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Danger on the Divide

“If I’d felt more confident on the route, if he hadn’t made that comment, if we’d been communicating more, would I have pushed for another day off? If, if, if.”

A Journey of 6,000 Miles

Layan Albaz is one of thousands of Palestinian children who have lost limbs in Israeli air strikes—and one of the very few evacuated to the US for medical care.

Predator or Prey

“I still want to feel each meal, each touch, each body I absorb into mine.”

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Featuring beautiful illustrations, original photography, and engaging interactives, our Longform program invites readers to explore the spectrum of the subjects The Verge covers — tech, science, culture and transportation — in unbridled depth. Whether it’s a personal essay, a years-in-the-making investigation, or gripping narrative-driven feature, every piece in the Longform program is an opportunity to get the full story.

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How to Write a Long Essay

How to Write a One Page Essay

Writing an essay as part of a school assignment or a project can be a very tedious task, especially if that essay needs to be long. Even the most confident writers may have no trouble writing a few pages for an assignment but may find it challenging to extend that word count as much as possible. If you're assigned a long essay for one of your classes, there's no reason to worry. With some useful tips at your disposal, you can stretch that essay out without making it sound repetitive or boring the reader with an influx of irrelevant information.

What Is a Long Essay?

A long essay is any essay that tends to be longer than three pages or 3,000 words or more. Of course, the definition of a long essay will differ from one classroom to another, depending on the age and level of the students. And even if you're a college student, you may have some professors who consider a five-page essay to be the average, while another teacher considers five pages to be too much. Therefore, it's important to check with your teacher, though they'll usually clarify this when giving the assignment.

Sometimes, the term "long" applies to how many pages, and sometimes it applies to how many paragraphs or words need to be in the essay. Again, this all depends on your teacher, your school's requirements and the nature of the assignment. Either way, hearing your teacher say that you must write a long essay for your next assignment can certainly cause a lot of stress. The good news is that writing a long essay can be much easier than writing a short essay, especially if you're given some meaningful advice.

Why Would You Be Required to Write a Long Essay?

There are many reasons why teachers would assign a long essay to their students. First of all, writing a long essay is an opportunity for a student to really put his or her writing skills to the test. By the time students get to college, they already have an idea as to how to write a decent paper, but perhaps it's within limits. College professors need to make sure that students are able to write well, because eventually, these students may need to write a thesis or dissertation, and there really is no longer essay than that.

So even though you may think of writing a long essay as a torturous assignment, it's actually a great opportunity to practice a very specific skill that will definitely come in handy in other areas of your life. And, if you build up the right mindset for yourself, writing that long essay shouldn't be any more difficult than any other assignment you've been required to complete.

What Is the Standard Essay Format?

There's a standard essay format understood by most English students around the world. This is how essay writing can be taught in a universal way so that students are successful at writing essays no matter where they're studying. A standard essay format typically includes an introduction, three body paragraphs and a conclusion. Of course, the older a student gets and the more experience they have in school, their essays will gradually get longer and will need to require more detail and features (for instance, citing sources) in order to meet the requirements set by the teacher.

When you need to write a long essay, you can and should still base your writing off of this standard essay format. The only difference is that instead of having three body paragraphs, you're going to have a lot more in order to reach the word count or page requirement that you need to meet. This isn't as hard as it sounds. Instead of squeezing your main idea into one paragraph, try to add more examples and details to make it longer. Also, try to think of other key points that support your essay's theme that might not be so obvious at first.

Start Ahead of Time

The best way to relieve the stress that comes with having to write a long essay is to start ahead of time. Too many college students (and high school students) wait until the last possible minute to write an essay. Though some students may certainly be able to get away with this, it'll be a lot harder when it comes to writing a longer essay. Therefore, make sure you give yourself plenty of time to complete the assignment. It may work better for some people to do a little bit each day until they reach their goal. For instance, if you're required to write 3,000 words for your long essay, then you may feel better writing just 500 words a day over a couple of days instead of trying to bang it all out at once.

How to Write a 3,000 Word Essay in a Day

Some students rather get the hard work out of the way, instead of letting it drag out over a week. Writing a long essay of 3,000 words can be done in a day if you just put your mind to it. Do the following:

• Don't schedule any other appointments or assignments for the day.
• Put away any potential distractions, like your phone or the TV.
• Stay off of social media.
• Work somewhere quiet, like the library or a calm cafe.
• Take breaks every few paragraphs.
• Set a timer for ten minutes and try to work the entire time without stopping.

Create Your Essay Structure

Once you've decided whether or not you're going to write the essay over a couple of days or in just one day, it's time to start writing the actual essay. Like with any writing assignment, the first thing you should do is create an outline and organize your overall essay structure. If you need to write around five pages, which makes sense for a long essay, then you should make an outline that will support that. Take a look at an essay format example to get an idea of how yours should be:

• Introduction (more than two paragraphs)
• A starter question (something for the reader to consider)
• Body "paragraph/idea" one (four paragraphs on average)
• Body "paragraph/idea" two (four paragraphs on average]
• Body "paragraph/idea" three (four paragraphs on average)
• A conclusion

If you're wondering how on earth you're going to create a body section that's four paragraphs long, try to think of one main idea and three examples that tie together with it. For instance, if your long essay is an argumentative piece about "The Importance of Waiting Until You're Financially Stable to Have Children" you can think of at least four key reasons why:

• You won't have to struggle to pay for their needs.
• You can give them more opportunities.
• You can travel as a family.
• You can put away money for their college tuition.

For the first idea, you can talk about this point in very general terms. Then, you can write three more paragraphs underneath that, with each paragraph discussing a specific example. The second paragraph, for example, can be about paying for things like diapers, clothes, formula, etc., and how much each item costs. The second example can be about paying for things when the child gets a little older, like their food, their school supplies, etc. Lastly, the third example (and the fourth paragraph in this section) can discuss paying for things that the child will need as a teenager, such as more clothes, sports uniforms, dental work, etc.

Did You Answer All the Questions?

After you feel like you've exhausted all examples, but you're still under word count or page count, go back and make sure you've answered all the questions. These questions may have been questions in the rubric or the writing prompt that your teacher provided, or they may be questions that you've thought of on your own. In fact, when you start thinking of what to write about, you should brainstorm some questions that a reader may want to find the answer to about the topic, and you should try to answer these throughout your essay. Creating more potential questions can help you reach your word count faster.

Can You Change Words?

If you're close to reaching your word count but you're still not quite there, then go back and see if you can change any of the language in your essay to make it longer. For example, if you have a lot of contractions in your paper (can't, won't, isn't, they're) go back and make them two words instead of contractions, and do this throughout the entire essay. This is a great solution because it won't take away from the readership of your essay, and while this won't extend the word count too much, it will definitely help a bit.

Think of Additional Details You Can Add

In addition to changing contractions, you can also think of other details you can add to elongate your essay. There are always more examples you can add or more information you can research that will not only resonate with the reader but increase your overall word count or page count.

For example, if you're talking about how parents who decide to have children once they're financially stable will have the opportunity to put more money toward their child's tuition, then you can go back and add plenty of detail supporting this argument. Did you give an example of how much tuition costs? Did you add details about what parents can do with the money if their children decide not to go to college? What about the different types of college funds that exist? These are all details you can add that will increase the length of your essay, while also adding value.

However, when you do this, keep in mind that you want to be very careful not to add too much "fluff." Fluff is when you add information or details that simply aren't valuable to the writing itself. It makes the reader (who in most cases is your teacher and the one grading the assignment) want to skim over your piece, and this can lead to him or her giving you a lower grade.

Edit, Edit, Edit

Last but not least, in order to write a long essay, you must have the capacity to edit your work. Editing not only helps to ensure your paper is long enough, reads well, and is free from grammatical errors, but it will also give you an opportunity to add in more information here and there. To edit, you should always read out loud to yourself, and take a break from your work, so you can revisit it with a fresh pair of eyes. You can easily check if you've reached the length requirements by clicking on "word count" or counting the number of pages yourself, though your document will reveal this as you scroll down.

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Hana LaRock is a freelance content writer from New York, currently living in Mexico. Before becoming a writer, Hana worked as a teacher for several years in the U.S. and around the world. She has her teaching certification in Elementary Education and Special Education, as well as a TESOL certification. Please visit her website, www.hanalarockwriting.com, to learn more.

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What Does “Longform” Journalism Really Mean?

On love and ruin , terminology, and the anxiety of limits.

Writers are preoccupied with limits: temporal and physical and metaphysical, the divisions between self and other, the mind’s inability to reconstruct the subject of its fascination. Borges envisioned “a Map of the Empire that was of the same Scale as the Empire and that coincided with it point for point.” Moby-Dick ’s Ishmael claimed that “true places” resisted the attempts of mapmakers. Stories often assume the shape of their limitations. In 2006, the same year that Twitter launched, Robert Olen Butler published Severance , a story collection that employed what one reviewer called “a new—and unlikely to be replicated—art form, the vignette of the severed head told in exactly 240 words.”

