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How to Write an Essay in French

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When it comes to expressing your thoughts in French , there’s nothing better than the essay.

It is, after all, the favorite form of such famed French thinkers as Montaigne, Chateaubriand, Houellebecq and Simone de Beauvoir.

In this post, I’ve outlined the four most common types of essays in French, ranked from easiest to most difficult, to help you get to know this concept better. 

Why Are French Essays Different?

Must-have french phrases for writing essays, 4 types of french essays and how to write them, 1. text summary (synthèse de texte).

• 2. Text Commentary (Commentaire de texte)

3. Dialectic Dissertation (Thèse, Antithèse, Synthèse)

• 4. Progressive Dissertation (Plan progressif)

And one more thing...

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Writing an essay in French is not the same as those typical 5-paragraph essays you’ve probably written in English.

In fact, there’s a whole other logic that has to be used to ensure that your essay meets French format standards and structure. It’s not merely writing your ideas in another language .

And that’s because the French use Cartesian logic (also known as Cartesian doubt) , developed by René Descartes , which requires a writer to begin with what is known and then lead the reader through to the logical conclusion: a paragraph that contains the thesis. Through the essay, the writer will reject all that is not certain or all that is subjective in his or her quest to find the objective truth.

Sound intriguing? Read on for more!

Before we get to the four main types of essays, here are a few French phrases that will be especially helpful as you delve into essay-writing in French:

Introductory phrases , which help you present new ideas.

Connecting phrases , which help you connect ideas and sections.

Contrasting phrases , which help you juxtapose two ideas.

Concluding phrases , which help you to introduce your conclusion.

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The text summary or synthèse de texte  is one of the easiest French writing exercises to get a handle on. It essentially involves reading a text and then summarizing it in an established number of words, while repeating no phrases that are in the original text. No analysis is called for.

A  synthèse de texte  should follow the same format as the text that is being synthesized. The arguments should be presented in the same way, and no major element of the original text should be left out of the  synthèse.

Here is an informative post about writing a synthèse de texte , written for French speakers. 

The text summary is a great exercise for exploring the following French language elements:

• Synonyms , as you will need to find other words to describe what is said in the original text.
• Nominalization , which involves turning verbs into nouns and generally cuts down on word count.
• Vocabulary , as the knowledge of more exact terms will allow you to avoid periphrases and cut down on word count.

While beginners may wish to work with only one text, advanced learners can synthesize as many as three texts in one text summary. 

Since a text summary is simple in its essence, it’s a great writing exercise that can accompany you through your entire learning process.

2. Text Commentary  (Commentaire de texte)

A text commentary or commentaire de texte   is the first writing exercise where the student is asked to present an analysis of the materials at hand, not just a summary.

That said, a  commentaire  de texte  is not a reaction piece. It involves a very delicate balance of summary and opinion, the latter of which must be presented as impersonally as possible. This can be done either by using the third person (on) or the general first person plural (nous) . The singular first person (je) should never be used in a  commentaire de texte.

A commentaire de texte  should be written in three parts:

• An introduction , where the text is presented.
• An argument , where the text is analyzed.
• A conclusion , where the analysis is summarized and elevated.

Here is a handy in-depth guide to writing a successful commentaire de texte,  written for French speakers.

Unlike with the synthesis, you will not be able to address all elements of a text in a commentary. You should not summarize the text in a commentary, at least not for the sake of summarizing. Every element of the text that you speak about in your commentary must be analyzed.

To successfully analyze a text, you will need to brush up on your figurative language. Here are some great resources to get you started:

• Here’s an introduction to figurative language in French.
• This guide to figurative language  presents the different elements in useful categories.
• This guide , intended for high school students preparing for the BAC—the exam all French high school students take, which they’re required to pass to go to university—is great for seeing examples of how to integrate figurative language into your commentaries.
• Speaking of which, here’s an example of a corrected commentary from the BAC, which will help you not only include figurative language but get a head start on writing your own commentaries.

The French answer to the 5-paragraph essay is known as the  dissertation .  Like the American 5-paragraph essay, it has an introduction, body paragraphs and a conclusion. The stream of logic, however, is distinct.

There are actually two kinds of  dissertation,  each of which has its own rules.

The first form of  dissertation  is the dialectic dissertation , better known as  thèse, antithèse, synthèse . In this form, there are actually only two body paragraphs. After the introduction, a thesis is posited. Following the thesis, its opposite, the antithesis, is explored (and hopefully, debunked). The final paragraph, what we know as the conclusion, is the  synthesis , which addresses the strengths of the thesis, the strengths and weaknesses of the antithesis, and concludes with the reasons why the original thesis is correct.

For example, imagine that the question was, “Are computers useful to the development of the human brain?” You could begin with a section showing the ways in which computers are useful for the progression of our common intelligence—doing long calculations, creating in-depth models, etc.

Then you would delve into the problems that computers pose to human intelligence, citing examples of the ways in which spelling proficiency has decreased since the invention of spell check, for example. Finally, you would synthesize this information and conclude that the “pro” outweighs the “con.”

The key to success with this format is developing an outline before writing. The thesis must be established, with examples, and the antithesis must be supported as well. When all of the information has been organized in the outline, the writing can begin, supported by the tools you have learned from your mastery of the synthesis and commentary.

Here are a few tools to help you get writing:

• Here’s a great guide to writing a dialectic dissertation .
• Here’s an example of a plan for a dialectic dissertation , showing you the three parts of the essay as well as things to consider when writing a dialectic dissertation.

4. Progressive Dissertation ( Plan progressif)

The progressive dissertation is slightly less common, but no less useful, than the first form.

The progressive form basically consists of examining an idea via multiple points of view—a sort of deepening of the understanding of the notion, starting with a superficial perspective and ending with a deep and profound analysis.

If the dialectic dissertation is like a scale, weighing pros and cons of an idea, the progressive dissertation is like peeling an onion, uncovering more and more layers as you get to the deeper crux of the idea.

Concretely, this means that you will generally follow this layout:

• A first, elementary exploration of the idea.
• A second, more philosophical exploration of the idea.
• A third, more transcendent exploration of the idea.

This format for the dissertation is more commonly used for essays that are written in response to a philosophical question, for example, “What is a person?” or “What is justice?”

Let’s say the question was, “What is war?” In the first part, you would explore dictionary definitions—a basic idea of war, i.e. an armed conflict between two parties, usually nations. You could give examples that back up this definition, and you could narrow down the definition of the subject as much as needed. For example, you might want to make mention that not all conflicts are wars, or you might want to explore whether the “War on Terror” is a war.

In the second part, you would explore a more philosophical look at the topic, using a definition that you provide. You first explain how you plan to analyze the subject, and then you do so. In French, this is known as  poser une problématique  (establishing a thesis question), and it usually is done by first writing out a question and then exploring it using examples: “Is war a reflection of the base predilection of humans for violence?”

In the third part, you will take a step back and explore this question from a distance, taking the time to construct a natural conclusion and answer for the question.

This form may not be as useful in as many cases as the first type of essay, but it’s a good form to learn, particularly for those interested in philosophy. Here’s an in-depth guide  to writing a progressive dissertation.

As you progress in French and become more and more comfortable with writing, try your hand at each of these types of writing exercises, and even with other forms of the dissertation . You’ll soon be a pro at everything from a synthèse de texte to a dissertation!

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Write an essay in French

Beyond the fact that writing an essay in French can be a good practice to improve your writing, you may also be asked to write one during your schooling. So, it is important to study the topic of French essay writing and get some useful tips..

» Tips and tricks for your French essay » The structure of a French essay » Sample French Essay

Tips and tricks for your French essay

When writing a French essay for school, you should always use a structured approach and good French skills to present your arguments in a focused way. Beyond French skills, there are also important formal requirements for a successful French essay. We will come back to this in detail later. First, you will find some useful tips and tricks that will help you write more compelling and better French essays in the future.

• Have a clear thesis and structure
• Do sufficient research and use reliable sources
• Use examples and arguments to support your thesis
• Avoid plagiarism and cite correctly
• Always check structure, grammar and spelling

When you write your essay at school or university, you need to make sure that the general structure of your essay, the presentation of the arguments and, above all, your French language skills play a role in the mark you will get. This is why you should definitely take a closer look at the structure of an essay as well as the most important grammar rules and formulations for French essays.

The structure of a French essay

In an essay, you deal at length and in detail with a usually given topic. When you write an essay in French, you must follow a certain structure. Below we show you what this structure looks like and give you some tips for writing the most important parts of your essay.

The Introduction

The introduction prepares the main body of your essay. You think of a meaningful title for your essay, you describe your thesis or your question, you give general information on the subject and you prepare your argument by giving an overview of your most important arguments.

Below are examples and phrases that you can use to write the introduction to your essay in French.

The title should be meaningful, concise and reflect the content of the essay.

Introductory paragraph

The first paragraph of your French essay should briefly introduce the topic and engage the reader. Here are some examples to help you write your essay:

Proposal or question

The central proposition or question of your French essay should be a clear and concise definition of the purpose of the essay. Use these examples to get a clearer idea of ​​how to write theses in French:

Overview of Arguments and Structure

At the end of your introduction, describe the structure of the main part of your essay (your outline) and outline your argument. Here are some French expressions that will certainly help you write your essay:

The body of your essay

The main part of your French essay deals with the given topic in detail. The subject is studied from all angles. The main body of your essay follows a thread of argument and discusses in detail the main arguments of your thesis previously made in the introduction.

In the body of the text, you should discuss the subject of your essay in clear and concise language. To achieve this, we give you some wording aids as well as vocabulary and phrases that you can use to write your essay in French.

Formulation tools:

French vocabulary for essays.

In the conclusion of your French essay, you address the thesis of your essay, summarize the main points of your discussion in the main body, and draw a conclusion. On the basis of the arguments and the resulting conclusions, you formulate in the conclusion of your dissertation final thoughts and suggestions for the future. It is important that you do not add new information or new arguments. This should only be done in the body of your text.

Here are some wording guides to help you write your essay in French:

Sample French Essay

Les avantages des voyages linguistiques

Malgré les difficultés potentielles, les voyages linguistiques offrent aux apprenants une occasion unique d'améliorer leurs compétences linguistiques et de découvrir de nouvelles cultures, ce qui en fait un investissement précieux pour leur développement personnel et académique.

Les séjours linguistiques sont des voyages organisés dans le but d'améliorer les compétences linguistiques des participants. Ces voyages peuvent se dérouler dans le pays ou à l'étranger et durer d'un week-end à plusieurs semaines. L'un des principaux avantages des séjours linguistiques est l'immersion. Entourés de locuteurs natifs, les apprenants sont contraints de pratiquer et d'améliorer leurs compétences linguistiques dans des situations réelles.Il s'agit d'une méthode d'apprentissage beaucoup plus efficace que le simple fait d'étudier une langue dans une salle de classe.

Un autre avantage des séjours linguistiques est l'expérience culturelle. Voyager dans un nouveau pays permet aux apprenants de découvrir de nouvelles coutumes, traditions et modes de vie, et de se familiariser avec l'histoire et la culture du pays. Cela enrichit non seulement l'expérience d'apprentissage de la langue, mais contribue également à élargir les horizons et à accroître la sensibilisation culturelle.

Cependant, les séjours linguistiques peuvent également présenter des inconvénients. Par exemple, le coût du voyage et de l'hébergement peut être élevé, en particulier pour les séjours de longue durée. En outre, les apprenants peuvent être confrontés à la barrière de la langue ou à un choc culturel, ce qui peut être difficile à surmonter. Le coût et les difficultés potentielles des séjours linguistiques peuvent sembler décourageants, mais ils offrent des avantages précieux en termes d'épanouissement personnel et scolaire.

Les compétences linguistiques et les connaissances culturelles acquises peuvent déboucher sur de nouvelles opportunités d'emploi et améliorer la communication dans un cadre professionnel. Les bourses et les aides financières rendent les séjours linguistiques plus accessibles. Le fait d'être confronté à une barrière linguistique ou à un choc culturel peut également être l'occasion d'un développement personnel. Ces avantages l'emportent largement sur les inconvénients et font des séjours linguistiques un investissement qui en vaut la peine.

