in mind, it’s worth looking to what is arguably the clearest historical analogy for our current situation: the environmental movement and climate change. For just as companies and individuals were driven to pollute by the inexorable economics of it, so, too, is A.I.’s cultural pollution driven by a rational decision to fill the internet’s voracious appetite for content as cheaply as possible. While environmental problems are nowhere near solved, there has been undeniable progress that has kept our cities mostly free of smog and our lakes mostly free of sewage. How?

Before any specific policy solution was the acknowledgment that environmental pollution was a problem in need of outside legislation. Influential to this view was a perspective developed in 1968 by Garrett Hardin, a biologist and ecologist. Dr. Hardin emphasized that the problem of pollution was driven by people acting in their own interest, and that therefore “we are locked into a system of ‘fouling our own nest,’ so long as we behave only as independent, rational, free-enterprisers.” He summed up the problem as a “tragedy of the commons.” This framing was instrumental for the environmental movement, which would come to rely on government regulation to do what companies alone could or would not.

Once again we find ourselves enacting a tragedy of the commons: short-term economic self-interest encourages using cheap A.I. content to maximize clicks and views, which in turn pollutes our culture and even weakens our grasp on reality. And so far, major A.I. companies are refusing to pursue advanced ways to identify A.I.’s handiwork — which they could do by adding subtle statistical patterns hidden in word use or in the pixels of images.

A common justification for inaction is that human editors can always fiddle around with whatever patterns are used if they know enough. Yet many of the issues we’re experiencing are not caused by motivated and technically skilled malicious actors; they’re caused mostly by regular users’ not adhering to a line of ethical use so fine as to be nigh nonexistent. Most would be uninterested in advanced countermeasures to statistical patterns enforced into outputs that should, ideally, mark them as A.I.-generated.

That’s why the independent researchers were able to detect A.I. outputs in the peer review system with surprisingly high accuracy: They actually tried. Similarly, right now teachers across the nation have created home-brewed output-side detection methods , like adding hidden requests for patterns of word use to essay prompts that appear only when copied and pasted.

In particular, A.I. companies appear opposed to any patterns baked into their output that can improve A.I.-detection efforts to reasonable levels, perhaps because they fear that enforcing such patterns might interfere with the model’s performance by constraining its outputs too much — although there is no current evidence this is a risk. Despite public pledges to develop more advanced watermarking, it’s increasingly clear that the companies are dragging their feet because it goes against the A.I. industry’s bottom line to have detectable products.

To deal with this corporate refusal to act we need the equivalent of a Clean Air Act: a Clean Internet Act. Perhaps the simplest solution would be to legislatively force advanced watermarking intrinsic to generated outputs, like patterns not easily removable. Just as the 20th century required extensive interventions to protect the shared environment, the 21st century is going to require extensive interventions to protect a different, but equally critical, common resource, one we haven’t noticed up until now since it was never under threat: our shared human culture.

Erik Hoel is a neuroscientist, a novelist and the author of The Intrinsic Perspective newsletter.

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

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