For journalists, tasked with something like verisimilitude, these limits are always existential. Joe Gould claimed to be writing an oral history whose purview was the knowable world. Joseph Mitchell, who first profiled Gould for The New Yorker in 1942, came to doubt the history’s existence, and said as much after Gould’s death. Gould’s history was never published. Another New Yorker staff writer, Jill Lepore, suspects Gould’s compulsive writing was hypergraphia. “This is an illness, a mania,” she wrote, “but seems more like something a writer might envy.” Perhaps Mitchell did; after his final piece on Gould, Mitchell never published another word. Like Gould’s productivity, Mitchell’s silence was storied but impossible to verify. Lepore wrote about both men in “Joe Gould’s Teeth,” a feature article whose word count grew into a book-length manuscript.

“Writers tumble into this story,” wrote Lepore, “and then they plummet.” The boundaries of the observable world push inward and outward; we are fathomless, the universe immeasurable. Where, then, should a story begin and end?

In the past decade, as declining ad revenue constricted editorial space in print publications, online publishing offered journalists freedom from some of their limits. A story could be as complicated as its subject required, and as long as necessary, though the ancient caveat still applied: your readers might not stick with you until the end. Websites such as BuzzFeed, whose content seemed to assume a newly attention-deficient readership, occasionally published pieces of narrative nonfiction whose word counts reached into the thousands. Online publishers began to label such stories “longform.”

Journalists and their readers have an uneasy history with such labels. “I have no idea who coined the term ‘the New Journalism’ or when it was coined,” wrote Tom Wolfe in a 1972 feature article in New York . “I have never even liked the term.” Neither did Hunter S. Thompson, who wrote to Wolfe and threatened to “have your goddamn femurs ground into bone splinters if you ever mention my name again in connection with that horrible ‘new journalism’ shuck you’re promoting.” (Wolfe still included Thompson in his 1973 anthology, The New Journalism .) “Creative nonfiction” still enjoys wide usage, and a magazine exists by the same name. Its editor, Lee Gutkind, writes that Creative Nonfiction “defines the genre simply, succinctly, and accurately as ‘true stories well told.’” These labels amount to a shaggy taxonomy; journalists that share certain aesthetics are grouped together, and then those groups are differentiated from each other, to the presumed benefit of readers.

Such labels sometimes reward the writer, who becomes associated with a popular movement. They sometimes reward the reader, who has a new word for what she seeks. Most often, they reward the publisher. But a publisher’s loyalties can shift with the market. Medium, a publishing platform that developed an early reputation for longform journalism, distanced itself from the label. (“It was not our intention… to create a platform just for ‘long-form’ content,” said Ev Williams, Medium CEO and a co-founder of Twitter.) BuzzFeed, on the other hand, hired a “longform editor” in 2013 to oversee a section of the site devoted to such stories. The longform editor described his section as “BuzzFeed for people who are afraid of BuzzFeed.”

Whether labels like “longform” reward a story is another matter. “Length is hardly the quality that most meaningfully classifies these stories,” wrote James Bennet in The Atlantic . “Yet there’s a real conundrum here: If ‘long-form’ doesn’t fit, what term is elastic enough to encompass the varied journalism it has come to represent, from narrative to essay, profile to criticism?” The term “journalism” is, somehow, insufficient.

Taxonomy presents one conundrum; popularity makes for another. The “longform” label offers readers and writers a new way to self-identify, and a new hashtag by which they may find, distinguish and promote stories. An attendant risk is that a story’s appeal as a “longform” product could short-circuit editorial judgment and damage a writer or his subject before a large audience.

In 2014, Grantland published “ Dr. V’s Magical Putter ,” a 7,000-word profile of an inventor and transgender woman whose gender transition was revealed in the story—before she had revealed it to people in her life. “What began as a story about a brilliant woman with a new invention,” author Chris Hannan wrote, “had turned into the tale of a troubled man who had invented a new life for himself.” Hannan reveals in his final paragraphs that his subject committed suicide, and wrote, “Writing a eulogy for a person who by all accounts despised you is an odd experience.” In the New York Times , Jonathan Mahler cautioned readers and writers again “fetishizing the form and losing sight of its function.”

“Longform” springs from journalism’s anxiety over limitations—mainly, its online audience’s attention span. During the longform decade, software developers created programs that translate word counts into estimated reading times. Both Longreads.com and Longform.org use the program, as does Medium. For their first assignment, students of the late New York Times media critic David Carr wrote stories with estimated reading times of fewer than five minutes.

In 2011, The Atavist Magazine began to publish longform stories—“one blockbuster nonfiction story a month, generally between 5,000 and 30,000 words.” Since its inception, The Atavist ’s stories have been nominated for eight National Magazine Awards; the magazine’s first win, for 2015’s “Love and Ruin,” was also the first time the coveted “feature writing” award went to a digital magazine. While the magazine’s founder, Evan Ratliff, employs the “longform” label to describe The Atavist ’s work, he doesn’t fret about his audience’s attention span.

“The people who are making decisions based on that, I don’t think they’re doing it based on actual research, either,” he told Columbia Journalism Review a few months after The Atavist Magazine published its first story. “I think they’re all doing it based on anecdotal experience.” Ratliff concluded, “I don’t really care if attention spans are going down in the world overall or not.” And the universe—the unknowable curator of all the components of our stories—doesn’t care either.

Love and Ruin is a new anthology of stories culled from The Atavist ’s first five years. If labels like “longform” mean anything, then Love and Ruin is also the first collection of stories that typify a new genre, a successor to titles like Wolfe’s The New Journalism and Robert Boynton’s The New New Journalism .

“‘Longform’ written storytelling . . . was, it was said, going the way of the black rhino,” Ratliff writes in his foreword. “Our magazine is built on questioning that wisdom.” Still, Ratliff doesn’t dwell on the word; if length can be considered a characteristic of each story in Love and Ruin , then it’s the one that interests him least.

Each story in Love and Ruin first appeared online, via the magazine’s proprietary platform, along with interview excerpts, original photography, embedded videos, and optional audiobook downloads. Most also came with an estimated reading time. The shortest story in Love and Ruin —Brooke Jarvis’ 10,000-word account of the year she spent working with leprosy patients in Kalaupapa, Hawaii, as the community and its last inhabitants dwindled—is classified online as a “44 minute read.” The longest stories clear 20,000 words, which means a time commitment equivalent to watching a feature film.

The ten stories in Love and Ruin fall comfortably within the word counts that The Atavist sets for its nonfiction, a range that contemporary readers expect from “longform.” But word counts and reading times are poor distinguishing features for a genre, a lackluster explanation for why these stories should appear together, and a useless tool for evaluating the rewards of the book.

The stories in Love and Ruin don’t share many sensibilities. Ratliff writes in his foreword that there is no “house style”—a suggestion that each Atavist story is told in something closer to each writer’s authentic voice. In her introduction, New Yorker staff writer Susan Orlean takes on journalism’s taxonomy problem, sets aside a few genre labels (“new journalism,” “creative nonfiction,” “longform”), and then classifies the stories in Love and Ruin as “magpie journalism.” It’s a laudatory phrase, but at a second glance it doesn’t distinguish the stories in Love and Ruin from plenty of others.

If the stories in Love and Ruin are bound by something other than glue, then it’s a sort of thematic unity, born from the same anxieties that gave us “longform.” Each story in Love and Ruin depicts its author’s struggle with the limits of investigation, representation, or understanding. “The Fort of Young Saplings” follows Vanessa Veselka’s tangential connection to a native Alaskan tribe back to the moment when that tribe’s history was overwritten. Jarvis’ story, “When We Are Called to Part,” approaches the same critical moment, when a community becomes a collection of stories, told selectively and bracketed by time. In “Mother, Stranger,” Cris Beam navigates the fog of her abusive mother’s mental illness and her own traumatic upbringing. “I didn’t have a language for my mother,” writes Beam, “probably because she didn’t have a cohesive language for herself.” The black boxes in Love and Ruin are figurative and sometimes literal; Adam Higginbotham’s “1,000 Pounds of Dynamite,” an anatomy of a failed extortion plot, features both.  

Underpinned by limits and all their attendant complications, the narratives that arise from Love and Ruin are fundamentally strange and unwieldy, and as long as they need to be. Leslie Jamison’s “52 Blue” provides Love and Ruin with its most luminous prose. But the story—about a solitary whale that sings at a unique and isolating frequency, and the people drawn to the whale’s story—also offers the anthology’s best consideration of the boundaries that shape stories and their telling.

“52 Blue suggests not just one single whale as a metaphor for loneliness, but metaphor itself as a salve for loneliness,” Jamison writes. “What if we grant the whale his whaleness, grant him furlough from our metaphoric employ, but still grant the contours of his second self—the one we’ve made—and admit what he’s done for us?”