En conclusion, malgré les difficultés potentielles, les séjours linguistiques offrent aux apprenants une occasion unique d'améliorer leurs compétences linguistiques et de découvrir de nouvelles cultures, ce qui en fait un investissement précieux pour le développement personnel et académique. Qu'il s'agisse d'un débutant ou d'un apprenant avancé, un voyage linguistique est une expérience à ne pas manquer.

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How to Write The Perfect French Essay For Your Exam

November 16, 2014 by Jessica 3 Comments

Here are tips to help you write a great French essay with exam requirements in mind. Once you’re done, I strongly suggest you proofread your text using my checklis t.

Note: if you’re preparing for the French VCE, there is an updated version of these exam tips in my guide  “How to Prepare for the French VCE & Reach your Maximum Score” .

While supervising exams or tutoring for exam preparation, I’ve seen too many students writing straight away on their exam copies. Stop! Resist the urge to jump on your pen and take a step back to make sure that you will be addressing all the exam requirements or you may be shooting yourself in the foot and lose precious points.

I recommend that you train with exam sample questions so that you set up good working habits and respect the required length of the essay, as well as the timing (allow at least 10 minutes for proofreading).

Crafting your French Essay

1. identify the situation: preparation work.

•   Read the topic carefully, slowly and at least twice to absorb every information/detail.
• Underline/highlight/jot down any piece of information that you are expected to reuse:
• What type of text do you need to write? (a journal entry? A formal letter? A speech? Etc). Note to VCE French exam students : refer to page 13 of the VCE French Study Design for more information about the different types of texts.
• Who are you in the situation? (yourself? A journalist? etc)
• Who are you addressing? (a friend? A large audience? Etc) à adjust the degree of formality to the situation (for example by using the “tu”/”vous” form, a casual or formal tone/register, etc)
• What are the characteristic features of the type of text you need to write? (eg a journal entry will have the date, a formal letter will start and end with a formal greeting, etc)
• What is your goal ? What are you expected to talk about / present / defend / convey?
• What are the length requirements for your French essay ? Respect the word count (there’s usually a 5% or so tolerance. Check the requirements specific to your exam)

Tip : when you practice at home, count how many words in average you fit on a line. This will give you a good indication of how many lines your text should be.

Ex: You write an average of 15 words per line. If you are required to write a 300-word French essay, you should aim for:

300 words / 15 words per line = 20 lines total.

2. Draft the outline of your essay

•  An essay typically has an introduction, a body with 2 or 3 distinct parts and a conclusion . (See if that outline is relevant to the type of text you are expected to write and adjust accordingly.)
• Use bullet points to organize your ideas.
• Don’t remain too general. A good rule is to use one main idea for each part and to back it up/reinforce in/illustrate it with one concrete example (eg. data).
• Brainstorming about things to say will also help you use a wider range of vocabulary , which will get noticed by the examiner. Are there some interesting/specific words or expressions that you can think of using in your text (example: if you are writing about global warming, brainstorm the vocab related to this topic. Brainstorm expressions to convince or disagree with something, etc)?
• Make sure you have reused every point identified in part 1 .

 3. Write your essay

•  It’s better if you have time to write or at least draft a few sentences on your draft paper rather than writing directly because:
• You want to meet the word count requirements
• You don’t want multiple words to be barred cross crossed-out and your page looking messy and great anything but neat!
• you don’t want to have to rush so much that your handwriting is really unpleasant to read (or worse, impossible to read…)
• So… monitor your time carefully!

  Structuring your text

• Visually, the eye should instantly be able to see the structure of your French essay: make paragraph and skip lines so that it doesn’t look like an unappealing large block of text.
• Use connectors/link words to structure your text and make good transitions.

4. Proofread, proofread, proofread!

•   It’s important that you allow at least 10 minutes for proofreading because there most likely are a few mistakes that you can fix very easily. It would therefore be a shame not to give yourself your best chances of success! Check out my Proofreading Checklist.

Bonne chance!

If you need any help with your essay, you can submit it to me there.

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How to Write an Excellent French Essay (Resources Included)

Tips to write an excellent french essay.

Writing essays is challenging enough, but when you are asked to write a French essay, you are not only being asked to write in a foreign language, but to follow the conventions of another linguistic and literary tradition. Like essay-writing in any language, the essential part of writing a French essay is to convey your thoughts and observations on a certain topic in a clear and concise manner. French essays do come out of a certain tradition that is part of the training of all students who attend school in France – or at least secondary school – and when you are a French essay, it is important to be aware of this tradition.

The French philosopher Michel de Montaigne is credited with popularizing the essay form as a literary genre. His work, Essais, first published in 1580, and undergoing several subsequent publications before his death in 1592, covers a wide breadth of topics, ranging from “amitié” to “philosopher c’est apprendre à mourir”, and includes many literary references, as well as personal anecdotes. The name for this genre, essai, is the nominal form of the verb essayer, “to attempt”. We have an archaic English verb essay, meaning the same thing. The limerick that includes the phrase, “... when she essayed to drink lemonade ...” indicates an attempt to drink a beverage and has nothing to do with writing about it. But the writing form does illustrate an attempt to describe a topic in depth with the purpose of developing new insights on a particular text or corpus.

French instructors are very specific about what they would like when they ask for an essay, meaning that they will probably specify whether they would like an explication de texte, commentaire composé, or dissertation. That last essay form should not be confused with the document completed for a doctorate in anglophone countries – this is called a thèse in French, by the way. There are different formats for each of these types of essay, and different objectives for each written form.

Types of Essay

1. l’explication de texte.

An explication de texte is a type of essay for which you complete a close reading. It is usually written about a poem or a short passage within a larger work. This close reading will elucidate different themes and stylistic devices within the text. When you are completing an explication de texte, make sure to follow the structure of the text as you complete a close examination of its form and content. The format for an explication de texte consists of:

i. An introduction, in which you situate the text within its genre and historical context. This is where you can point out to your readers the general themes of the text, its form, the trajectory of your reading, and your approach to the text.

ii. The body, in which you develop your ideas, following the structure of the text. Make sure you know all of the meanings of the words used, especially the key terms that point to the themes addressed by the author. It is a good idea to look words up in the dictionary to find out any second, third, and fourth meanings that could add to the themes and forms you describe. Like a student taking an oral examination based on this type of essay writing, you will be expected to have solid knowledge of the vocabulary and grammatical structures that appear in the text. Often the significance of the language used unfolds as you explain the different components of theme, style, and composition.

iii. A conclusion, in which you sum up the general meaning of the text and the significance of the figures and forms being used. You should also give the implications of what is being addressed, and the relevance of these within a larger literary, historical, or philosophical context.

NB: If you are writing about a poem, include observations on the verse, rhyme schemes, and meter. It is a good idea to refer to a reference work on versification. If you are writing about a philosophical work, be familiar with philosophical references and definitions of concepts.

Caveat: Refrain from paraphrasing. Instead show through careful analysis of theme, style, and composition the way in which the main ideas of the text are conveyed.

2. Le commentaire composé

A commentaire composé is a methodologically codified commentary that focuses on themes in a particular text. This type of essay develops different areas of reflection through analytical argument. Such argumentation should clarify the reading that you are approaching by presenting components of the text from different perspectives. In contrast to the explication de texte, it is organized thematically rather than following the structure of the text to which it refers. The format for a commentaire composé consists of:

i. An introduction, in which you present the question you have come up with, often in relation to a prompt commenting on a thematic or stylistic aspect of the text, such as “Montrez en quoi ce texte évoque l’amour courtois” or “Qu’apporte l’absence de la ponctuation dans ce texte ?” In this section, you will be expected to delineate your approach to the text and illustrate the trajectory of your ideas so that your readers will have a clear idea of the direction these ideas will take.

ii. A tripartite body, in which you explore the question you have come up with, citing specific examples in the text that are especially pertinent to the areas of reflection you wish to explore. These citations should be explained and connected to the broad themes of your commentary, all the while providing details that draw the readers’ attention to your areas of inquiry. These different areas of inquiry may initially seem disparate or even contradictory, but eventually come together to form a harmonious reading that addresses different aspects of the text. The more obvious characteristics of the text should illuminate its subtler aspects, which allows for acute insight into the question that you are in the process of exploring.

iii. A conclusion, in which you evaluate your reading and synthesize its different areas of inquiry. This is where you may include your own opinions, but make sure that the preceding sections of your commentaire remain analytical and supported by evidence that you find in the text.

NB: Looking at verb tenses, figures of speech, and other aspects that contribute to the form of the text will help situate your reader, as will commenting on the register of language, whether this language is ornate, plain, reflects a style soutenu, or less formal patterns of speech.

Caveat: Quotations do not replace observations or comments on the text. Explain your quotations and situate them well within your own text.

3. La dissertation

The dissertation is a personal, organized, and methodical reflection on a precise question that refers to a corpus of writing. Referring to this corpus, you may be asked questions along the lines of “Que pensez-vous de l’équivalence entre l’amour et la chanson exprimée dans ces textes ?” or “Est-ce que la sagesse et la folie ont les mêmes sources?” This type of essay allows for an exploration of a question through knowledge of a corpus as well as through an individual’s cultural knowledge. The format for a dissertation consists of:

i. An introduction, in which you present the topic addressed, the significance of your argument, and the trajectory of your ideas.

ii. The body which, like a commentaire composé, consists of a tripartite development of your argument. This can follow any one of the following structures: a dialectical schema, organized into thèse, antithèse, and synthèse – an argument, its counter-argument, and its rebuttal; an analytical schema, consisting of the description of a situation, an analysis of its causes, and commentary on its consequences; a thematic schema, which consists of a reflection on a topic which you proceed to examine from different angles in an orderly fashion.

iii. A conclusion, in which you address the different ways in which you have approached the question at hand and how this deepens your insights, while placing the question within a broader context that shows room for expansion. The conclusion can open up the topic addressed to show its placement within a literary movement, or in opposition to another literary movement that follows it, for example.

NB: Approach the question at hand with as few preconceptions as possible. If you are writing on a quotation, gather all of your knowledge about its author, the work in which it appears, and the body of literature with which it is associated.

Caveat: Even for a personal reflection, such as a dissertation, avoid using the first person pronoun je. Nous or on are preferable. It is advisable not to switch from one to the other, though.

For each of these essay forms, it is a good idea to make an outline to which you can refer as you write. As your writing progresses, things may shift a bit, but having a structure on which you can rely as you gather your various ideas and information into a coherent argument provides solid foundation for a clear and well-developed essay. This also facilitates smooth transitions from one section of your essay to the next.

During your reading, you may encounter a problem, a contradiction, or a surprising turn of phrase that is difficult to figure out. Such moments in a text give you the opportunity to delve into the unique characteristics of the text or corpus to which you are referring, to propose different solutions to the problems you encounter, and to describe their significance within a larger literary, philosophical, and historical context. Essay writing allows you to become more familiar with French works, with their cultural significance, and with the French language. You can refer to the following resources to guide you in this endeavor:

Auffret, Serge et Hélène. Le commentaire composé. Paris: Hachette, 1991. Dufau, Micheline et Ellen D'Alelio. Découverte du poème: Introduction à l'explication de textes. New York: Harcourt, Brace & World, 1967. Grammont, Maurice. Petit traité de versification française. Paris: A. Colin, 2015. Huisman, Denis et L. R. Plazolles. L’art de la dissertation littéraire : du baccalauréat au C.A.P.E.S. Paris : Société d’édition d’enseignement supérieur, 1965.

The French newspaper Le Monde also has good articles on these essay forms that prepare French students for the baccalauréat exam: CLICK HERE

This is also a website with thorough information on essay writing techniques that prepare students for the baccalauréat exam: CLICK HERE

In addition, the University of Adelaide has tips for general essay writing in French: CLICK HERE

🇫🇷 Looking for More French Resources?

