Essay Five Paragraph Topic

The five-paragraph essay is a format of essay having five paragraphs: one introductory paragraph, three body paragraphs with support and development, and one concluding paragraph. Because of this structure, it is also known as a hamburger essay, one three one, or a three-tier essay.

Overview[edit]

The five-paragraph essay is a form of essay having five paragraphs:

  • one introductory paragraph,
  • three body paragraphs with support and development, and
  • one concluding paragraph.

The introduction serves to inform the reader of the basic premises, and then to state the author's thesis, or central idea. A thesis can also be used to point out the subject of each body paragraph. When a thesis essay is applied to this format, the first paragraph typically consists of a narrative hook, followed by a sentence that introduces the general theme, then another sentence narrowing the focus of the one previous. (If the author is using this format for a text-based thesis, then a sentence quoting the text, supporting the essay-writer's claim, would typically go here, along with the name of the text and the name of the author. Example: "In the book Night, Elie Wiesel says..."). After this, the author narrows the discussion of the topic by stating or identifying a problem. Often, an organizational sentence is used here to describe the layout of the paper. Finally, the last sentence of the first paragraph of such an essay would state the thesis the author is trying to prove.[1] The thesis is often linked to a "road map" for the essay, which is basically an embedded outline stating precisely what the three body paragraphs will address and giving the items in the order of the presentation. Not to be confused with an organizational sentence, a thesis merely states "The book Night follows Elie Wiesel's journey from innocence to experience," while an organizational sentence directly states the structure and order of the essay. Basically, the thesis statement should be proven throughout the essay. In each of the three body paragraphs one idea (evidence/fact/etc.) that supports thesis statement is discussed. And in the conclusion everything is analyzed and summed up.[2]

Sections of the five-part essay[edit]

The five-part essay is a step up from the five-paragraph essay. Often called the "persuasive" or "argumentative" essay, the five-part essay is more complex and accomplished, and its roots are in classical rhetoric. The main difference is the refinement of the "body" of the simpler five-paragraph essay. The five parts, whose names vary from source to source, are typically represented as:

  1. Introduction
    a thematic overview of the topic, and introduction of the thesis;
  2. Narration
    a review of the background literature to orient the reader to the topic; also, a structural overview of the essay;
  3. Affirmation
    the evidence and arguments in favor of the thesis;
  4. Negation
    the evidence and arguments against the thesis; these also require either "refutation" or "concession";
  5. Conclusion
    summary of the argument, and association of the thesis and argument with larger, connected issues.

In the five-paragraph essay, the "body" is all "affirmation"; the "narration" and "negation" (and its "refutation" or "concession") make the five-part essay less "thesis-driven" and more balanced and fair. Rhetorically, the transition from affirmation to negation (and refutation or concession) is typically indicated by contrastive terms such as "but", "however", and "on the other hand".

The five parts are purely formal and can be created and repeated at any length, from a sentence (though it would be a highly complex one), to the standard paragraphs of a regular essay, to the chapters of a book, and even to separate books themselves (though each book would, of necessity, include the other parts while emphasizing the particular part).

Another form of the 5 part essay consists of

  1. Introduction: Introducing a topic. An important part of this is the three-pronged thesis. This information should be factual, especially for a history paper. Somewhere in the middle of introduction, one presents the 3 main points of the 5 paragraph essay. The introductory paragraph should end with a strong thesis statement that tells readers exactly what an author aims to prove.
  2. Body paragraph 1: Explaining the first part of the three-pronged thesis. The first sentence should transition from the introductory paragraph to the current one. The sentences that follow should provide examples and support, or evidence, for the topic.
  3. Body paragraph 2: Explaining the second part of the three-pronged thesis. As the previous paragraph, it should begin with a transition and a description of the topic you’re about to discuss. Any examples or support provided should be related to the topic at hand.
  4. Body paragraph 3: Explaining the third part of the three-pronged thesis. Like any paragraph, it should have a transition and a topic sentence, and any examples or support should be related and interesting.
  5. Conclusion: Summing up points and restating thesis. It should not present new information, but it should always wrap up the discussion.

In essence, the above method can be seen as following the colloquialism "Tell 'em what you're gonna tell 'em, tell 'em, tell 'em what you told 'em" with the first part referring to the introduction, the second part referring to the body, and the third part referring to the conclusion. The first sentence of every paragraph should be a topic sentence.

The main point of the five-part essay is to demonstrate the opposition and give-and-take of true argument. Dialectic, with its formula of "thesis + antithesis = synthesis", is the foundation of the five-part essay.

One could also use:

Introduction: Hook (3 sentences), Connector (3 sentences), Thesis Body 1: Topic sentence, Evidence, Analysis (1), Analysis (2), Analysis (3), Transition, Evidence 2, Analysis (1), Analysis (2), Analysis (3), Concluding sentence Body 2: Topic sentence, Evidence, Analysis (1), Analysis (2), Analysis (3), Transition, Evidence 2, Analysis (1), Analysis (2), Analysis (3), Concluding sentence Body 3: Topic sentence, Evidence, Analysis (1), Analysis (2), Analysis (3), Transition, Evidence 2, Analysis (1), Analysis (2), Analysis (3), Concluding sentence


Another type of 5-paragraph essay outline:

Introduction, Hook Statement, Background Information, Thesis Statement, Body Paragraph 1, Topic Sentence, Claim, Evidence, Concluding Statement, Body Paragraph 2, Topic Sentence 2, Claim #2, Evidence, Concluding Statement, Body Paragraph 3, Topic Sentence 3, Claim #3, Evidence, Concluding statement, Conclusion, Restatement of Thesis, Summarization of Main Points, Overall Concluding Statement, Conclusion: Sum up all elements, and make the essay sound finished. (Use about seven sentences similar to the Introduction)

Critique[edit]

According to Thomas E. Nunnally[3] and Kimberley Wesley,[4] most teachers and professors consider the five-paragraph form ultimately restricting for fully developing an idea. Wesley argues that the form is never appropriate. Nunnally states that the form can be good for developing analytical skills that should then be expanded. Similarly, American educator David F. Labaree claims that "The Rule of Five" is "dysfunctional... off-putting, infantilising and intellectually arid" because demands for the essay's form often obscure its meaning and, therefore, largely automatize creating and reading five-paragraph essays[5].