Jamison does not reach her best ideas in few words. But without the words she uses, those ideas may not be otherwise reachable. A story’s word count can sometimes be a proxy for complexity; that’s the appeal of a label like “longform” for the readers that claim to love it. But complicated stories also refute “longform.” They leave their readers with a feeling that the story and its shape are an inevitable match. How else could it have been told?

Here, then, is The Atavist ’s chief achievement with Love and Ruin : In collecting its finest “longform” nonfiction, The Atavist created an anthology that undermines its own flimsy label—and, hopefully, refutes some of our anxiety about time and attention, and the other limits that govern our lives.

The anxiety of limitation—the dread of meaning lost, to time and to space—is recurrent. “Before there were even screens in our living rooms, the same worries reared their heads,” writes Nick Bilton in I Live in the Future, and Here’s How it Works . “There was a time in the 1920s when cultural critics feared Americans were losing their ability to swallow a long, thoughtful novel or even a detailed magazine piece. The evil culprit: Reader’s Digest .”

But the condensed and excerpted stories in Reader’s Digest didn’t bring about the end of attention, or of complicated storytelling. “Reader’s weren’t abandoning long stories for short ones,” writes Bilton. “The appeal of Reader’s Digest was in the overall experience.”

In 2001, David Foster Wallace—who died in the early years of the “longform” decade and whose nonfiction posthumously bears that label—reviewed a collection of prose poems. “These putatively ‘transgressive’ forms depend heavily on received ideas of genre, category, and formal conventions,” wrote Wallace, “since without such an established context there’s nothing much to transgress against.” Do away with some of those conventions and received ideas, and a genre seems more accommodating. Labels like “longform” and “prose poem” are unnecessary limitations; they may evoke a certain shape, but they also constrain it.

A few years ago, for his introduction to The Best American Magazine Writing , James Bennet wrote a short essay that later appeared online at The Atlantic , under the headline “Against ‘Long-Form Journalism.’” Bennet argues that the label is insubstantial and misleading, and then suggests “another perfectly good, honorable name for this kind of work—the one on the cover of this anthology. You might just call it all magazine writing.” But that’s like distinguishing between “book fiction” and “movie fiction,” and besides, “magazine journalism” conflates a story with a product. A medium like print may help to shape a story, but that medium is always just a tool in the service of a narrative, and media change. There will come a time when Best American Magazine Writing needs a new title.

All the stories we tell are products of limits. Time shatters histories and then hides a few pieces. Writers construct narratives and, inevitably, omit some details. Addressing the same issue in photography, Errol Morris asked, “Isn’t there always a possible elephant lurking just at the edge of the frame?” Perhaps the elephant is unimportant to the story. And yet, there he is.

Here’s the trade-off: Narratives require that we surrender our conceptions of time and space, that we readjust our ideas of what can be known and what might be said. They can be fallible by design but still leave understanding in their wake. A story, of any length, moves readers through the world without fracturing meaning. The world fractures meaning on its own.

So perhaps we can unburden ourselves of labels like “longform.” The Atavist has already begun to do just that; in 2014, the site stopped translating word counts into estimated reading times. And perhaps we can task ourselves with something more: that we read and write closer to those circumstances that bracket our lives, and simply take the time and space we need.

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Brendan Fitzgerald

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The Longform Podcast published its final episode in June 2024. All 585 interviews will remain available on longform.org , Apple Podcasts , and Spotify .

Longform.org ran from April 2010 to December 2022 and recommended more than 10,000 pieces of nonfiction. The complete archive can be found here .

Thanks for reading and for listening, Aaron Lammer and Max Linsky, co-founders

Longform Podcast #585: John Jeremiah Sullivan

Your browser does not support the audio player. Click here to download the podcast.

John Jeremiah Sullivan is a contributing writer at the New York Times Magazine and has written for Harper's , The New Yorker , and GQ . He is the author of Pulphead and the forthcoming The Prime Minister of Paradise: The True Story of a Lost American History .

“I love making pieces of writing and trying to find the right language to say what I mean. It's such a wonderful way of being alive in the world. I mean, your material is all around you. ... I'm lucky that it has stayed interesting for me. It hasn't faded. The challenges of writing, they still glow.”

• Sullivan on Longform
• Sullivan’s GQ archive
• Sullivan’s New York Times Magazine archive
• [10:00] “Uhtceare” (Paris Review • May 2021)
• [28:00] Pulphead (FSG Originals • 2011)
• [30:00] The Best American Essays 2014 (Mariner Books • 2014)
• [30:00] “The Ill-Defined Plot” (New Yorker • Oct 2014)
• [50:00] “Man Called Fran” (Harper’s • Sept 2023)
• [50:00] “The Final Comeback of Axl Rose” (GQ • Aug 2006)
• [50:00] “Upon This Rock” (GQ • Jan 2004)
• [50:00] “Peyton’s Place” (GQ • Oct 2011)
• [50:00] “Leaving Reality” (GQ • Oct 2011)
• [54:00] “Pulp Fever” (Daniel Riley • GQ • Nov 2011)

Jun 2024 Permalink

Longform Podcast #584: Ta-Nehisi Coates

Ta-Nehisi Coates is an author and journalist. His next book is The Message .

“I don’t think we have the luxury as journalists of avoiding things because people might say bad things about us. I don’t even think we have the luxury of avoiding things because we might get fired. I don’t think we have the luxury of avoiding them because somebody might cancel some sort of public speech that we have. I then have to ask you, what are you in it for? Like, why did you come here? Did you come here just to make a living? Because there are many other things where you could make more money.”

• ta-nehisicoates.com
• Coates on Longform
• Longform Podcast #7: Ta-Nehisi Coates
• Longform Podcast #97: Ta-Nehisi Coates
• Longform Podcast #168: Ta-Nehisi Coates
• Longform Podcast #225: Ta-Nehisi Coates
• Longform Podcast #360: Ta-Nehisi Coates and Chris Jackson
• Longform Podcast #408: Ta-Nehisi Coates
• [04:00] "Fear of a Black President" (The Atlantic • Sep 2012)
• [05:00] The Beautiful Struggle (One World • 2009)
• [12:00] "The Case for Reparations" (The Atlantic • Jun 2014)
• [13:00] Between the World and Me (One World • 2015)
• [36:00] "The Mask of Doom" (New Yorker • Sep 2009)
• [40:00] "How Tech Giants Cut Corners to Harvest Data for A.I." (Cade Metz, Cecilia Kang, Sheera Frenkel, Stuart A. Thompson and Nic Grant • New York Times • Apr 2024)
• [42:00] Shell Game (Evan Ratliff • 2024)

Longform Podcast #583: Jay Caspian Kang

Jay Caspian Kang is a staff writer for The New Yorker and a co-host of Time to Say Goodbye .

“At some point, you have to kick it out the door, and it’s never finished to the degree that you would finish a magazine piece. But it, in some ways, is more interesting because it is produced in a short amount of time, and it’s read as something that is not supposed to be complete. It’s just meant to provoke or to provide thought or whatever, to provide some sort of context on a certain issue or not. And I actually like that a lot better than the magazine writing. I respect the magazine writers—obviously, I was one—but for my disposition now, in my lifestyle, I actually enjoy having to produce this thing every week.”

Have a question for the mailbag? Email the show or leave a voicemail at (929) 333-2908.

• @jaycaspiankang
• Kang on Longform
• Kang on Longform Podcast (Oct 2021)
• Kang on Longform Podcast (Aug 2017)
• Kang on Longform Podcast (Apr 2013)
• Kang’s New Yorker archive
• [06:00] Coin Talk
• [08:00] Tyler Austin Harper’s Atlantic archive
• [10:00] Serial
• [12:00] The Daily
• [20:00] “The High Is Always the Pain and the Pain Is Always the High” (The Morning News • Oct 2010)
• [28:00] James (Percival Everett • Doubleday • 2024)
• [34:00] “American Son” (ESPN • July 2024)
• [35:00] Kang’s VICE archive
• [42:00] “Mike Francesa Still Believes in the Power of Radio” (New York Times • Aug 2018)
• [43:00] Kang’s Grantland archive
• [43:00] Kang’s New York Times archive

Longform Podcast #582: Joseph Cox

Joseph Cox is a cybersecurity journalist and co-founder of 404 Media . His new book is Dark Wire: The Incredible True Story of the Largest Sting Operation Ever .

“In the not too distant future, I will be a very old man, and maybe I won't be able to spend all day talking to drug traffickers. I will be mentally and physically exhausted. So I will doggedly pursue the story right now while I can.”