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Home > Language and Grammar > How To Say ‘My Friend’ In French – A Must-Know Phrase!

Language and Grammar

How To Say ‘My Friend’ In French – A Must-Know Phrase!

Published: January 22, 2024

Written by: Merridie Crane

Learn how to say "my friend" in French and expand your language and grammar skills with this essential phrase! Mastering this phrase is a must for language learners. Discover more about language and grammar.

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Table of Contents

Introduction, understanding the importance of saying "my friend" in french, formal and informal ways to say "my friend" in french, examples of using "my friend" in french conversations.

Learning a new language opens up a world of possibilities, allowing us to connect with people from different cultures and backgrounds. One of the most endearing aspects of language learning is discovering the nuances of expressions that reflect human relationships. In French, a language renowned for its elegance and charm, the phrase "my friend" holds significant cultural and linguistic value. Understanding how to convey this sentiment in French not only enriches our linguistic repertoire but also deepens our appreciation for the intricacies of the language.

As we embark on this linguistic journey, we will delve into the formal and informal ways of expressing "my friend" in French, exploring the subtle variations in usage that reflect the diverse social contexts in which these expressions are employed. Through real-life examples and practical insights, we will unravel the cultural significance of addressing a friend in French, shedding light on the underlying customs and etiquettes that shape interpersonal communication in the Francophone world.

Join me as we unravel the art of expressing camaraderie and affection in French, mastering the nuances of addressing friends with warmth and sincerity. Let's embark on this enriching exploration of the phrase "my friend" in French, delving into its linguistic intricacies and cultural significance.

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Expressing camaraderie and affection through language is a universal aspect of human interaction. In French, the phrase "my friend" carries profound significance, reflecting the cultural emphasis on interpersonal relationships and social etiquette. Understanding the importance of this expression in French unveils the intricate tapestry of the language, illuminating the values and customs embedded in Francophone society.

In French culture, addressing someone as "my friend" goes beyond mere linguistic convention; it embodies the spirit of warmth, camaraderie, and mutual respect. The French language, celebrated for its eloquence and finesse, places great emphasis on the nuances of interpersonal communication. Therefore, the phrase "my friend" serves as a conduit for expressing genuine affection and establishing meaningful connections.

Moreover, the significance of addressing someone as "my friend" in French extends to the broader social fabric. It reflects the emphasis on courtesy and politeness that permeates French society, underscoring the importance of maintaining amicable relations in various social settings. Whether in casual conversations or formal gatherings, the ability to convey camaraderie through the appropriate use of "my friend" reflects an individual's grasp of the subtle intricacies of French language and culture.

Furthermore, the expression "my friend" in French embodies the essence of inclusivity and hospitality. It signifies an openness to forging meaningful relationships and embracing others with warmth and sincerity. Understanding the cultural weight of this phrase enables language learners to navigate social interactions with finesse and grace, fostering a deeper sense of connection and camaraderie within the Francophone community.

In essence, the importance of saying "my friend" in French transcends linguistic proficiency; it encapsulates the values of warmth, respect, and inclusivity that define French culture. By recognizing the cultural significance of this expression, language learners gain a deeper appreciation for the intricate interplay between language and social dynamics, enriching their understanding of the Francophone world.

Through this profound understanding, individuals can imbue their interactions with authenticity and empathy, fostering genuine connections and embodying the spirit of camaraderie that lies at the heart of the French language.

In French, the expression "my friend" can be conveyed in formal and informal contexts, each carrying distinct nuances that reflect the nature of the relationship and the social setting. Understanding the subtle variations in addressing friends in French enriches our ability to navigate diverse social interactions with finesse and cultural sensitivity.

Formal Address: "Mon Ami" and "Mon Amie"

When addressing a friend in a formal context, the appropriate term to use is "Mon Ami" for a male friend and "Mon Amie" for a female friend. This formal expression encapsulates a sense of respect and decorum, acknowledging the camaraderie while adhering to the etiquette of formal address. The use of "Mon Ami" or "Mon Amie" reflects a courteous and dignified approach to acknowledging friendship in settings that demand a degree of formality, such as professional environments or official gatherings.

Informal Address: "Mon Pote" and "Ma Pote"

In more casual or informal settings, French speakers often use the terms "Mon Pote" for a male friend and "Ma Pote" for a female friend. These informal expressions convey a sense of familiarity and camaraderie, reflecting the relaxed nature of the relationship. "Mon Pote" and "Ma Pote" are commonly used in everyday conversations among friends, acquaintances, and in social gatherings where a casual tone is prevalent. The use of these informal terms fosters a sense of ease and closeness, reflecting the warmth and informality characteristic of friendly interactions.

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Nuances of Usage

The choice between formal and informal expressions of "my friend" in French is influenced by the nature of the relationship and the social context. While "Mon Ami" and "Mon Amie" emphasize respect and decorum, "Mon Pote" and "Ma Pote" evoke a sense of familiarity and casualness. Understanding the nuances of usage enables language learners to navigate social interactions with cultural sensitivity, adapting their language to suit the dynamics of diverse social settings.

Cultural Significance

The formal and informal ways of saying "my friend" in French reflect the cultural values of courtesy, respect, and camaraderie. The ability to discern the appropriate form of address based on the social context underscores an individual's grasp of French etiquette and social norms. Embracing the nuances of formal and informal expressions enriches language learners' understanding of the cultural fabric that shapes interpersonal relationships in the Francophone world, fostering a deeper sense of connection and cultural fluency.

By mastering the formal and informal ways of addressing friends in French, language learners embrace the richness of French language and culture, embodying the spirit of camaraderie with grace and cultural finesse.

In the vibrant tapestry of French conversations, the phrase "my friend" finds myriad expressions, each reflecting the nuances of camaraderie and social dynamics. Let's immerse ourselves in a series of captivating scenarios where the art of addressing friends in French comes to life.

Scenario 1: A Formal Gathering

As guests mingle at a prestigious soirée in Paris, the air is filled with elegance and refinement. Amidst the sophisticated ambiance, a gentleman graciously addresses his esteemed colleague, saying, "Mon ami, it's a pleasure to see you tonight." The use of "Mon ami" exudes respect and affability, encapsulating the essence of formal camaraderie in a distinguished setting.

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Scenario 2: A Casual Café Encounter

In a cozy café nestled in the heart of Lyon, friends gather for lighthearted conversations and laughter. A jovial exchange ensues as a group of friends warmly greets each other, with one exclaiming, "Salut, mon pote! Ça va?" The use of "mon pote" reflects the easygoing nature of the interaction, fostering a sense of familiarity and conviviality among friends in a casual, relaxed setting.

Scenario 3: Reconnecting with a Childhood Friend

In a quaint village in the French countryside, two old friends reunite after years of separation. Overjoyed by the reunion, one exclaims, "Ma vieille amie, quel plaisir de te revoir!" The endearing term "ma vieille amie" conveys a deep sense of affection and nostalgia, encapsulating the enduring bond of friendship that transcends time and distance.

Scenario 4: A Professional Encounter

Within the bustling corridors of a corporate office in Marseille, colleagues engage in professional discourse with a touch of warmth and respect. A senior executive addresses a trusted coworker, stating, "Cher ami, your insights are invaluable to our team." The use of "cher ami" reflects a blend of professionalism and camaraderie, underscoring the mutual esteem and collaboration within the professional sphere.

Scenario 5: A Heartfelt Reunion

Amidst the picturesque charm of a Parisian park, a group of friends shares laughter and heartfelt conversations. Embracing a dear friend, one exclaims, "Mon amie, tu m'as tellement manqué!" The heartfelt utterance of "mon amie" conveys genuine warmth and emotional closeness, epitomizing the enduring bond of friendship amidst the beauty of shared moments.

In these diverse scenarios, the art of using "my friend" in French conversations unfolds, weaving a rich tapestry of warmth, respect, familiarity, and affection. Each expression encapsulates the essence of camaraderie within the intricate fabric of French social interactions, reflecting the multifaceted nature of human relationships expressed through the eloquence of the French language.

Read more : The Origin Of The Phrase “Oh My Lanta”

In the tapestry of the French language, the phrase "my friend" transcends linguistic convention to embody the essence of warmth, respect, and camaraderie. Through our exploration of the formal and informal ways of addressing friends in French, we have unveiled the profound cultural significance embedded within these expressions. The formal elegance of "Mon Ami" and "Mon Amie" resonates with the values of courtesy and decorum, reflecting the nuanced etiquette of formal address in French society. In contrast, the casual familiarity exuded by "Mon Pote" and "Ma Pote" captures the spirit of genuine connection and ease that characterizes informal interactions among friends.

Our journey through captivating scenarios has illuminated the diverse contexts in which the art of addressing friends in French comes to life. From prestigious soirées to cozy café encounters, the nuanced use of "my friend" reflects the intricate interplay of respect, familiarity, and affection within the rich tapestry of French conversations. Whether in professional settings, heartfelt reunions, or casual gatherings, the choice of expression encapsulates the dynamics of the relationship and the social ambiance, enriching the fabric of interpersonal connections with cultural finesse.

By delving into the cultural nuances of addressing friends in French, language learners gain a deeper appreciation for the values and customs that underpin the Francophone world. The ability to navigate the formal and informal expressions of "my friend" with grace and cultural sensitivity fosters a deeper sense of connection and understanding within the vibrant tapestry of French social interactions. Embracing the art of conveying camaraderie in French enriches our linguistic repertoire, enabling us to forge meaningful connections and embody the spirit of warmth and inclusivity that lies at the heart of the French language.

As we conclude this enriching exploration, let us carry forward the profound insights gained from our journey through the nuances of addressing friends in French. May we continue to embrace the elegance and warmth of the French language, infusing our interactions with the genuine spirit of camaraderie and respect encapsulated within the art of saying "my friend" in French. In doing so, we honor the cultural richness of the Francophone world and foster authentic connections that transcend linguistic boundaries, embodying the timeless values of friendship and warmth that unite us as global citizens.

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My Best Friend Essay in English (100, 200, 300, 500 Words)

A best friend is a special and unforgettable person in our lives and will stay longer than other common friends. We share most of the things, conversations, and important talks and support them anytime in our lives.

In this topic, we are discussing the best friend and the memories that we all spent with our friends and best friends. 

We have covered an essay pattern in various paragraphs of around 100 words, 200 words, 300 words, and 500 words, respectively, that helps many of the children or students of class 2 to 12th to understand the short and descriptive essay pattern of the best friend.

Table of Contents

My Best Friend Essay 100 Words

I always thank God that he sent Rahul into my life as my best friend, and I also wish that everyone has a friend like Rahul. Rahul and I met on the first day of school after the summer vacation when we were studying in the 5th standard.

I also remember an incident when our class teacher asked him about his previous school and the place from where he came. He is a good speaker, and he gave an interesting answer to everyone in his introduction in class. 

He is good at studies and also a good athlete. He loves running and singing too, and his handwriting is also very neat and clean. I feel happy to become his friend, and he also loves my company, and we spend most of our time together.

My Best Friend Essay 200 Words

I have had a lot of friends since childhood, but Raghav is one of the kindest and most trustworthy friends for me. I must say that Rohan has been my best friend since childhood. He is a very good person and a true friend because he has a good manner that he never lies to anyone, and hates people who lie to him. He is a kind boy and also a sincere student. We both live in the same building, and our apartments are also in front of each other. 

My parents also met my friend in the school at the parents-teachers meeting, and they also like Raghav and his sincerity. We both have been in the same class from the 3rd standard until now. We are in the 10th standard now, and we both help each other in the preparation for Board exams, which will be held in the month of March. 

He always invites me to his house to play video games with him. Every Sunday, we both enjoy playing video games with popcorn and juice together. Sometimes, our school teachers also wonder about our true friendship and the strong bond between us. He has a set of badminton rackets and a shuttle, and we also play together in the evening near our building. We both love each other’s company.