See also[edit]

Notes[edit]

References[edit]

  • Corbett, Edward P.J. Classical Rhetoric for the Modern Student. 4th ed. Oxford UP, 1999.
  • Hodges, John C. et al. Harbrace Handbook. 14th ed.

External links[edit]

This post is written by NCTE member Kim Zarins. 

[Disclaimer: I don’t have a PhD in composition studies. My PhD is in English with a focus on medieval literature. Besides teaching college literature courses, I write creatively, and my debut young adult novel comes out in September. I am joining the debate on the five-paragraph essay in response to Kathleen Rowlands’ smart “Slay the Monster” journal article, because I think high school and college teachers can work together and set up our students for success—and the five-paragraph essay is setting them up for a really tough time in college. Students don’t find their voices this way and come to college hating how they sound in writing, particularly in the essay form.

As a high-school survivor of this form and now a teacher occasionally receiving it from students trying their best, I have to say I hate this abomination. I hate it so much, I decided to be naughty and condemn the five-paragraph essay in a five-paragraph essay. Here you go. Enjoy. Or not.]

From the dawn of time, or at least the dawn of the modern high school, the five-paragraph essay has been utilized in high school classrooms. Despite this long tradition, the five-paragraph essay is fatally flawed. It cheapens a student’s thesis, essay flow and structure, and voice.

First, the five-paragraph essay constricts an argument beyond usefulness or interest. In principle it reminds one of a three-partitioned dinner plate. The primary virtue of such dinner plates is that they are conveniently discarded after only one use, much like the essays themselves. The secondary virtue is to keep different foods from touching each other, like the three-body paragraphs. However, when eating from a partitioned plate, a diner might have a bite of burger, then a spoonful of baked beans, then back to the burger, and then the macaroni salad. The palate satisfies its complex needs for texture, taste, choice, and proportion. Not so for the consumers of the five-paragraph essay, who must move through Point 1, then Point 2, and then Point 3. No exceptions. It is arbitrary force-feeding to the point of indigestion. After the body paragraphs, and if readers have not already expired, they may read the Conclusion, which is actually a summary of the Introduction. There is no sense of building one’s argument or of proportion.

Second, critical thinking skills and the organization of the essay’s flow are impaired when a form must be plugged and filled with rows of stunted seeds that will never germinate. If we return to the partitioned-plate analogy, foods are separated, but in food, there is a play in blending flavors, pairing them so that the sum is greater than the individual parts. Also, there is typically dessert. Most people like dessert and anticipate it eagerly. In the five-paragraph essay there is no anticipation, only homogeneity, tedium, and death. Each bite is not food for thought but another dose of the same. It is like Miss Trunchbull in the Roald Dahl novel,  forcing the little boy to eat chocolate cake until he bursts—with the exception that no one on this planet would mistake the five-paragraph essay for chocolate cake. I only reference the scene’s reluctant, miserable consumption past all joy or desire.

Third, the five-paragraph form flattens a writer’s voice more than a bully’s fist flattens an otherwise perky, loveable face. Even the most gifted writer cannot sound witty in a five-paragraph essay, which makes one wonder why experts assign novice writers this task. High school students suffer to learn this form, only to be sternly reprimanded by college professors who insist that writers actually say something. Confidence is shattered, and students can’t articulate a position, having only the training of the five-paragraph essay dulling their critical reasoning skills. Moreover, unlike Midas whose touch turns everything to gold, everything the five-paragraph essay touches turns to lead. A five-paragraph essay is like a string of beads with no differentiation, such as a factory, rather than an individual, might produce.  No matter how wondrous the material, the writer of a five-paragraph essay will sound reductive, dry, and unimaginative. Reading over their own work, these writers will wonder why they ever bothered with the written word to begin with, when they sound so inhuman. A human’s voice is not slotted into bins of seven to eleven sentences apiece. A human voice meanders—but meaning guides the meandering. Voice leans and wends and backtracks. It does not scoop blobs of foodstuff in endless rows. If Oliver Twist were confronted with such blobs of written porridge, he would not ask for more.

In conclusion, the five-paragraph essay is an effective way to remove all color and joy from this earth. It would be better to eat a flavorless dinner from a partitioned plate than to read or write a five-paragraph essay. It would be better to cut one’s toenails, because at least the repetitive task of clipping toenails results in feet more comfortably suited to sneakers, allowing for greater movement in this world. The five-paragraph essay, by contrast, cuts all mirth and merit and motion from ideas until there is nothing to stand upon at all, leaving reader and writer alike flat on their faces. Such an essay form is the very three-partitioned tombstone of human reason and imagination.

Kim Zarins is a medievalist and an Associate Professor of English at the California State University at Sacramento. Her debut young adult novel, Sometimes We Tell the Truth (Simon & Schuster/Simon Pulse, pub date Sept 6), retells Chaucer’s Canterbury Tales with modern American teens traveling to Washington D.C. Find her on Twitter @KimZarins.

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