• @josephfcox
• Cox's 404 Media archive
• Cox's Vice archive
• Dark Wire: The Incredible True Story of the Largest Sting Operation Ever (PublicAffairs • 2024)
• [08:00] "FBI’s Encrypted Phone Platform Infiltrated Hundreds of Criminal Syndicates; Result is Massive Worldwide Takedown" (U.S. Attorney’s Office, Southern District of California • Jun 2021)
• [10:00] Billion Dollar Whale: The Man Who Fooled Wall Street, Hollywood, and the World (Bradley Hope and Tom Wright • Hachette • 2018)
• [19:00] "Revealed: The Country that Secretly Wiretapped the World for the FBI" (404 Media • Sep 2023)
• [38:00] "Follow The Bitcoins: How We Got Busted Buying Drugs on Silk Road’s Black Market" (Andy Greenberg • Forbes • Sep 2013)
• [41:00] "Hundreds of Bounty Hunters Had Access to AT&T, T-Mobile, and Sprint Customer Location Data for Years" (Motherboard • Feb 2019)

Longform Podcast #581: Tavi Gevinson

Tavi Gevinson is a writer, actor, and the founder of Rookie . Her new zine is Fan Fiction .

“Stories are unstable, and memory is unstable, and identity is unstable. All of these things that I've tried to make permanent in writing, they're actually unstable. So even though it's tempting to go, Oh, that was fake , it's more like, No, it was just temporary .”

• tavigevinson.world
• Gevinson on Longform
• Gevinson on Longform Podcast
• Gevinson’s Rookie archive
• [10:00] Operation Shylock (Philip Roth • Simon & Schuster • 1993)
• [10:00] Erasure (Percival Everett • Graywolf Press • 2011)
• [14:00] “Taylor Swift Has No Regrets” (Elle • June 2015)
• [20:00] I Love Dick (Chris Kraus • Semiotext(e) • 1997)
• [24:00] “Who Would Tavi Gevinson Be Without Instagram?” (New York • Sept 2019)
• [40:00] “Editor’s Letter” (Rookie • Nov 2018)
• [50:00] “The Special Panic of Singing Sondheim” (New Yorker • Dec 2021)

May 2024 Permalink

Longform Podcast #580: Rachel Khong

“It's about the ways in which we miss each other as human beings and can't fully communicate what it is like to be ourselves. … And I think that's what makes it so interesting to me, to work on a novel and to spend so much time trying to get down on the page what it feels like to be a human being who's alive. … I think the effort itself is what human relationships are.”

• rachelkhong.com
• [00:00] Real Americans (Knopf • 2024)
• [01:00] Goodbye, Vitamin (Picador • 2017)
• [01:00] Lucky Peach archive
• [01:00] "Would Limitlessness Make Us Better Writers?" (The Atlantic • Apr 2024)
• [01:00] "Dust to Dust" (Eater • May 2024)
• [05:00] "New Pornographers + Stars, 6/25 Prospect Park Summer Stage" (Village Voice • Jun 2005)
• [09:00] Same Bed Different Dreams (Ed Park • Random House • 2023)
• [12:00] "Inside My Days as a Content Bot" (Esquire • Apr 2024)
• [24:00] "The Rumpus Interview with Elizabeth Gilbert" (Rumpus • Oct 2012)
• [24:00] Eat Pray Love (Elizabeth Gilbert • Riverhead • 2007)
• [24:00] Elizabeth Gilbert's GQ archive
• [54:00] "The Great Pacific Oyster Trail" (Eater • Jun 2017)

Longform Podcast #579: Kelsey McKinney

Kelsey McKinney is a features writer and co-owner at Defector.com . She hosts the podcast Normal Gossip and is the author of the upcoming book You Didn't Hear This From Me: (Mostly) True Notes on Gossip .

“I was always very interested in how you strategize a creative career. And I think that that is an unsexy thing to talk about, right? It's much sexier to be like, Oh, I love working on my sentence-level craft , which is not true for me. But I think that a lot of a creative career is understanding it is still a job, and then understanding how you make sure that within the container of the job you can do the work that you want to do. That is a really difficult balance to make. So if you can understand how people who have done it before you, you can copy them.”

• @mckinneykelsey
• kelseymckinney.com
• McKinney on Longform
• McKinney’s Defector archive
• [04:00] “Why Doesn’t Mrs. Dalloway Get a Day of Her Own?” (Slate • Jan 2000)
• [13:00] “Chris Evans: American Marvel” (Edith Zimmerman • GQ • July 2011)
• [23:00] McKinney’s Deadspin archive
• [31:00] God Spare the Girls (Harper Collins • 2022)
• [39:00] “Gossip Is Not a Sin” (New York Times • July 2021)
• [43:00] You Didn’t Hear This From Me (Viking • 2025)
• [58:00] “Learning To Play Piano When There Is No Recital” (Defector • Dec 2023)

Longform Podcast #578: Lissa Soep

Lissa Soep is an audio producer, editor and author whose latest book is Other People’s Words: Friendship, Loss, and the Conversations That Never End .

“I am so keenly aware of how much my own voice is a product of editing relationships and co-producing relationships with other people's words. … I will forever feel indebted to those then-young people who are now writers and educators and therapists. … I feel like my voice is sort of a product of that time.”

• [00:00] Other People’s Words: Friendship, Loss, and the Conversations that Never End (Spiegel & Grau • 2024)
• [00:00] YR Media
• [33:00] "Laurie Anderson Has a Message for Us Humans" (Sam Anderson • New York Times Magazine • Oct 2021)

Longform Podcast #577: PJ Vogt

PJ Vogt is the host of Search Engine .

“One of our tests editorially is if we think we’ve got something good, but we haven’t started reporting or recording on it, I’ll just try asking the question at dinner and stuff. If it derails conversations, that’s a really good sign.”

• Vogt’s Substack
• Vogt on Longform Podcast
• [03:00] “Why Are There So Many Illegal Weed Stores in New York City? (Part 1)” (Search Engine • Mar 2024)
• [03:00] “Why Are There So Many Illegal Weed Stores in New York City? (Part 2)” (Search Engine • April 2024)
• [03:00] “When Do You Know It’s Time to Stop Drinking?” (Search Engine • Jan 2024)
• [08:00] “Why Are There So Many Chicken Bones on the Street? (Part 1)” (Search Engine • Jan 2024)
• [08:00] “Why Are There So Many Chicken Bones on the Street? (Part 2)” (Search Engine • Jan 2024)
• [13:00] “Is There a Sane Way to Use the Internet?” (Search Engine • Oct 2023)
• [15:00] “How Do You Survive Fame?” (Search Engine • Feb 2024)
• [15:00] “The Tao of Rick Rubin” (New York Times • The Ezra Klein Show • Feb 2023)
• [15:00] “Rick Rubin Says Trust Your Gut, Not Your Audience” (Bari Weiss • The Free Press • Mar 2023)
• [16:00] “Rick Rubin, The Seclusive Zen Master” (Tim Ferriss • Jan 2023)
• [16:00] “Frank Sinatra Has a Cold” (Gay Talese • Esquire • April 1966)
• [18:00] The Ezra Klein Show
• [18:00] Fresh Air
• [19:00] Crypto Island (Jigsaw Productions • 2022)
• [26:00] “Do Political Yard Signs Actually Do Anything?” (Search Engine • Apr 2024)
• [27:00] Reply All
• [35:00] “What’s Going on With Elon Musk?” (Search Engine • July 2023)
• [38:00] “What’s It Like to Go Blind? (Search Engine • July 2023)

Longform Podcast #576: Lindsay Peoples

Lindsay Peoples is the editor-in-chief of The Cut .

“You see so many incredible people make one mistake and lose their job or they speak out about something and then the next day something blows up. And so I do think that I often feel like I have to be so careful. And that's hard to do because I'm just naturally curious and I want to know and I want to find and explore and do the things. But I'm aware that … people think I'm too young. I'm too Black. I'm aware of all those things and I'm still going to try.”

• [01:00] "Everywhere and Nowhere: What It’s Really Like to Be Black and Work in Fashion" (The Cut • Aug 2018)
• [09:00] The Devil Wears Prada (Fox 2000 Pictures • 2006)
• [29:00] David Haskell on Longform Podcast
• [31:00] "Should I Leave My Husband? The Lure of Divorce" (Emily Gould • The Cut • Feb 2024)
• [31:00] "The Day I Put $50,000 in a Shoe Box and Handed It to a Stranger" (Charlotte Cowles • The Cut • Feb 2024)
• [31:00] "Age Gap Relationships: The Case for Marrying an Older Man" (Grazie Sophia Christie • The Cut • Mar 2024)
• [50:00] "Is There Room for Fashion Criticism in a Racist Industry?" (The Cut • Aug 2021)

Apr 2024 Permalink

Polk Award Winners: Jason Motlagh

Jason Motlagh, a journalist and filmmaker, is a contributing editor at Rolling Stone and the founder of Blackbeard Films. He won the Polk's Sydney Schanberg Prize for “This Will End in Blood and Ashes,” an account of the collapse of order in Haiti.