My Best Friend Essay 300 Words

Everyone has at least a single friend who is more than just a friend to them. Getting a friend is common, but getting a true friend is very rare and a bit special. It is like a big achievement for people to get a trustworthy and lifelong best friend. I also had a best friend in my life too since childhood. His name is Ganaraj, and his mother is Telugu. We are neighbors too and also classmates. We always sit together in school and also spend most of the time together. 

He is a very talented person and always supports me in my studies. We both like mathematics, and also we love to solve maths numerical problems. I like to play games, and we both always play games together and participate in the sports that are held in school. Our favorite sport is Cricket, and we both are good all-rounders on our school cricket team. Our class teacher always suggests and supports us to play cricket even better and also helps in education to achieve success in life.

He is very valuable to me, and I always value his friendship as I value my parents. He is like my family, as a brother from another mother. Whenever I need his help and support, my best friend is there for me to hold me. We both live in the precious moment and create memories that will stay with me forever. Our friendship is a kind of beautiful relationship, and I hope any kind will never break these mistakes. Every Sunday, we go together to a playground near our locality, and we spend most of our time there. My parents also like Ganaraj to be my friend. Everyone is happy with our friendship and has a strong bond that never goes down in any situation.

My Best Friend Essay 500 Words

My best friend’s name is Siddhart Jadhav. We have been friends since class 7th A in Alfred Nobel High School. We both studied in the same school in childhood but not in the same class as our sections are different. Later that time, all the students from all the sections are sorted according to the previous academics’ percentages and grades and separated into four different sections. Due to this separation, I met Siddhart in the 7th A, and we became friends at that time. Later, time goes by, and our friendship bond becomes stronger, and we become best friends with each other and spend most of our time together in school, tuition, and extra classes. We also sit on the same bench in the classroom. 

Our likes and dislikes are also common, and we also love to dance and sing. In every annual gathering and other function that is held in our school, we both participate and give our best performances. We never wanted to win the competitions, our intention was to enjoy the gathering. Some of our school teachers don’t like our togetherness and friendship, but some of them loved and always blessed our strong bonded friendship to stay longer and longer. Siddharth and I always talked in the running classroom, and most of the time, our teacher also punished both of us by standing outside the classroom. We always tried to irritate the lecturer in the chemistry lectures by asking tons of doubts and questions. We eat tiffin boxes sitting on the last benches.

Apart from this naughtiness, Siddharth is very punctual, and he is never late for coming to school and attending classes. He always completes his homework at a given time and being with him, I also start studying very well and completing my homework on time. He keeps his books and copies very clean. His writing is very nice and encourages me to write cleanly and clearly for better understanding. My parents also compliment my friend that being with him, I also become responsible and a good student.

Siddharth and I are both excellent football players and athletes. When we both start playing the football game, the opponent team never wins. Our sports teacher always motivates us and tells us that we will become good football players one day. My parents also know Siddharth very much, and they like his pleasant behavior. Feel free when Siddharth and I stay together, whether for playing games, video games, study, or for going out to have fun with other classmates. Siddharth is my best friend, my first friend. He is the one who offers me help in my studies when I need it, supports me and always shows love to me, defends me, and stands by my side in any situation no matter what. 

In academics, my best friend, Siddharth, is chosen to be awarded the best student of the year in the 10th class. He is one of the brilliant students of our school and also won many of the competitions that were held in school. He is like a well-wisher, and I always enjoyed his company. He, too, feels secure and relieved by spending time with me as well. He is like a problem-solving friend to me. I never wanted to lose him in my life.

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How to Say “My Friend” in French: A Guide to Formal and Informal Ways

Bonjour! If you are looking to express the phrase “my friend” in French, you’ve come to the right place. In this comprehensive guide, we will explore various ways to convey this term in both formal and informal contexts. We will delve into the subtleties of regional variations if they exist and provide you with plenty of tips and examples to aid your understanding. So, let’s get started!

Table of Contents

Formal Expressions:

When addressing someone formally in French, it’s essential to use appropriate language and an appropriate level of politeness. Here are different ways to express “my friend” formally:

• Mon ami / Mon amie – This is the most common and straightforward way to say “my friend” in French. The word ami is used when referring to a male friend, whereas amie is used for a female friend. For example: “Je vous présente mon ami, Marie” (I’d like to introduce you to my friend, Marie).
• Mon chéri / Ma chérie – This expression translates to “my darling” in English, but it can also be used when referring to a close friend. It adds a touch of endearment to your language. For instance: “Je suis très heureux de vous présenter ma chérie, Sophie” (I am very happy to introduce you to my friend, Sophie).
• Mon camarade – This term is typically used in more formal contexts, such as academia or professional settings. It conveys a sense of camaraderie and implies a closer bond beyond friendship. For example: “Mon camarade de classe est très doué en mathématiques” (My classmate is very talented in mathematics).
• Mon complice – This expression is used when referring to a friend with whom you share a secret or a close connection, indicating a person who understands and supports you unconditionally. For instance: “Lucie est plus qu’une amie, elle est ma complice” (Lucie is more than a friend, she is my partner in crime).
• Mon confident / Ma confidente – If you want to express that your friend is also your confidant, this expression is perfect. It signifies someone with whom you can share your deepest thoughts and secrets. For example: “Robert est à la fois mon ami et mon confident” (Robert is both my friend and my confidant).

Informal Expressions:

When speaking casually or with close friends in French, you have more flexibility in how you refer to them. Here are some informal ways to say “my friend” in French:

• Mon pote – This is a popular and widely used term among friends, similar to “my mate” or “my buddy” in English. For instance: “Je vais chez mon pote ce soir” (I’m going to my friend’s place tonight).
• Mon copain / Ma copine – Although this expression can mean “boyfriend” or “girlfriend” in a romantic context, it is also commonly used among friends to simply mean “friend.” For example: “Viens avec moi, mon copain” (Come with me, my friend).
• Mon p’tit / Ma p’tite – This informal expression is an endearing way to refer to a friend in French. It adds a sense of familiarity and affection. For instance: “Salut, ma p’tite! Ça fait longtemps!” (Hi, my friend! Long time no see!).
• Mon acolyte – This term denotes a friend with whom you share common interests or hobbies, suggesting a partnership or camaraderie. For example: “Cédric, mon acolyte de voyage, est toujours partant pour une nouvelle aventure” (Cédric, my travel buddy, is always up for a new adventure).
• Mon binôme – This expression is used to describe a friend with whom you are paired up for a specific task or activity. It implies a teamwork dynamic and is commonly used in school or work settings. For instance: “Laura est ma binôme pour le projet de science” (Laura is my partner for the science project).

Tips: Adding the possessive pronoun “mon” or “ma” (my) before these expressions helps specify the person as being your friend. This is especially important in French to avoid any confusion or ambiguity in the context of your relationship.

Regional Variations:

French is spoken in various countries and regions, each with slight linguistic variations. However, when it comes to expressing “my friend,” these regional differences are minimal. The above expressions can be understood and used universally across the French-speaking world. Nevertheless, it’s worth noting that certain regions may have specific colloquial terms or idiomatic phrases for “my friend.” So, if you encounter any regional variations, embrace them as an opportunity to learn even more about the rich diversity of the French language.

Now that you have a range of formal and informal expressions for “my friend” in French, you’ll be well-equipped to enrich your conversations and build stronger connections with French speakers. Remember to use the appropriate expressions based on the context and level of formality. Happy conversing!

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• How to Say Goodbye to a Friend in French: Formal and Informal Ways
• How to Say Happy Birthday in French to a Friend
• How to Say Happy Birthday, My Friend, in French
• How to Say “Hi Friend” in French: Formal and Informal Ways
• Guide: How to say “My Beautiful Friend” in French
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• How to Say “Your Friend” in French: Formal and Informal Ways

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French Essay: Topics, Tips, and Examples [2024 Updated]

Nowadays, knowing several foreign languages is no longer surprising. For example, learning French is common for English-speaking countries. So, getting an assignment on this subject won’t be a surprise for a student.

Writing a French essay, you can dwell into:

• the history of the French language;
• various dialects;
• its grammatical features;
• similarities between French and English (or another language);
• the distribution of the language around the globe.

One studying the language may penetrate the rich French culture and comprehend the nation itself. Besides, writing a French essay can develop the author’s writing skills and broaden their outlook. And even if you make mistakes doing so, it’s not the end of the world. The fact that you’re able to recognize them is already good enough, and you can fix complex errors using a free essay rewriter .

Our writers prepared French essay topics and tips for you to nail your task. See the examples below for better understanding.

📯 French Essay Topics

Are you one of those who are assigned to write French essays? Then we suggest you pick out some of the following problems to investigate:

• History of the French language;
• Dialects of the French language;
• French phonology ;
• French orthography;
• French grammar ;
• French alphabet.

The suggested topics are too vague and need narrowing. You may single out some aspects and analyze it in your paper. An excellent French essay topic should be:

• Broad for you to have enough room to develop your arguments;
• Narrow enough for you to be able to concentrate on one or several points;
• It should also be creative and original. You want people to enjoy reading it, right?
• Most importantly, the topic should be interesting for you.

If the essay topics seem too formal to you, study, for example, your progress in analyzing the French language. Alternatively, you can state what attracts you in the language and explain why. You may also do a comparative analysis of French and some other languages. Comparing French with English may turn out to be a fascinating task to cope with. Both languages will benefit from your French essay writing.

Here are some topics and French essay examples you can consider writing about:

• Your progress in learning the French language . Here you can write about your personal experience learning the French language. What techniques do you apply, and what motivates you personally? You can explain why you have to learn how to speak French.
• How are the French language and culture in Southern France different from Parisian? In this essay, you can compare the Southern French dialect and culture with the one in Paris. What are some of the critical phonetic, grammar, and linguistic characteristics of Southern French?
• Parisian dialect as a standard of French. When people think about the French language, the Parisian variant immediately comes to mind. In this essay, you can analyze why Parisian French became the standard version.
• Why do you enjoy learning French? This essay focuses on your personal preferences and likes in the process of learning.
• What makes it fun and enjoyable? Is it French movies, French literature, or understanding French written work documents?
• French influence on English . Although English is a Germanic language, it looks and sounds a lot like French. The influence which French had on English is significant. Look at some historical reasons (the Norman invasion in particular) and why English benefited from it.
• French language in 19th century Russia. Not everyone knows that French was the official language of the Russian elite in the 19th century. Discuss the reasons why and what influence French culture had on Russian literature, music, and language.
• The effect of the French language on the development of English writing . More than 10,000 French words came into the English language. Not only did the vocabulary of English get more prosperous, but the French way of spelling and letter convention influenced English orthography.
• What caused French to become an aristocratic language in Europe? The reasons why the French language became so dominant throughout Europe are broad. In this essay, you can focus on economic grounds, cultural or political reasons.
• An analysis of Canadian French. This essay can be a comparative analysis of Canadian and European French. What are the main differences? What are some similarities between the two variants?
• Is there any similarity between French and German ? All of the languages in the Indo-European language family have some similarities. Therefore, French and German are not exceptions. You can focus on sentence structure, word order, pronunciation, or phonetics.
• The popular strategies in English-French translation .
• Describe the challenges of French language acquisition.
• Analyze the peculiarities of French vowel pronunciation.
• Cultural events and their traditions in French-speaking countries .
• Discuss the advantages of learning French.
• Examine the semantic peculiarities of the French language.
• Explore the role of watching movies in the French language learning process.
• Comparison of language education theories.
• Analyze the impact of French language learning on your personality.  
• Describe the methods you’ve used to improve your French language fluency and which turned out to be the most effective.
• Similarities and differences between realism and naturalism in Spanish and French literature .
• What is the role of the French language in the modern world?
• Advantages and disadvantages of knowledge of multiple languages .
• Discuss the role of the French language in the United States.
• The specifics of learning French in early childhood.
• Compare the grammar peculiarities of English and French languages.
• How is the concept of friendship interpreted in American and French cultures?
• Analyze the correlation between the history of France and French language development.
• Explore the origin of the French language.
• Verbal and non-verbal communication in French culture.
• Examine the crucial role of French literature in learning French.
• Describe the relationship between French culture and language.
• Is it a good idea to integrate bilingual programs in early childhood education?
• Discuss the best ways to prepare for the speaking exam in French.
• The role of audiovisual materials in learning French.
• What difficulties did you face when learning to write in French?
• The essential role of sociocultural context when translating from French.
• Compare the customs of French, Chinese, and Hispanic cultures.
• The best methods of learning the second language .
• Describe the best ways of promoting language development for French language learners.
• Analyze the methods of French word formation .
• Would you like to become a French language teacher?
• Analysis of the food words in English and other European languages.
• Examine the specifics of the French language in former French colonies.