“Once you've gotten used to this kind of metabolism, it can be hard to walk away from it. Ordinary life can be a little flat sometimes. And so that's always kind of built in. I accept that. I think I've just tried to be more honest about like, [am I taking this risk] because I need a bump my life? Or do you really believe in what you're doing? And I feel like I really do need to believe in the purpose of the story. There has to be some motivation greater than myself."

This is the last in a series of conversations with winners of this year's George Polk Awards in Journalism .

Polk Award Winners: Brian Howey

Brian Howey is a freelance journalist who won the Polk Award for Justice Reporting after exposing a deceptive police tactic widely used in California. He began the project, which was eventually published by the Los Angeles Times and Reveal , as a graduate student in the UC Berkeley Graduate School of Journalism.

“It’s one thing to hear about this tactic and hear about parents being questioned in this way. It’s another thing entirely to hear the change in a parent’s voice when they realize for the past 20 minutes they’ve been speaking ill of a relative who’s actually been dead the entire time, and to hear that wave of grief and sometimes that feeling of betrayal that cropped up in their voice and how the way that they spoke to the officers afterwards changed.”

This is the fourth in a week-long series of conversations with winners of this year's George Polk Awards in Journalism .

Polk Award Winners: Meribah Knight

Meribah Knight is a reporter with Nashville Public Radio. She won the Polk Award for Podcasting for “The Kids of Rutherford County,” produced with ProPublica and Serial , which revealed a shocking approach to juvenile discipline in one Tennessee county.

“Where does it leave me? It leaves me with a searing anger that is going to propel me to the next thing. But we’ve made some real improvement. And that’s worth celebrating. That’s worth recognizing and saying, This work matters, people are paying attention .”

This is the third in a week-long series of conversations with winners of this year's George Polk Awards in Journalism .

Polk Award Winners: Jesse Coburn

Jesse Coburn is an investigative reporter at Streetsblog . He won the Polk Award for Local Reporting for "Ghost Tags," his series on the black market for temporary license plates.

“You can imagine this having never become a problem, because it’s so weird. What a weird scam. I’m going to print and sell tens of thousands of paper license plates. But someone figured it out. And then a lot more people followed. It just exploded.”

This is the second in a week-long series of conversations with winners of this year's George Polk Awards in Journalism.

Polk Award Winners: Amel Guettatfi and Julia Steers

Amel Guettatfi and Julia Steers won this year's George Polk Award for Television Reporting for “Inside Wagner,” their Vice News investigation of Russian mercenaries on the Ukraine front and in the Central African Republic.

“One of the best takeaways I got from seven or eight years at Vice is that it’s not enough for something to be important when you’re figuring out how to make a story. It’s the intersection of important and interesting. And that has taught me that people will watch anything, anywhere, as long as it’s interesting. Nobody owes us their time. The onus is on us to explain things in an interesting, compelling way. I’m hoping that a landscape opens up somewhere else that sees that and understands that can be done anywhere in the world.”

This is the first in a week-long series of conversations with winners of this year’s George Polk Awards in Journalism .

Longform Podcast #575: Megan Kimble

Megan Kimble is the former executive editor of The Texas Observer and has written for The New York Times , Texas Monthly , and The Guardian . Her new book is City Limits: Infrastructure, Inequality, and the Future of America’s Highways .

“I have never lived in a city that was not wrapped in highways. It’s hard for me to imagine anything else. And I think that’s true for a lot of people today. ... [But] we have known since the origins of the interstate highways program that building highways through cities doesn’t fix traffic. And yet we keep doing it. To me, that really fueled a lot of the book. It wasn’t supposed to be this way.”

• @megankimble
• megankimble.com
• Kimble on Longform
• Kimble’s Texas Observer archive
• [11:00] Kimble’s Austin Monthly archive
• [13:00] “Austin’s Not-So-Fair Housing Market” (Austin Monthly • Sept 2018)
• [49:00] “The Road Home” (Texas Observer • July 2021)

Longform Podcast #574: Zach Harris

“I'm not like a staff writer who has … status and access. But if I come up with something fun that you've never heard of that might connect to the larger culture, then it kind of hits a nerve and a sweet spot for me. Someone like a pro skateboarder or a pro bowler, you guys have never heard of. And so being able to present a person and a culture and a world to a wider audience, I think suits me well and has been really a fun way to do profiles.”

• [00:00] "Meet the Gen Z Hothead Burning Up Pro Bowling" (Rolling Stone • Jan 2024)
• [01:00] "The Most Amazing Bowling Story Ever" (Michael J. Mooney • D Magazine • Jan 2000)
• [02:00] Longform's bowling archive
• [13:00] Harris’s Vice archive
• [26:00] Thrasher Magazine
• [28:00] Harris’s High Times archive
• [29:00] amandachicagolewis.com
• [31:00] Palo Alto: A History of California, Capitalism, and the World (Malcolm Harris • Little, Brown and Company • 2023)
• [33:00] firstwefeast.com
• [36:00] "Pandora’s Bag: Rap Snacks Are Proof that Time Is a Flat Circle" (Vice • Jun 2012)

Mar 2024 Permalink

Longform Podcast #573: Rozina Ali

Rozina Ali is a contributing writer for The New York Times Magazine and the winner of the 2023 National Magazine Award for Reporting. Her latest article is “Raised in the West Bank, Shot in Vermont.”

“I think it’s very, very important to speak to people as people. To speak to sources—even if you have the juiciest story—to really give them the grace. I think everyone deserves it, especially people who are going through such a difficult time.”

• @rozina_ali
• rozina-ali.com
• Ali’s New York Times archive
• [16:00] “The Erasure of Islam from the Poetry of Rumi” (New Yorker • Jan 2017)
• [17:00] “The ‘Herald Square Bomber’ Who Wasn’t” (New York Times Magazine • April 2021)
• [25:00] “Marijuana Comes to Coalinga” (The Nation • Nov 2018)
• [29:00] “‘How Did This Man Think He Had the Right to Adopt This Baby?’” (New York Times Magazine • Nov 2022)
• [43:00] “The Afghan Women Left Behind” (New Yorker • Aug 2022)
• [46:00] “What Rashida Tlaib Represents” (New York Times Magazine • March 2022)
• [61:00] “The ISIS Beat” (The Drift • April 2021)

Longform Podcast #572: Derek Thompson

Derek Thompson is a staff writer for The Atlantic and host of the podcast Plain English .

“I am an inveterate dilettante. I lose interest in subjects all the time. Because what I find interesting about my job is the invitation to solve mysteries. And once you solve one, two, three mysteries in a space, then the meta-mystery of that space begins to dim. And all these other subjects—that's the new unlit space that needs the flashlight. And that's the part of the job that I love the most: that there are so many dark corners in the world. And I've just got this flashlight, and I can just shine it wherever the hell I want.”

• Thompson's Atlantic archive
• [00:00] Hit Makers: How to Succeed in an Age of Distraction (Penguin • 2018)
• [00:00] Plain English with Derek Thompson (The Ringer)
• [05:00] "Why Americans Suddenly Stopped Hanging Out" (Atlantic • Feb 2024)
• [18:00] "The Americans Who Need Chaos" (Atlantic • Feb 2024)
• [23:00] "America’s Loneliness Epidemic Comes for the Restaurant" (Atlantic • Mar 2024)
• [35:00] "Stop Trying to Ask 'Smart Questions'" (Atlantic • Jan 2023)
• [39:00] "The Future of Everything With Derek Thompson" (The Bill Simmons Podcast • Feb 2024)
• [40:00] "What Many Economists (and I) Got Wrong About This Economy" (Plain English • Mar 2024)
• [43:00] "How Hollywood’s Hit Formula Flopped—and What Could Come Next" (Plain English • Mar 2024)

Longform Podcast #571: Tessa Hulls

“This project is the thing I have spent my entire life running from. I was incredibly determined to never touch this, either personally or professionally. … It was more an eventual act of resignation than a desire.”

• @tessahulls
• tessahulls.com
• [17:00] Persepolis (Marjane Satrapi • Pantheon • 2004)
• [19:00] richardscarry.com
• [32:00] The Margery Davis Boyden Wilderness Writing Residency
• [36:00] “Longform Podcast #144: Cheryl Strayed”

February 28

Longform Podcast #570: Sloane Crosley

Sloane Crosley is the author of I Was Told There’d Be Cake and several other books. Her new memoir is Grief Is for People .

“You take a little sliver of yourself and you offer it up to be spun around in perpetuity in the public imagination. That is the sacrifice you make. And it makes everything just a little bit worse. So it's the opposite of catharsis, but it's worth it. It's worth it for what you get in return: a book.”

• sloanecrosley.com
• Longform Podcast #343: Sloane Crosley
• [01:00] Grief Is for People (MCD • 2024)
• [14:00] Heartburn (Nora Ephron • Vintage • 1996)
• [25:00] "Patchett: In Bad Relationships, 'There Comes A Day When You Gotta Go.'" (Fresh Air with Terry Gross • WHYY • Jan 2014)
• [25:00] Joan Didion on Fresh Air with Terry Gross
• [25:00] "Long COVID, Chronic Illness & Searching For Answers" (Fresh Air with Terry Gross • WHYY • Feb 2022)
• [32:00] "Obituary: Russell Perreault, V-P at Vintage Anchor, 52" (Rachel Deahl • Publishers Weekly • Jul 2019)
• [37:00] The Clasp (Picador • 2016)
• [49:00] How Did You Get This Number (Riverhead Books • 2011)
• [51:00] "Five O’Clock Somewhere" (Gary Indiana • Granta • Feb 2024)

Feb 2024 Permalink

February 21

Longform Podcast #569: Lauren Markham

“It took me a while to figure out that this is actually a book about storytelling, about journalistic storytelling, about the kind of myths we spin culturally and politically, about history, about current events, and the role of journalism within all of that, and my role as a journalist.”

• @LaurenMarkham_
• laurenmarkham.info
• Markham on Longform
• [01:00] The Far Away Brothers (Crown • 2018)
• [03:00] oaklandinternational.org
• [28:00] How the Word Is Passed (Clint Smith • Little, Brown and Company • 2021)
• [38:00] “How Greece Secretly Adopted the World’s Most Brazen—and Brutal—Way of Keeping Out Refugees” (Mother Jones • March 2022)
• [44:00] “For Me, With Love and Squalor” (Longreads • June 2018)

February 14

Longform Podcast #568: Zoë Schiffer

Zoë Schiffer is the managing editor for Platformer . Her new book is Extremely Hardcore: Inside Elon Musk’s Twitter .

“Being the person where it's a fireable offense to leak to you … is kind of a badge of honor.”

• zoeschiffer.com
• Schiffer's Platformer archive
• Extremely Hardcore: Inside Elon Musk’s Twitter (Portfolio • 2024)
• [03:00] Schiffer's Verge archive
• [08:00] "How Twitter’s child porn problem ruined its plans for an OnlyFans competitor" (Zoë Schiffer and Casey Newton • Verge • Aug 2022)
• [16:00] Going Infinite: The Rise and Fall of a New Tycoon (Michael Lewis • W. W. Norton • 2023)
• [36:00] Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic Future (Ashlee Vance • Ecco • 2017)
• [41:00] Ask a Swole Woman (Casey Johnston)

Longform Podcast #566: Patricia Evangelista

Patricia Evangelista is a trauma journalist whose coverage of the drug war in the Philippines has appeared in Rappler , Esquire , and elsewhere. Her recent book is Some People Need Killing: A Memoir of Murder in My Country .

“It is hard to describe the beat I do without saying very often it involves people who have died. And it seemed like an unfair way to frame it. It didn't quite seem right. … Sometimes there's no dead body, or sometimes there's 6,000, but the function is the same: that the people you speak to have gone through enormous painful trauma, and then there's a way to cover it that minimizes that trauma. So … I don't cover the dead. I cover trauma.”

• Evangelista's Rappler archive
• Some People Need Killing: A Memoir of Murder in My Country (Random House • 2023)
• [01:00] The Mastermind: A True Story of Murder, Empire, and a New Kind of Crime Lord (Evan Ratliff • Random House • 2020)
• [11:00] Evangelista's Philippine Daily Inquirer archive
• [21:00] "The Rapture of Rodrigo Duterte" (Patricia Evangelista and Nicole Curato • Rappler • May 2016)

Jan 2024 Permalink

Longform Podcast #565: Susan B. Glasser

“There’s a great benefit to leaving Washington and then coming back, or frankly leaving anywhere and then coming back. I think you have much wider open eyes. Washington, like a lot of company towns, takes on a logic of its own, and things that can seem crazy to the rest of the country, to the rest of the world, somehow end up making more sense than they should when you’re just doing that all day long, every day.”

• Glasser on Longform
• Glasser’s New Yorker archive
• [05:00] “The Year We Stopped Being Able to Pretend About Trump” (New Yorker • Dec 2023)
• [16:00] Glasser’s Politico archive
• [20:00] The Man Who Ran Washington (Glasser and Peter Baker • Anchor • 2021)
• [28:00] Peter Baker's New York Times archive
• [29:00] Kremlin Rising (Glasser and Peter Baker • Scribner • 2005)
• [37:00] Theo Baker on the Longform Podcast

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How long is an Essay? A Guide to Appropriate Essay Length

Table of Contents

How long is an essay ? The length of your article is determined by several factors. These include level of education, course of study, departmental guidelines, and tutor’s requirements.

Compared to a research paper or dissertation, an essay is a shorter piece of writing. This article provides general guidelines for the length of different types of essays.

Since there are several essay types, it is crucial to understand the length required of your assignment. On average, an essay should be at least 700 to 1,200 words. It shouldn’t be too long or too short.

Usually, when an instructor hands out a project, the number of pages to be written will be given alongside. The instructor will often give the word count for the assignment, which will be more helpful than just telling the number of pages. This will mostly be a range (e.g., 500-800 words).

Most important in writing an essay is to prioritize quality over quantity. The focus should be on making a solid argument about the subject rather than hitting the specified word count. However, writing an essay according to the specified length is possible without compromising quality.

The specified length of your essay gives you a sense of how much information and complexity you can fit into the given space. This will determine how you outline your ideas and structure your argument.

The time needed for editing and proofreading also varies by the length of the essay.

A few tips to keep in mind when writing an essay include:

• An essay should have a minimum of three paragraphs. The paragraphs should contain the introduction, body, and conclusion, respectively.
• For an introductory paper, a five-paragraph structure is typical.
• The conclusion and introduction paragraphs are generally shorter.
• Each central idea should occupy a separate body paragraph.

There is a standard essay length for most high school, college, graduate, and professional schools. Although it is usually difficult to determine the length of an essay by words, working within the specified range is generally good. The following guidelines will help you determine how long your essay should be.

1. High School Essay

The recommended word count for a high school essay is 300 to 1000 words. It may vary, but you’ll often need to write a 5-paragraph essay that contains an introduction, three body paragraphs, and a conclusion.

2. College admission essay

College admissions essays are much shorter than any other. They range from 200 to 650 words and contain a few paragraphs that express your motivations and interests.

3. Undergraduate college essay

The length of undergraduate essays varies depending on the institution, course of study, and course levels.

However, no matter the length, every undergraduate college essay must include the following:

• Introduction
• Body (containing the subject arguments)

The word count of a typical undergraduate essay ranges from 1500 to 5000 words.

4. Graduate school admission essay

A typical graduate admission essay contains about 500–1000 words detailing your statement of purpose and highlighting some of your academic achievements.

5. Graduate school essay

Graduate school essays are usually more detailed and comprehensive, which means they tend to be longer. A typical graduate school essay ranges from 2500 to 6000 words.

First, you need to decide how many words your essay requires. Afterward, you can break it down into paragraphs. A short piece of 600-800 words will require that each section contains 100-150 words.

The introduction is one of the essential parts of an essay. The introduction is usually the same length as the conclusion and is shorter than the body. It should be just one paragraph and should match the length of the essay. For example, an essay with a length of 500 words would have an introduction of about 100 words.

The essay’s main body is usually the longest part and should take up the most space. It would be best to put each argument and idea in a separate paragraph. The paragraphs in the main body should be roughly the same length.

The conclusion of the essay is often a single paragraph. It should sum up the main points in a convincing way.

Writing your essay according to the specified length is essential, especially when your instructor recommends it. However, the length of your essay should not compromise its quality .

Creativity and originality are crucial factors in writing a well-structured essay, but it’s also vital that your essay is well-written.

Essay length can vary depending on the requirements of the forum you are submitting your work to. If the length is not specified, the specifications in this article should help you determine the length.

Pam is an expert grammarian with years of experience teaching English, writing and ESL Grammar courses at the university level. She is enamored with all things language and fascinated with how we use words to shape our world.

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The Ins and Outs of Writing Long-Form Content

Published: June 09, 2020

Let's talk about content.

More specifically, long-form content.

Not only that, but why it's a good idea to have on your website.

Let's say you're looking for a resource about how to start an online business . You want a full rundown, concrete information, and actionable tips that will assist you begin a successful company. You're probably going to want a lengthy resource that's valuable, right?

This is the glory of long-form writing. It gives you a chance to provide highly motivated readers with a ton of value and context. Long-form content generally has a word count of more than 1,000 words — so, it’s not the shortest read.

That doesn't mean that short-form content isn't useful for your website. You should have both to serve different purposes. Let's take a minute to look at how.

Long-Form Content

On the surface, long-form content doesn't sound like it's great for user engagement. It might seem counterintuitive to give your audience more to read in order to keep them on your website longer. But it's true, and I'm going to dive into why below.

I'm here, however, to debunk that myth. Let's add a definition to the term, first.

What is long-form content?