Do not treat your French essay as an ordinary task to undertake. Make it as creative as possible!

🖋️ How to Write a French Essay

Note that writing on some language problems requires more than your knowledge of the subject matter. It also tests your abilities to present them in terms of academic writing.

Special care should be taken concerning the following:

• The structural organization of your French essay.

Mostly, it is similar to any other academic essay :

• It should start with a hook . In simple terms, it is the opening sentence or two of your writing. It can be a quote, a short story, or a catchy statement that grabs the reader’s attention.

Here’s an example of from the sample essay:

Every language is a mirror of society, a living organism that exists and changes under the influence of historical, political, and social conditions.

• The next part of your essay is a thesis statement . Typically, it should be placed at the end of the first paragraph. The thesis statement’s purpose is to state the central idea in one or two phrases.

Here is a thesis statement from our French essay example:

Today, it is common to study English as a foreign language, as an international means of communication. However, this does not diminish the importance of learning other foreign language like French.

• After that, the body of the essay should start. This part of the composition usually has three separate paragraphs. These paragraphs can include research, supporting evidence, and arguments that prove the point of view.
• The conclusion brings together all the points of the essay. It goes back to the thesis statement and explains the broader importance of the topic. It is the last chance to leave a lasting impression on the reader.

Here is an example form our French essay sample:

To conclude, the above discussion provides evidence and arguments that maintain the position according to which learning French is a necessity nowadays. The crucial points are as follows; first, French has a long tradition of international language; second, French is spoken around the globe; third, it is a language of international relationships. The opposing position that English is sufficient for appropriate global communication was claimed unreasonable – an emphasis in this regard was on the essence of cultural and language diversity.

• The logical organization of your French essay .

There are some ways in which you can coherently write your essay. The following three aspects can guide you when organizing your French essay:

• Topic sentence : you should mind linking elements within the paragraphs and between them. First of all, each section should include a topic sentence. It aims to identify the central idea and express an overall direction in which the writer will develop the paragraph.

The demand for knowledge of a language has changed in recent years.

• Concluding sentence: each paragraph should also include a concluding sentence. It asserts the main idea of the section and sums up all the information said in it.

It may be claimed that in a period of rather an aggressive introduction of the Anglo-American language in the world, the French need to persistently and resolutely defend their language, their national interests, and calls on other nations to preserve linguistic diversity.

• Linking words: it is crucial to use linking words in your essay. Linking words show relationships between ideas. It can be used to build sentences together to develop a cohesive paragraph.

To see the full essay sample, check the link below:

• Grammar, spelling, and vocabulary.

The last step in writing an A+ French essay is proofreading and editing. Before submitting your academic paper, make sure to pay attention to grammar, spelling, and vocabulary mistakes . Without proofreading, your writing can contain typos and errors that will not leave a good impression.

Good luck with your French essay writing! We hope the article was helpful. If so, share it with your peers and leave a comment below to let us know what you think.

This might be interesting for you:

• How to Write an Expository Essay in Simple Steps
• Nursing Reflective Essay Example and Guidelines for Students
• Essay on Dengue Fever: How to Write + Free Examples
• Objective Essay Writing: How to Write, Topics and Examples
• Organizing an Essay: Jerry Plotnick, College Writing Centre, University of Toronto
• Organizing an Essay: Study Guide Zone
• Paragraphs & Topic Sentences: Writing Guides, Writing Tutorial Services, Indiana University Bloomington
• Thesis Generator: Ashford Writing Center
• Proofreading: The Writing Center, University of Wisconsin-Madison
• Basic Essay and Paragraph Format: Utah Valley University
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It is not helpful to me.

Thanks for the help with out this i wouldn’t even know what to do on my essay

Hi, do you also do French powerpoint presentation?

Good advice. Thanks.

This was a very great help. I’m writing a French essay, and I know, thanks to your post and the provided tips on French essay writing, I will pass!

Hi! I just want to thank you for your ideas and tips for writing French essays! Write a French paper in English or write an essay for the French by an American) Funny.

Thanks a lot for the help.

No problem, Sash:) Good luck!

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I Finally Befriended My Idol Tavi Gevinson. Would It Fall Apart Over Taylor Swift?

This story was featured in The Must Read, a newsletter in which our editors recommend one can’t-miss story every weekday. Sign up here to get it in your inbox.

I first heard Tavi Gevinson’s name at a breakfast I attended on the Upper West Side in 2010. A group of mothers were talking about her, seemingly with some envy. I was confused; UWS moms aren’t supposed to be jealous of 14-year-old girls. From what I could gather, Tavi—who had launched her fashion blog, Style Rookie, a couple years before from her bedroom in Oak Park, Illinois, and had since attended Paris Fashion Week and been interviewed in The New York Times —wasn’t the usual kind of kid-famous: She was a fascinating person. Like other fascinating people, there wasn’t gonna be an easy way to classify her. My cheeks started going hot now, too. I was jealous of that idea—that Tavi couldn’t be easily understood.

I wanted to know Tavi. Or, I wanted Tavi to know me. I didn’t think I should be the one to initiate. She probably wouldn’t like that. She was getting enough attention already. To stand out, I should probably run into her the old-fashioned way. No, I should probably become successful myself. I should probably only run into Tavi once I became a success.

Years went by, and I kept tabs on Tavi. She became an actress.That hurt, but I wasn’t gonna let it crush my admiration completely. Tavi became friends with a good friend of mine. I became friends with a good friend of hers. The eventuality of becoming friends with Tavi became more and more of a possibility. But I never ran into her.

It was 12 years before I was finally invited to a dinner party that Tavi was also attending. It was an intimate dinner party in New York and I wasn’t successful. I wished I had more assets to bring to the party. I will say: I was lookin’ good. Or, I was thinking I was looking good. I was in my mid 20s, in a new “I’m hot” stage of my life. I felt insecure about everything else, but the hotness feeling went a long way.

There’s no way beautiful Tavi ever cared or thought about “looking hot.”

We were allowed to smoke inside, and the wine was better than what I was used to, and I got very drunk. All of the guests were talking about politics. Actually, I’m not sure what they were talking about—all six of them seemed like geniuses, and I was out of my element. I was living in Los Angeles then, and only visiting New York for a couple of nights. All I knew to contribute at a dinner party were stories from my childhood, recaps of nights out, tales of who I’d had sex with. Like I said, I was out of my element, and the wine wasn’t solving anything.

I remembered I had read an article from The Cut the week before—the only topic I could think of that wasn’t about myself. I brought the article up. I looked around. Three of the other guests worked for places like The New Yorker. I was probably a dumbass for bringing up a publication like The Cut, so I attempted to cover my ass. “I’m a dumbass, so I read The Cut.”

Nobody liked that.

Without missing a beat, Tavi turned to the sweet-looking man next to me—who was now ghostly white—and said, “Tony, congratulations—it’s amazing it took The Cut this long to promote you as editor.”

I had just insulted a major publication in front of one of the major publication’s editors . I wanted to rip out my fingernails.

Things got worse from there. That’s when I started contributing sex stories. I had nothing else. Tavi patiently sat through my rambling, with nothing to prove. She had a serious boyfriend with her. They seemed like such a sexy, solid unit.

I woke up the next morning and decided that Tavi was Enemy No. 1. What. A. Bitch.

Years went by and I got my act together a little more. I moved back to New York. I figured out how to hold my tongue at dinner parties.

One evening two years ago, Tavi and I reunited at the scene of the crime: our friend Naomi’s apartment, where Tavi had “thrown me under the bus” years before. I was ready.

We became friends. Not quickly, but honestly. With the normal amount of intensity—but I longed for intimacy with Tavi. I wasn’t sure how to get there. She still scared the shit out of me; it was as if she could see RIGHT THROUGH ME. Like she’s a lie detector or something. Plus, I had entered a rocky new stage of my life—filled with anxiety and mania—and I was doubling down on performing “happy” behavior so that she wouldn’t be able to see what was really going on.

But I had an idea. What if I asked Tavi to write something with me? Writing might be the perfect way for us to understand each other better; and frankly, I thought it might make her like me more. So I suggested we write an article together. She suggested that I review her new zine, Fan Fiction , that would be published online soon. It was an imagined friendship with Taylor Swift that would be loosely—very loosely—based on her own brief interactions with the pop star. I agreed—and immediately wished I hadn’t. There are five Taylor Swift songs that are EXTREMELY meaningful to me, but for some reason I’m not that interested in all of the cultural critiques of her. Sometimes, I like seeing what she’s up to in paparazzi photos, but mostly, I just like listening to those five songs.

Weeks went by. I had a terrible manic episode. I was the only one who wasn’t aware that I was having a terrible manic episode. I didn’t read the zine. I couldn’t bring myself to.

I don’t just like listening to Taylor’s music. I’ll say it: I am interested in “Taylor Swift.” There was a period last summer in which she would come up in every SINGLE conversation I had on a given day. I’d only ever experienced this with politics, with people like Donald Trump. It fascinated me that Taylor’s name was quite literally on everybody’s lips. And that most of what was said was extremely complimentary. I guess I was jealous.

I didn’t read the zine. Tavi called me. She wondered where the article was. I mumbled some gibberish about how maybe we should do something else. Could we write an article in which Tavi teaches me how to be a good friend? Tavi seemed disappointed, but she agreed to it. She said she thought it sounded funny. I felt like a piece of shit.

Why wouldn’t I read Tavi’s zine? I do read . I actually read! I KNOW HOW TO DO IT! It wasn’t the 70 pages that bothered me and I love Tavi’s writing. I look up to her as a writer! Why was I stringing her along like this? WHY COULDN’T I READ THE GODDAMNED ZINE.

Another week went by and Tavi—surprise, surprise—initiated the kind of intimacy I had always dreamed of us having. It started with a voice note. Not that I was able to listen to it. I couldn’t bear to. Instead, I just assumed that it was probably Tavi telling me that she was annoyed that I agreed to write an article about Fan Fiction and then decided to write something else instead. I called her up. Tavi confirmed that she’d like me to review the zine and that she wasn’t interested in working on anything else together for the time being. She expressed, vulnerably, that she wanted the zine to get more readers. If I wrote an article about it, it might help to get it out there. Here Tavi was, respecting me by telling me exactly what she needed. My heart sunk: Tavi and I were getting to know each other better through writing, but only because I was acting like a disrespectful piece of shit.

I’m not actually jealous of Taylor Swift. Her life seems like something I wouldn’t know how to handle. I’m going to say something that’ll at first sound like a BOLD delusion of grandeur, but: I don’t think Taylor Swift would like me. And I wouldn’t blame Taylor for hating me. We sort of, kind of have a mutual friend, and I treated this friend badly. The kind of bad that changed the way I even thought about myself.

I didn’t want to read or hear or watch anything about Taylor because I didn’t want to be reminded of all of my own shortcomings.

I agreed to read Tavi’s zine. I wanted to be a good friend to Tavi.