Long-form content describes a piece of writing that is between 1,000 — 7,500 words. You might want to read long-form content to get a deep dive of complicated subjects from a robust source of writing.

The purpose of long-form content is to provide valuable information to the reader. If you write long-form pieces — and make sure those articles and essays are useful to your audience — you can increase the time spent on your site and value to your reader.

More than that, if you optimize your website for search engines and add calls-to-action in the body of your piece, you can improve lead generation. Your articles will have a higher chance of showing up on the first page of SERPs, and you can guide readers to offers that relate to the topic of your work. Similarly, for essays and academic writing, you should structure your content to make it easier for the reader to understand your question, argument, and analysis. With the growth of AI essay writers , content writers, and blog writers, making engaging and optimized content is becoming even easier.

Sounds pretty great, right?

But wait — if there's content that's long-form, there has to be a short version, right? It's important to know the difference between the two so you know how to best serve your audience.

Long-form content vs. short-form content

Short-form content can be extremely helpful to readers who want a quick answer to their queries. For instance, you can offer short-form content to provide a simple definition or explain a product in small portions . Short-form content gives your reader the information fast so their attention doesn't wane.

This type of shorter writing is generally under 1,000 words. It provides a general overview and saves readers time. Long-form content, on the other hand, goes deeper into topics.

In addition to diving deeper into topics, long-form content can aid with ranking highly on search engines and build your website's reputation.

For example, this article, about how to write a blog post , has earned thousands of views. Additionally, the average time spent on the page is about four minutes. From these metrics, we can guess that this 17-minute read, well over 1,000 words, was successful in providing value to the reader.

This doesn't mean that you should fill your blog with 17-minute reads. But it can be useful to start thinking of how long-form content can be effective for your audience. How can you provide ample writing that's actionable for readers?

If you build an archive of long-form content that's valuable for readers, you can create a reputation as a source people look to first to help them solve their questions. It's kind of like ordering a product online. You're probably more likely to order from a site you've used many times before, that has proved to be reputable, instead of trying out a brand new ecommerce option.

Let's look at another reason why long-form, valuable writing is successful: page rank on Google. Backlinko found that websites with a high "time on site" are more likely to rank highly on search engine results pages (SERPs).

When a search query is typed into Google, the search engine crawls websites for content that will help solve that user's query. Web pages that have a longer time spent on site than others suggest to Google that browsers found that information important enough to stay on that page.

As a result, Google is more likely to suggest that page above others. (Don't forget that a page optimized for SEO is also a huge boost to improving rank).

So now you know why long-form content is important to have on your site: It provides values to readers, can earn you a reputable reputation, and brings more eyes to your site. But what does successful long-form content look like? Let's take a look at some examples.

Long-Form Content Examples

Before we talk about how to write long-form content, let's look at some effective examples. These examples show how long-form content can be optimized for the reader's comprehension.

1. Hayley Williams Isn't Afraid Anymore by Rolling Stone

This long-form profile about solo artist Hayley Wiliams, written by Brittany Spanos for Rolling Stone , does a great job of performing other content produced by Rolling Stone about the same topic, or those that are similar.

Within the profile, other works previously done by Williams or her rock band, Paramore, are featured and hyperlinked to previous RS articles that are applicable. For instance, the word "Paramore" was hyperlinked to an internal tag of the same name, showing all previous RS posts that mentioned the band.

A particularly intriguing mention of past works related to the topic, Williams, comes up in the sidebar of the feature. There, you can find previous music reviews of the singer/songwriter's releases. This is a visual way to promote past content, and one that catches the attention of readers.

Image Source

If you want to include other works in your long-form content that relate to the article, consider an approach similar to this one. You'll give the reader a break from reading the piece to queue up similar posts for later. Additionally, you'll provide more value to the article by offering up supporting ideas.

2. Getting Started with Google Remarketing Ads by Mailchimp

Mailchimp is a marketing software platform. This post is a guide to navigating setting up Google Remarketing Ads. Complete guides about a topic that pertains to your industry are a wonderful example of a long-form content piece that you can add to your blog.

What's great about this article is that it shows off a table of contents, different languages to read in, and social sharing options.

Adding in a table of contents helps the reader easily navigate through a longer piece if they are only interested in one section. And international readers are able to read in their native language with the opportunity to translate the text.

3. Delivering Emails with Litmus by Litmus

This long-form content is a transcription of a podcast episode that was embedded into the post. I get it: Even with software available, it's taxing work to do a transcription. Even this short, 18-minute episode was not an easy feat to transpose.

However, if you create YouTube videos or podcasts, a transcription can make your audio/video content accessible to audience members who are hearing impaired.

If for some reason, the embed of the audio file doesn't work or a quote doesn't come through clearly, the non-hearing impaired listeners can identify what was said without having to mentally fill in the blanks. I would find a transcription helpful if I were writing an article and wanted to pull a quote, or if I wanted directions on how to use software and didn't want to keep rewinding.

4. 77 Essential Social Media Marketing Statistics for 2020 by HubSpot

Data is great material for a long-form post, like this one from HubSpot. This post is classified as a long read, but because the statistics included are short and formatted in a comprehensible way, readers are able to get through the post easily.

When you section off stats, for instance, "General Social Media Marketing Statistics," and "Facebook Statistics," you make it easier for readers to jump to the section they're looking for. Additionally, the words are sectioned off for organization.

Now that you've seen some examples, you're probably stoked to get started writing your long-form content. Before you do, take a look at the tips below to make sure your work is actionable, comprehensive, and accessible.

How to Write Long-Form Content

Outside of concrete grammar rules, like subjects and predicates, there's no "right" or "wrong" way to write. That said, there are ways to create content that's digestible and useful to readers. I'm going to be referencing using HubSpot, but feel free to use similar software to format your post.

Writing Long-Form Content

• Form your paragraphs in comprehensible sections.
• Section off your main ideas.
• Make sure your thoughts are organized.
• Describe the 'so what?' of each section.
• Keep a conversational tone throughout your piece.
• Hook the reader with an engaging introduction.
• Add visuals to break up long sections of text.

1. Form your paragraphs in comprehensible sections.

When you sit down to write your long-form piece, take note of paragraph structure. To optimize your piece for readability, keep paragraphs short. Ideally, paragraphs shouldn't be longer than three sentences, unless it makes sense to add more.

Let's talk about that exception. If you're writing a paragraph where the impact is best presented in rhetorical questions, for example, it might look better to keep those questions in the same section.

Does the paragraph have an effect on the reader? Do you effectively get your point across? How will you use paragraphs to make content digestible? Are you pulling the reader in with your formatting?

In some cases, it’s alright to ignore the three-sentence rule if, like above, each sentence flows together. Adding an entire new paragraph just to fit that extra question doesn't provide the same effect and does little for formatting.

2. Section off your main ideas.

Headers are your friends. H2s, H3s, and H4s can be found in almost every writing tool, such as Docs, Word, WordPress, HubSpot, and other software programs. Headers help you guide the reader through the main ideas of your piece by breaking off your content into sections.

For instance, in this piece, the main idea of this section is "How to Write Long-form Content," so I made it the H2, which is generally used for titles and main ideas. The list items underneath this section are formatted into H3s, which support that main idea. If I were to add subsections underneath any of these list items, they would be H4s.

Headers split up long sections of your text and assist with organization. If this piece lacked these items, it would be pretty difficult to navigate. Additionally, when I'm outlining a long-form post, planning headers in advance supports me in writing effective content — I can visualize what I need to add to make each portion effective.

3. Make sure your thoughts are organized.

It's crucial for long-form content to make sense. So, before you press "publish," read over your piece for organization. Ask yourself if your piece has a beginning, middle, and ending that readers can follow.

Your sections should have a logical format. For example, in this piece, I wouldn't have jumped into providing steps to writing long-form content without first explaining the definition. Think about if Cinderella started with the royal wedding, then circled back to Cinderella cleaning the house — that wouldn't make much sense.

Readers could get confused if your work isn't organized in a logical way, so be mindful of formatting.

4. Describe the 'so what?' of each section.

Long-form content has an added difficulty of keeping readers engaged throughout the piece. To combat this, make every paragraph count. This will do two things: Avoid unnecessary added length, and keep readers compelled.

When you write a longer piece, you don't need to add extra information that doesn't serve the purpose of the post. This can lead to convoluted, intricate paragraphs or sections that don't make much sense.

To keep readers interested, get to the point. End sections with why the readers should care. This ensures they get the most out of your article.

5. Keep a conversational tone throughout your piece.

This tip circles back to keeping the attention of viewers. Instead of taking an extremely formal tone, it's okay to lighten up a little. In college, whenever I read academic textbooks, it was hard to keep my focus. The highly technical language couldn't keep my interest.

Unless your article is an academic journal, you don't have to use complicated language to seem like an expert on your topic. If you give well, researched, thoughtful, and actionable content, readers will find your post useful. Trying to sound "too" formal could actually have the negative effect and leave your readers feeling like they don't have any takeaways.