I read Fan Fiction at a small table in the back of Walker’s in Tribeca in just under an hour. I flew through the thing. It’s painful and awkward and hilarious and expertly written. It’s insightful. It turns out Tavi had already written an article about how to be a good friend, and it’s Fan Fiction. In it, Tavi tells the love story that unfolds when one falls for a new best friend. It is a warning about how not to go about friendship, and how to remain true to yourself in relation to another person. Fan Fiction defines the difference between intensity and intimacy. Tavi grapples with the mistakes she made in trying to become REAL and TRUE friends with Taylor, and through that she tries to make peace with the different, inauthentic versions of herself which emerged. I know the thing’s a fantasy piece, but the truth that Tavi inserted into the idolization of a contemporary woman…well, it was hard to ignore how Tavi was my Taylor Swift.

Towards the end of the second act, Tavi writes: “I could not love Taylor. I was too much of a fan.”

I could not—maybe can not—love Tavi, because I am too much of a fan!

After years of trying to scheme my way into Tavi’s heart, I finally realized: I’d have to get to know her first.

Just as Tavi wasn’t able to see Taylor, or let Taylor SEE HER, I couldn’t properly listen to Tavi because I had already decided who she was, what she liked, and what was most important to know about her. I couldn’t hear Tavi because my prime focus in talking to Tavi has always been to impress.

We went to dinner a couple of nights later. It was the closest I’d ever felt to Tavi, and I think it was because it was the first time that I might have actually listened to her. I already had listened to her. I had read her writing. I knew more about her imagination.

But I couldn’t stop thinking about the last act of Fan Fiction , in which Tavi imagines a correspondence with Taylor in which Taylor and Tavi battle for control over their own narratives. (Tavi writing as Taylor made me laugh out loud. A REAL cackle.) Not only do Taylor and Tavi disagree on what happened between them, on specific memories, but they also fight to be individuals. They wrestle with how to both admire and disagree with each other. It is my favorite part of the zine because it is a fascinating account of Tavi and Taylor’s fictional battle for narrative control.

I began to get self-conscious about this idea. Was I writing this piece just to please Tavi? Was it stupid of me to promote her zine by emulating its style? Would my mimicry actually disappoint her? Would she feel sucked up to, or worse, swindled somehow? I decided to send her my draft. She responded right away.

My email to Tavi:

truly be honest if you hate okkkkkkk done HARD TO READ ABOUT YOURSELF IS WHAT I MEAN

Tavi’s email to me:

Dear Annie, Thank you for sending me your piece. I'm very flattered to know you've followed my work all these years. I respect you so much and admire the level of self-reflection here. I also lol’d a handful of times. Just a few corrections as I’m sure you want to be accurate— I did not throw you under the bus. I made sure you knew Tony worked at The Cut before you could humiliate yourself further. Don't include that I wanted more people to read my zine. I think ending with us getting dinner is a bit sentimental (though I hold that night very close). Overall: I worry it's a bit too fawning. Kind of reads like I'm holding a gun to your head. Any way you can make it so you seem less afraid of me would be great. Other than that—love it! Title: "Work Friends"? xx Tavi

In Fan Fiction, Tavi and Taylor fight to get the last word. But I can’t imagine Tavi ever not securing the final word in any kind of argument. Tavi is good with words and even better at putting her imagination onto the page. I urge you to read Fan Fiction , okay?! I IMPLORE you to.

If this experience with Tavi inadvertently taught me how to be a good friend, Fan Fiction granted me the permission to be the fan again. Her fan again. A fan of anyone, actually.

In my most meaningful relationships, I will always be just that…a fan .

Read Tavi Gevinson’s zine, Fan Fiction, here .

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My Mother, the Gambler

“Give me three numbers, baby.” My mother made this request often—so often, in fact, that when I try to remember her voice this is what I hear. I can see her, too. She’s in the kitchen, sitting at the white Formica table, the green wall phone behind her, the phone she’ll soon pick up to place her bet. She’s smiling, because this moment is capacious: everything’s possible. It’s a moment in which—unless you’re a pessimist, and my mother is not—Fortune is on your side.

She’s dressed for the occasion, in a flower-print top and stretchy yellow slacks, as if to advertise her innocence before breaking the law. Of course, for a long time I didn’t know that what my mother was doing was illegal. She certainly didn’t look like a criminal, sitting there with her blond hair intricately coiffed. The stylist had made it look like a sfogliatella , a kind of Neapolitan pastry that we often had in the house. My mother’s hair possessed the same golden hue, the same artful construction of multilayered swoops. Plus, the glossy lacquer of Aqua Net was not unlike the sugar on the pastry. That this delectable human might want my advice made me feel giddy.

I don’t recall her ever asking my brother for numbers. My brother was older, more confident, more defined as a person. Perhaps, as such, he lacked mystery. So my mother looked to me, the quiet one.

Possibly my inwardness gave the impression I might be in contact with whatever invisible forces were responsible for luck. No doubt she’d also noted my fervent superstitions, which involved the need to arrange things perfectly or to perform an action a certain number of times. It was important, for instance, that the hanging bits of my shoelaces not touch the floor and that everything on my desk be an equal distance apart. When leaving for school, I made sure to touch three separate leaves on the maple tree just outside our door. These rituals, done correctly, could stave off doom—though perhaps my mother interpreted my behavior not as an attempt to avoid misfortune but as a spell to invoke success.

What would later be diagnosed as obsessive-compulsive disorder was, at this point, just another aspect of what was openly called my oddness. I had heard my father say to strangers that he had no idea where I’d come from. Sometimes he said he’d found me in a garbage can. I was also referred to as “the Polack,” since I was light-haired and fair-skinned, unlike my swarthy parents and my brother, who looked robustly Italian; the one-quarter Polish heritage from my paternal grandmother had staked its claim in me.

At least I had my mother’s nose, and, more important, I had inherited her belief in magic. Both of us understood that in order to survive it was necessary to arrange things in a certain way. You had to take life’s terrifying unpredictabilities and rally them, by ritual or formula, into an army that would do your bidding.

There was a period of several months when I kept suggesting my mother play the same three numbers. Seven, one, four. Something about that arrangement seemed friendly, not to mention that the numbers added up to twelve, which, when added again—one plus two—gave you three, meaning the Father, the Son, and the Holy Spirit. I saw no sacrilege in this reference to the Trinity. Gambling, I sensed, was a kind of prayer—though my mother didn’t always direct these prayers toward God. Sometimes she invoked the dead, playing the birth date of a deceased relative, often her grandmother. Such bets were akin to lighting candles in church, which you had to pay for, too. Both transactions were a request to be remembered by Heaven—to be helped, or saved.

And we needed help. We were poor—though this word was not one my family used back then. “Hardworking,” my mother might have said with a smirk, rightly indicating that the people who worked the hardest often had the least to show for it. “No pot to piss in,” as my father liked to put it. A waitress and a barber, they could get only so far.

Welfare, for which we likely would have qualified, was unthinkable. My parents, the descendants of immigrants who had never been naturalized, had inherited a residue of fear and shame when it came to the government. They didn’t want their names in the system or on a list .

Besides, we weren’t starving , and we’d recently moved to a house in the suburbs of New Jersey. The first time I suggested the numbers seven, one, four to my mother, she said, “Do you mean seven, one, two?” The address of the apartment building in Hoboken where we used to live was 712 Adams Street. “The penthouse,” my father called it—a tenth-floor walkup, with ill-lit stairwells reeking of urine. The tiny cold-water flat had no heating system other than the stove in the kitchen, which explains why in holiday photographs from that time my brother and I sit under an artificial Christmas tree as if dressed for an Arctic expedition.

Still, my mother occasionally played the old number—712. Her commitment to the past was baffling. Why look to that horrible apartment building for luck, especially now that we had a house of our own?

My mother’s parents had moved in with us, too, as had my father’s widowed mother, pale and skinny—the other Polack. At first, my grandmothers seemed less than happy. In Hoboken, they’d been able to walk everywhere. Now a car was required, and neither had ever learned to drive. In fact, neither had attended high school. They were quiet and humble women who, for many years, had worked as laborers—one in a laundry, the other as a housekeeper. But their real vocation appeared to be religion. My nonna and my babcia were so devout that they seemed like witches. When mumbling their prayers over rosary beads, their tongues turned thick and foreign. And, in their bedrooms, they kept a menagerie of plaster saints—figures that lived in a flickering garden of ever-blooming candles. To me, those tiny altars were the pilot lights of our house.

I loved my grandmothers with an intensity that was almost febrile; I flushed in their presence, greedy for attention, as well as in the knowledge that it would be given. They were the women who fed me, dressed me, put me to bed. To have both of them now under the same roof was the epitome of luck.

When I was feeling particularly anxious, I would sit beside my Polish grandmother; I’d take her hand and, using one of her fingers like a pen, trace circles on my palm. At a certain point, she would understand what I needed and begin to trace the circles herself. But eventually she’d toss my hand away and say, “Enough.”

Downstairs, in a separate apartment on the first floor, my Italian grandmother was always ready to receive me. Even if I wasn’t hungry, I’d claim that I was, and soon I’d be offered a piece of crusty bread with butter, or a bowl of steaming farina.

My mother had always taken a back seat in regard to child rearing, but now she had more freedom than ever and could focus more fully on her passions. In addition to playing her numbers, the so-called Italian lottery, she bet heavily on football. Watching the games on television, she would shout at the screen, gesticulating with her perfectly manicured hands. Shocking four-letter words emerged effortlessly through scarlet lips, in a voice deeper than my father’s.

Often, she watched with my uncles, and the shouting grew so loud that it terrified me. At the time, I didn’t understand how much money was riding on the outcome. I was aware only of the cheering that would lift my mother and the men from their seats or the swearing that would make my grandmothers retreat into the kitchen. I would escape, too, usually to the closet in my bedroom. It was around this time, when I was eight or nine, that I learned the comfort of tight spaces and the pleasure of rocking my body—both of which seemed to short-circuit the fear centers in my brain.

I also began to keep notebooks in which I wrote poems with tyrannical meters—another kind of rocking. I drew pictures, mostly animals, and kept lists, often mundane—the titles of all the movies I’d seen or the first names of the kids in my class. I might record an overheard conversation, one that had confused or upset me. Some days, all I could manage was to scribble endless spirals, or to write the word “win” over and over, doing my part to help my mother prosper.

My father wasn’t a gambler, though he had come from one. His father was a truck driver who’d once, in an all-night poker game, won enough to buy a vehicle and start his own short-haul delivery business. I was also told that he’d won a horse named Lollipop—a name he thought demeaning and quickly changed to Lady. My grandfather’s plan was to train her to race, illegally, on bush tracks. But Lady, kept at a cheap stable in Weehawken, died of colic. The following year, after another winning streak—this time on boxing matches—my grandfather died, too, of cirrhosis of the liver.

The cycle of the gambler—from despair and lack to hope and reward—was endless, both frustrating and beguiling. My father had experienced this long before he’d met my mother. He understood how her addiction could lead the family in one of two directions—either up the ladder or down.

Living in a new house seemed like a miracle to me; I didn’t understand how precarious our situation was, financially—the growing debts, the heavy burden of the mortgage. Nor did I understand the kinds of people my mother was involved with. My father has never been completely forthcoming about those years, but I do know that the down payment for the house was funded in part by gambling wins.

During those early days in the suburbs, my mother seemed as optimistic as ever. She’d managed to secure a number of credit cards, on which she could access cash advances. Perhaps it was these, along with the occasional windfall from the Italian lottery, that accounted for some of the over-the-top Christmases I experienced as a child—holidays in which my brother and I received a ridiculous amount of presents. There were Easters when, instead of dyed eggs, our egg hunts featured plastic eggshells stuffed with money. Certain years, the bills were singles, but other years there were fives and tens, even twenties.

In September, before school began, my mother would drive my brother and me to Schlesinger’s, a clothing store in West New York, where we were each allowed to pick out ten items. My mother was usually in a good mood and, for the most part, unconcerned with price or appropriate attire. She’d let my brother buy two pairs of sneakers or five football jerseys. But once, when I found a skintight shirt with a sparkly rose emblazoned across the chest, my mother seemed hesitant. “You’re skinny enough,” she said—focussing more on the fit than on the fact that I’d chosen something clearly meant for a disco queen. “It looks like diamonds,” I said. The comment was strategic. My mother had recently lost the stone in her engagement ring—or had she sold it? Anyway, I managed to sway her. “Just don’t wear it to school,” she said. I promised—a lie. When my brother scowled, I understood the reason. Kids in the neighborhood had started to call me “faggot.”

I knew the word, though in my mind then it meant something like “girl”—or, rather, a boy who was like a girl. And though the insult stung I could bear it by reminding myself that my favorite people were women, and these women had once been girls.

Every Friday, my parents went out to dinner. Sometimes they attended a concert or a Broadway show. Other activities my mother did alone. On a whim, she’d get dolled up and go to the track. Some weekends, she drove to a private club, where she liked the blackjack table. I remember my father, one day, accusing her of straying too far. After that, she did what she could to make her fun at home. Once or twice a month, she hosted late-night card parties. These parties were attended mostly by women, many of whom, like my mother, sported impressive confections of hair. Cigarettes dangled intrepidly from their lips—cigarettes they could inhale without the use of hands. All it took was a deft smirk, leaving their fingers free to focus on the cards.

The games were played around our kitchen table, after my brother and I had gone to bed. My father hovered at the periphery, watching TV in the living room until he fell asleep on the couch. Even from down the hall, I could smell the women’s perfume, my mother’s Opium coming through the strongest. As the night progressed, the scents grew wilder as they mingled with the women’s sweat. These gatherings, I later learned, were high-stakes affairs. Hundreds could be lost or gained.

The day after a card party, my mother would stay in bed later than usual. Before leaving for school, my brother and I would slip into her room to ask for money. She always allowed us to peel a few singles from the roll of bills she kept in her pocketbook. Sometimes that roll was skinny; other times it was as fat as a ball of mozzarella, and just as tempting. But, even as I could read my brother’s mind (“Why not take a little extra?”), my mother could read it, too. “Don’t even think about it,” she’d growl, her voice thick with slumber.

Not long after my eleventh birthday, the house began to hum with a new energy. The phone rang constantly. “Your mother’s friends,” my father called them. “Is Sophie there?” they’d ask, if I happened to pick up the phone.

By this point, she was not only playing her numbers but also taking bets for others. There was a pad beside the phone, on which she would write the caller’s name and a dollar amount, along with their hopeful chain of digits. Sometimes the word “box” or “straight” was included.

Since my mother was often out, she instructed my Polish grandmother to take down the information in her absence. When she asked what it was all about, my mother said she was doing someone a favor. Once, she said it was a game some girls were playing at work. No one questioned her, not even my father.

Now and then, the calls would come during dinner. My mother always sat closest to the wall where the phone was. Nearby, she had a tiny metal table on which she kept her pad. Mostly she’d finish these mealtime transactions quickly, but occasionally she’d get up, pulling the phone, which had an extra-long cord, all the way into the living room.

Whatever secrets she had seemed connected to our growing prosperity. During the summer, we were able to go to the shore for a week, stay at a hotel, eat three-course dinners in restaurants that looked like fishing boats. In the evenings, on the boardwalk, we’d play the wheels, shoot the guns, toss the balls. When the vacation was over, we drove home with the fruits of our good fortune—stuffed animals, cartons of cigarettes, goldfish in plastic bags. My brother and I put the fish in a water pitcher or a mixing bowl, hoping they wouldn’t die. Eventually, my father installed a pond in the yard, and the goldfish flashed around for years, reminding us of our luck.

That is, until the day my brother and I came home from school to find police cars parked in front of the house. My fear, always a trickster, convinced me that the police cars had something to do with me; I was not a normal person, and I knew that one day I’d be punished. My impulse was to get away, maybe hide in the woods near our house. But then my brother ran up the front steps and through the door, and I followed him.

Inside, all the lights were on—something my father never allowed. There were men everywhere, some in uniforms, some in suits. I rushed down to my nonna’s apartment, but neither she nor my grandfather was there. When I climbed the stairs again, a female neighbor was stationed in the kitchen, saying she’d take me and my brother to her place. I refused. “Where are my grandmothers?” I kept asking. Watching the men opening drawers and looking in closets, I felt a kind of nauseous outrage. When I saw the strangers in the hallway outside my bedroom, I thought of my notebooks. “You can’t go in there!” I screamed. My brother, in a moment of tenderness, touched my arm. “Let’s go,” he whispered.

For days after the raid, I worried that the police had read my notebooks—all that incriminating evidence. I felt certain they would return to fetch me.

Of course, the cops had no interest in the scribblings of an eleven-year-old boy. It turned out they had my Polish grandmother on tape, implicated in what I heard called a “numbers racket.” She was arrested, as was my mother. The two of them were booked, their photographs taken, their fingerprints. My grandmother was humiliated. I was told that she asked to remove the crucifix around her neck before they photographed her, but that this request was denied.

I prayed at her bedroom altar, kept her candles lit. My grandmother was released. The authorities believed her when she said she had no idea what she was doing. Besides, the police were after bigger fish—one of them being my big blond mother.

But she got off, too; I’m not sure how. “Friends in high places,” I recall my father saying, while my brother, using pulp-fiction logic, had the audacity to ask my mother if she’d turned other people in. I was sure she was going to slap him. But she fell into a stunned silence, and tears came to her eyes.

“I would never do that.”

Many years later, long after my mother died, I spoke with her brother, my uncle Frank, and asked him about the people my mother had worked for. My uncle tilted his head: “Let’s just say they weren’t people you wanted to screw with.” He mentioned some names and then immediately encouraged me to forget them. He was cagey and kept trying to change the subject.

But, in the end, he did tell me a little more about the nature of the business. “Your mother was a runner,” he said. “Like a salesman. She brought bets to the bookie, got a commission.”

“But what were the numbers?” I asked. “How did that work?”

My uncle explained that, every day, there’d be a notice in the newspaper which listed the previous day’s earnings at a New York racetrack, and that the game was to guess the last three numbers of that amount.

When I asked about the meaning of “box” and “straight,” he looked at me like I was an idiot.

“You could play the numbers in their exact order,” he said. “That’s straight. Or you could box them, which meant that if your numbers came out in any order you’d win something. It cost more, but you won less.”

I was curious if my mother had ever won big. My uncle shrugged. “What’s big? Sometimes it gave her a little extra. Your mother hated having no cash in her pocket. She said it made her feel naked.” He added that most of what she’d won had gone to the princes.

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I assumed my uncle was speaking about the men my mother had worked for. But when I asked, “Who were the princes?,” he said, “Don’t be stupid. You and your brother.”

For a while after my mother was arrested, she seemed to be a changed woman. At this point, she was working as a waitress in the skyboxes at Giants Stadium. She often pulled double shifts and came home exhausted. There were no more card parties. At night, she’d drink coffee and watch police procedurals on television. She slept very little. Sometimes she played electronic poker on a small device whose chirps and dings I could hear in my bedroom. In the mornings, I’d find her sitting at the kitchen table, paying our bills or figuring out the household budget.

Strangely, even with my mother’s propensity for gambling, my father had always let her take care of the finances; he claimed that she was better with numbers.

Now and then, my Italian grandmother would climb the stairs to check on her daughter. “ Tutto bene ?” she’d ask unsteadily, clearly out of breath. She’d started to speak more often in her native tongue. Curses? Prayers? Accusations? I comprehended none of it.

My other grandmother resumed her housekeeping duties with a demented vigor, as if the scrubbing and polishing could remove the stain of her sins. She rarely spoke to my mother, the tension between them palpable. The silence was toxic; I could feel it in my chest, like smog.

My mother was too proud, or perhaps too ashamed, to apologize; and my grandmother, I assume, was too aware that she lived in our house by the grace of my parents’ kindness.

After the arrest, my babcia was easily overcome by emotion. Sometimes the cause of a breakdown seemed trivial. Once, I heard my father ask her what was going on with the towels—why were they so rough, shouldn’t she be using fabric softener? My grandmother made a strange gulping sound and walked out of the kitchen. I found her downstairs, crying as she stood beside the washing machine. “He treats me like a servant,” she said. “Your mother, too.”

A moment after her outburst, she wiped her eyes and began to defend my father: “I know he works hard. I know he didn’t mean it.” She was petting my face now, in an effort to distract me from her brush with honesty.

I understood then that there was a warning here. It seemed that if you didn’t express yourself you ended up a prisoner. And, though you might blame others for this, in truth the jailer was yourself. I was a prisoner, too. There were many things I couldn’t bear to say; instead, I buried them in notebooks. I was a coward, and my silence, like my grandmother’s, had a lot to do with shame.

No one in the house was speaking honestly. We went about our days, as before, but all of us were just pretending things were fine. Every time the phone rang, I could see the worry on my father’s face.

But, as the months passed and nothing happened, life resumed its ease. My parents had even befriended a priest. My mother, who never cooked, once spent a whole afternoon making cream puffs before he came to visit. I watched, disgusted, as he ate five, then six, then seven. I counted, of course, and later wrote the number in my notebook.

The priest wasn’t from our church; I’m not sure where my parents met him—maybe at a party. In addition to having a sweet tooth, he drank a lot of wine, and his smile was often counterfeit; I could tell by the way his eyes failed to participate.

My grandmothers, however, seemed charmed by him. When my babcia asked him to bless the house, he happily obliged, using a tiny vial of holy water. I recall feeling upstaged; apparently my own rituals were no longer sufficient to insure our safety.

Sometimes I wondered why I was working so hard. The worst had happened and my family had survived. Perhaps I could learn to resist the tyranny of my compulsions. Slowly, I let down my guard. When I tapped the maple leaves now, it was out of habit rather than as an obsessive act of magic. My grandmothers became less vigilant, too. Every so often, I would notice that, in one of their bedrooms, no candle was burning. Even today, I blame this laxness for what was yet to happen.

About two years later, I was sitting at the dinner table with my family when suddenly my brother began to cry. The moment was disorienting because my brother rarely shed a tear.

My father seemed more annoyed than sympathetic. “What?” he said.

Finally, my brother looked up. “Are you selling the house?” he asked.

My father was scowling now. “What are you talking about?”

When my brother spoke again, his words came out in jagged, breathless shards—something about a kid at school, something the kid’s mother had read in the newspaper.

Apparently, there was a notice in the paper that our house was up for sale. “Don’t be ridiculous,” my mother said. My father added, “Your friend is full of shit.”

My father didn’t rush through dinner, which calmed us. But, afterward, he got up and went into the living room, sat in his easy chair, and unfolded the local paper, where he learned that what my brother had said was true. Our house was to be auctioned off at the end of the month—not by my father but by the county sheriff.

I’m not sure what happened next; there’s a gap in my memory. Certainly, there must have been an argument, accusations, apologies. I have a vague recollection of my mother saying something about “a mistake.” My memory wakes up a few days later. My parents are whispering in the kitchen. And then the whispering turns to shouting. My mother, defending herself, sounds like an unrepentant child: “It’s not my fault!”

I later came to understand that for nearly a year my mother had failed to make the mortgage payments. She’d also secured a line of credit against the equity, and it seemed that my father’s signature on this loan was forged.

The money, most likely, had gone toward more of my mother’s prayers—numbers and horses and blackjack. “I was almost there,” she said once, her martyred eyes looking toward the ceiling. If there was sadness, it didn’t appear to be about what she’d done; it seemed to be about the fact that her magic had failed her.

My father had a new voice now, hammering, unkind; he had no patience for any of us. I was often afraid to talk to him. My father says he doesn’t recall this part of our life; other times he actively denies his aggressive behavior. My brother denies it, too. But I clearly remember the way my father would suddenly turn violent. “Get on my bed!” he’d scream, marching us toward his room. I’d hear the jangle of buckles as he opened the door to his armoire, inside of which his belts hung. I knew my father was taking things out on us that he’d never take out on my mother. Although he yelled at her, he never struck her. Some days, I feared that if my father did not whip my brother and me he might end up killing our mother.