6. Hook the reader with an engaging introduction.

Depending on the platform you use to post your long-form article, the estimated read time is given to the reader. For instance, on the HubSpot Blog, when you click on an article, you can see the read time underneath the title.

Some people might see that read time and immediately feel compelled to skim, especially if it's something like 18 minutes. To hook the reader, make your introduction something that grabs their attention.

One of my colleagues is great at this — he will present an anecdote in the beginning of the piece and continues to use that anecdote to illustrate points throughout the rest of the article. It leads to gripping posts I’m sad to finish.

If you can't think of a story or life experience to use to pull the reader in, give a relevant statistic in the above-the-fold information. What you present above the fold is what's going to make that reader think, "Oh, I have to keep going!"

7. Add visuals to break up long sections of text.

In addition to breaking up long sections with short paragraphs and headers, eye-catching visuals are another way to break up long sections and keep the reader engaged. Personally, if I'm skimming an article and see a picture or graph included, I'm immediately drawn back into the piece.

You don't always have to use images or videos. Blockquotes and anchor text are also amazing tools. Blockquotes are those huge quotes you see highlighted in articles, and anchor text directs your reader back to sections you reference earlier in the piece.

Generally, you can find these tools within the software you're using. In HubSpot, blockquotes can be added by going to the header tab, and anchor text can be found by opening the "Insert" category.

Remember to have fun with your long-form content. Writing is a creative process, and readers can tell when something was a drag to write (It's probably a drag to read).

Long-form writing has its own advantages over short-form content, even though the latter might be the quickest way to beef up your archive. It's so valuable to have longer pieces on your site, and readers will definitely find them useful.

Don't forget to share this post!

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• Knowledge Base
• How to write an essay introduction | 4 steps & examples

How to Write an Essay Introduction | 4 Steps & Examples

Published on February 4, 2019 by Shona McCombes . Revised on July 23, 2023.

A good introduction paragraph is an essential part of any academic essay . It sets up your argument and tells the reader what to expect.

The main goals of an introduction are to:

• Catch your reader’s attention.
• Give background on your topic.
• Present your thesis statement —the central point of your essay.

This introduction example is taken from our interactive essay example on the history of Braille.

The invention of Braille was a major turning point in the history of disability. The writing system of raised dots used by visually impaired people was developed by Louis Braille in nineteenth-century France. In a society that did not value disabled people in general, blindness was particularly stigmatized, and lack of access to reading and writing was a significant barrier to social participation. The idea of tactile reading was not entirely new, but existing methods based on sighted systems were difficult to learn and use. As the first writing system designed for blind people’s needs, Braille was a groundbreaking new accessibility tool. It not only provided practical benefits, but also helped change the cultural status of blindness. This essay begins by discussing the situation of blind people in nineteenth-century Europe. It then describes the invention of Braille and the gradual process of its acceptance within blind education. Subsequently, it explores the wide-ranging effects of this invention on blind people’s social and cultural lives.

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Table of contents

Step 1: hook your reader, step 2: give background information, step 3: present your thesis statement, step 4: map your essay’s structure, step 5: check and revise, more examples of essay introductions, other interesting articles, frequently asked questions about the essay introduction.

Your first sentence sets the tone for the whole essay, so spend some time on writing an effective hook.

Avoid long, dense sentences—start with something clear, concise and catchy that will spark your reader’s curiosity.

The hook should lead the reader into your essay, giving a sense of the topic you’re writing about and why it’s interesting. Avoid overly broad claims or plain statements of fact.

Examples: Writing a good hook

Take a look at these examples of weak hooks and learn how to improve them.

• Braille was an extremely important invention.
• The invention of Braille was a major turning point in the history of disability.

The first sentence is a dry fact; the second sentence is more interesting, making a bold claim about exactly  why the topic is important.

• The internet is defined as “a global computer network providing a variety of information and communication facilities.”
• The spread of the internet has had a world-changing effect, not least on the world of education.

Avoid using a dictionary definition as your hook, especially if it’s an obvious term that everyone knows. The improved example here is still broad, but it gives us a much clearer sense of what the essay will be about.

• Mary Shelley’s  Frankenstein is a famous book from the nineteenth century.
• Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement.

Instead of just stating a fact that the reader already knows, the improved hook here tells us about the mainstream interpretation of the book, implying that this essay will offer a different interpretation.

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Next, give your reader the context they need to understand your topic and argument. Depending on the subject of your essay, this might include:

• Historical, geographical, or social context
• An outline of the debate you’re addressing
• A summary of relevant theories or research about the topic
• Definitions of key terms

The information here should be broad but clearly focused and relevant to your argument. Don’t give too much detail—you can mention points that you will return to later, but save your evidence and interpretation for the main body of the essay.

How much space you need for background depends on your topic and the scope of your essay. In our Braille example, we take a few sentences to introduce the topic and sketch the social context that the essay will address:

Now it’s time to narrow your focus and show exactly what you want to say about the topic. This is your thesis statement —a sentence or two that sums up your overall argument.

This is the most important part of your introduction. A  good thesis isn’t just a statement of fact, but a claim that requires evidence and explanation.

The goal is to clearly convey your own position in a debate or your central point about a topic.

Particularly in longer essays, it’s helpful to end the introduction by signposting what will be covered in each part. Keep it concise and give your reader a clear sense of the direction your argument will take.

As you research and write, your argument might change focus or direction as you learn more.

For this reason, it’s often a good idea to wait until later in the writing process before you write the introduction paragraph—it can even be the very last thing you write.

When you’ve finished writing the essay body and conclusion , you should return to the introduction and check that it matches the content of the essay.

It’s especially important to make sure your thesis statement accurately represents what you do in the essay. If your argument has gone in a different direction than planned, tweak your thesis statement to match what you actually say.

To polish your writing, you can use something like a paraphrasing tool .

You can use the checklist below to make sure your introduction does everything it’s supposed to.

Checklist: Essay introduction

My first sentence is engaging and relevant.

I have introduced the topic with necessary background information.

I have defined any important terms.

My thesis statement clearly presents my main point or argument.

Everything in the introduction is relevant to the main body of the essay.

You have a strong introduction - now make sure the rest of your essay is just as good.

• Argumentative
• Literary analysis

This introduction to an argumentative essay sets up the debate about the internet and education, and then clearly states the position the essay will argue for.

The spread of the internet has had a world-changing effect, not least on the world of education. The use of the internet in academic contexts is on the rise, and its role in learning is hotly debated. For many teachers who did not grow up with this technology, its effects seem alarming and potentially harmful. This concern, while understandable, is misguided. The negatives of internet use are outweighed by its critical benefits for students and educators—as a uniquely comprehensive and accessible information source; a means of exposure to and engagement with different perspectives; and a highly flexible learning environment.

This introduction to a short expository essay leads into the topic (the invention of the printing press) and states the main point the essay will explain (the effect of this invention on European society).

In many ways, the invention of the printing press marked the end of the Middle Ages. The medieval period in Europe is often remembered as a time of intellectual and political stagnation. Prior to the Renaissance, the average person had very limited access to books and was unlikely to be literate. The invention of the printing press in the 15th century allowed for much less restricted circulation of information in Europe, paving the way for the Reformation.

This introduction to a literary analysis essay , about Mary Shelley’s Frankenstein , starts by describing a simplistic popular view of the story, and then states how the author will give a more complex analysis of the text’s literary devices.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale. Arguably the first science fiction novel, its plot can be read as a warning about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, and in popular culture representations of the character as a “mad scientist”, Victor Frankenstein represents the callous, arrogant ambition of modern science. However, far from providing a stable image of the character, Shelley uses shifting narrative perspectives to gradually transform our impression of Frankenstein, portraying him in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

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

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Your essay introduction should include three main things, in this order:

• An opening hook to catch the reader’s attention.
• Relevant background information that the reader needs to know.
• A thesis statement that presents your main point or argument.

The length of each part depends on the length and complexity of your essay .

The “hook” is the first sentence of your essay introduction . It should lead the reader into your essay, giving a sense of why it’s interesting.

To write a good hook, avoid overly broad statements or long, dense sentences. Try to start with something clear, concise and catchy that will spark your reader’s curiosity.

A thesis statement is a sentence that sums up the central point of your paper or essay . Everything else you write should relate to this key idea.

The thesis statement is essential in any academic essay or research paper for two main reasons:

• It gives your writing direction and focus.
• It gives the reader a concise summary of your main point.

Without a clear thesis statement, an essay can end up rambling and unfocused, leaving your reader unsure of exactly what you want to say.

The structure of an essay is divided into an introduction that presents your topic and thesis statement , a body containing your in-depth analysis and arguments, and a conclusion wrapping up your ideas.

The structure of the body is flexible, but you should always spend some time thinking about how you can organize your essay to best serve your ideas.

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