Discipline became the doctrine of the house. There were new rules, new lines my brother and I had to be careful not to cross. When my father saw me in a ripped T-shirt I’d let dangle off one shoulder, he said I looked like a pansy. I tried to defend myself, saying the shirt had come that way and the rips were part of the style.

“Are they?” my father said. He walked toward me, grabbed the collar of my shirt, and proceeded to rip it further. In my memory, this assault feels more terrible than the whippings. I am flayed, ridiculed, reduced.

Everything about my presence seemed to irritate him. Noise was a particular issue—the volume of the television, the way I closed a cabinet, the clamor of my laughter. Of course, my father’s voice wasn’t subject to such rules. During one particularly loud argument between my parents, my grandfather lumbered up the stairs—I assumed to defend his daughter. But, instead, he joined my father and began to shout at her: “What are we supposed to do, girl? Live on the fucking street?” As he turned to go back downstairs, his grumbled invectives descended, too, into his dark Neapolitan dialect.

Later that night, I heard my father crying. The sound jerked out of him in strange squeaks, as if someone were wiping a mirror. My grandmothers, in their rooms, were crying, too.

Despite the chaos of those weeks, my father came up with a plan. He talked to relatives, friends, colleagues, and, though it must have pained him to do so, he asked each of them for a loan, any amount they could spare. Some folks could offer only a few hundred bucks, but others gave more. My mother said she could borrow a little money, too, but my father, suspicious of her sources, said no.

My mother was no longer herself. A few days after we learned about the loss of the house, she cut her hair. She now had a short, dense bristle, almost mannish. She looked like a thug, or a Buddhist nun. It was hard to understand if her new style was an act of aggression or of renunciation. While my father made frantic telephone calls, my mother was often pacing in the back yard, smoking cigarettes.

Sometimes, through a window, I’d watch her; if she spotted me, she’d offer a little wave, shake her head. I always thought she was saying, “Leave me alone, go away.” But now I think perhaps she was trying to tell me something else, the same thing she kept saying to me when she lay dying: “I’m sorry, baby.”

My father kept track of his loans in a ledger, which he stored in the bottom drawer of his armoire. Before the auction was held, he managed to borrow enough to save the house—though what should have been a triumph felt more like a funeral. My father was pale, his features frozen.

As the years passed, he’d pay off what he could. At the end of every week, he’d place his hard-earned cash in envelopes, many of which he’d hand-deliver, in increments of ten or twenty dollars. All accounting went into the ledger. My father’s penmanship was like a child’s; he wrote in print, having never learned cursive. When I finally left for college, he was no longer the slim, fit man he’d been in his youth. His hair had thinned, then grayed. I didn’t recognize him.

It was the same with my mother. She was a mystery to me, her undeniable generosity chafing against the fact that she was willing to risk everything our family had.

Ultimately, my father made good on all his debts. When I asked him once how long it took, he said, “Years! I wanted to strangle your mother. But I always knew what I was getting into. Your mother was trouble from the start.” Even as he said this, though, I could see the smile held in check.

By the time my father had paid everyone back, he and my mother appeared to have made peace with each other. I’d moved to Arizona, but when I came to visit for the holidays I’d notice my parents laughing together, and sometimes I’d see them kiss. My father didn’t even seem to mind when my mother said she wanted to take a trip to Las Vegas with some of her cousins.

I flew out from Tucson to meet her. I wasn’t a gambler, but, still, I enjoyed watching her at the blackjack table, with her short blond perm, a Scotch-and-soda sweating in her hand. Whenever she won—not often—her shout was loud, and always directed upward, as if to the invisible ones who’d facilitated her good fortune.

My mother seemed happy again—but soon after turning sixty she was diagnosed with breast cancer. Once the treatments began, she had very little energy. There were no more visits to Las Vegas. My father told her to quit her waitressing job, but she said, “How can I?” The medical bills were piling up.

By then, I was determined to make my living as a writer—and though most of my family, especially my father, didn’t seem to understand my ambitions, I could tell my mother did. Now that she was no longer gambling, she began to put all her chips on me. When I won my first literary award, she threw a party that clearly cost more than the amount of the small cash prize I’d received.

“Risk everything” had always been her motto. And she seemed to understand that this was exactly what I was doing in choosing to become an artist.

Late into her illness, I began writing my first novel. After she learned I was dedicating it to her, she always referred to it as “our book.” “What’s going on with our book?” she’d say. “How much are they giving us?”

“It hasn’t sold yet,” I had to keep telling her.

“It will, baby.” I could feel her shaking the dice in her hands.

The book sold a month after she died, on her birthday. I didn’t get a fortune, but it was more money than I’d ever made in my life, and surely more than my mother had ever won at any of her games. It was hard not to feel superstitious—that my luck was somehow related to her.

Lately, I can see my mother clearly. I can see her sitting at the kitchen table with her shining tower of hair, playing cards or placing bets. Despite all the darkness and loss that was to come, I can glimpse the romance behind her schemes. And so I often think of my own work as a bet I’m placing for her.

Let’s do it , Mom. Let’s win . ♦

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Anxious in Beirut: Capturing a city’s struggle for survival

Living with constant anxiety in Lebanon, Zakaria Jaber documents the revolution, COVID-19 and the Beirut port explosion over three years.

In the ever-present desire to capture, record and understand Beirut – and by extension himself – director Zakaria Jaber has been trying to tell a coherent story of his city. Towards the end of 2019, the situation in Lebanon led to a continuous barrage that helped materialise the story of Beirut, and its culmination in a series of events in fluctuating climaxes. Anxious in Beirut is Zakaria’s personal diary that documents these events – the revolution, destruction and demonstrations. These events, which have happened before and will happen again, are part of the cyclical nature of this city. The differing details only give rise to new observable symptoms and new forms of necessary adaptability, to an older more inherent systemic problem. Anxious in Beirut is a documentary film by Zakaria Jaber.

• Secondary School

10 line french essay on my friend for boys

Mon meilleur ami s'appelle Jean. Il a 14 ans et il est en classe de troisième. Il est grand et mince, avec les cheveux bruns et les yeux bleus. Il est très drôle et il a toujours le sourire aux lèvres. Jean est aussi très intelligent et il adore l'école. Il est toujours le premier de sa classe et il a gagné de nombreux prix. Jean est un ami très fidèle et il est toujours là pour moi quand j'ai besoin de lui. Je suis très heureux de l'avoir comme ami.

My best friend's name is Jean. He is 14 years old and he is in the third grade. He is tall and thin, with brown hair and blue eyes. He is very funny and he always has a smile on his face. Jean is also very intelligent and he loves school. He is always the first in his class and he has won many awards. Jean is a very loyal friend and he is always there for me when I need him. I am very happy to have him as a friend.

New questions in French

My wife isn't 'just' a stepmom to my son. He sees her as his other mom.

• My wife has been in my son's life since he was 6 years old.
• She has taken on a parental role, stepping in whenever I need extra help.
• Even though she's his stepmom, my son considers her his other mom.

After Vice President Kamala Harris announced she was running for president, one criticism lobbed against her was that she is not a parent because she has never given birth to children. But she is the stepmother to her husband Doug Emhoff's two children.

Like Harris, my wife is a stepmother to my son.

I am no longer in a relationship with his father and have been in a new relationship for four years. My wife came into my son's life when he was 6 years old and quickly stepped into a parental role. It was a role she enthusiastically took on.

Although she didn't give birth to my son, my wife is absolutely his second mother.

My son and wife's relationship started friendly

My wife didn't immediately take an authoritative role or force him to treat her like a parent. At first, she was more like a grown-up friend — someone he knew he needed to respect, but someone who would take him on drives to get ice cream or let him pretend to drive her car while I was inside the grocery store.

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I was worried about parenting with another person all the time. As the primary parent, I wasn't used to dividing parenting duties . My wife was aware of that and always deferred to me as the primary parent.

But the bond between my son and my wife was instant. He had never met someone I was dating before, but he liked her immediately.

My wife has taken on more responsibility as a stepmom

Over the last four years, she's taken on more parental responsibility but never tried to act like she was more of a parent than myself or my son's father. She is a bonus mom, someone there to kiss him goodnight , help him with his homework, and love him unconditionally.

During the pandemic, my wife volunteered to take the lead in helping my son with virtual school so I could focus on work. She created a schedule for him, made him lunch, and ensured he kept up with assignments. When the playgrounds opened, she would take him to play, armed with a backpack full of whatever was needed.

I have gone on several overnight trips , leaving the two of them alone together. My son doesn't even call or text me when I'm gone because he's having so much fun hanging out with my wife. I never have to worry about him; I know my wife will make sure he takes a bath and goes to bed on time.

There are days when I will ask her to tag in and do the bedtime routine because I'm working or want a break, and she does it without question. My son knows that if he needs something, he doesn't have to come to me all the time.

Seeing my wife willingly step into a parental role with my son has strengthened our relationship. I knew I loved her almost immediately after we met, but seeing how my son responded to her made me more secure in my decision.

Sometimes, she still refers to him as mine, and I always remind her that she's his mom, too. We do everything as a team: school meetings, performances, birthday parties . Everyone knows us as his two moms, and there's no one else I could imagine doing this with.

My son now sees my wife as the missing piece to our family puzzle. He proudly claims her as his other mom.

"You're my mom too," my son will say when my wife calls herself his stepmom. He made that decision. My wife never wanted to force a close relationship on him, but he pushed for it.

Media has warped the perception of stepmoms

Popular media depictions of stepmoms are largely negative. The common trope is that they're evil.

For example, you have characters like Meredith Blake in the Lindsay Lohan version of "The Parent Trap," the Baroness von Schraeder in " The Sound of Music ," and, of course, the prototype: Cinderella's Evil Stepmother.

These women are always seen as temptresses who come in and seduce the father into marrying them before revealing they intend to get rid of his daughter so that she will be the only woman in his life.

Maybe there are stepmoms out there who fit this description, but by and large, stepmoms are there to be whoever their step kids want them to be.

I know that's exactly the role my wife plays, and my son and I are all the more lucky for it.

Watch: Why one mother fled Texas to keep her child safe

• Main content

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Book Club: Read ‘My Brilliant Friend’ With the Book Review

In August, the Book Review Book Club will read and discuss “My Brilliant Friend,” the first book in Elena Ferrante’s Neapolitan quartet.

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By MJ Franklin

MJ Franklin is an editor at the Book Review.

Welcome to the Book Review Book Club. Every month, we select a book to discuss on our podcast and with our readers. Please leave your thoughts on this month’s book in this article’s comments. And be sure to check out some of our past conversations, including ones about “James,” by Percival Everett , and “The Talented Mr. Ripley,” by Patricia Highsmith .

This July, The New York Times Book Review published a list of The 100 Best Books of the 21st Century , chosen by 503 literary luminaries. The No. 1 book was “My Brilliant Friend,” by Elena Ferrante, translated by Ann Goldstein.

“Reading this uncompromising, unforgettable novel is like riding a bike on gravel: It’s gritty and slippery and nerve-racking, all at the same time,” the Book Review said. And it wasn’t just critics and writers who loved the book; readers admired it too. The novel came in at No. 8 in our readers’ choice list .

The book is the first novel in Ferrante’s so-called Neapolitan quartet, which tracks the lifelong friendship between Lenù and Lila, two women from a rough neighborhood in Naples, Italy. Lenù, our narrator, is the dutiful and studious daughter of a porter. Lila is the bold and fearsome daughter of a shoemaker. “My Brilliant Friend” covers Lenù and Lila’s childhood and adolescence, showing how from their earliest encounter they develop a deep and pivotal friendship, even as family, relationships and work pull their lives in different directions.

Given the enduring love of the book and its place on the 100 Best Books of the 21st Century list, in August we’re reading “My Brilliant Friend” for the Book Review Book Club. We’ll be chatting about the novel on the Book Review podcast that airs Aug. 23. We’d love for you to join the conversation. Share your thoughts about the novel in the comments section of this article by Aug. 19, and we may mention your observations in the episode.

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