Reflective essay examples: six annotated samples and how to write one

Six original reflective essays: a full personal essay, Gibbs, What? So what? Now what? and 5R reflections, a course and a book reflection, with notes on each.

By Strokes Team · · Students · 14 min read

Key takeaways

  • A reflection makes three moves: describe the moment, interpret what you thought then and why, revise with what you understand now. Weak ones stop after the first and attach a moral.
  • Pick a moment, not a period, and write one sentence about what you believed at the time before drafting. If that then-view matches your now-view, you have a story without a reflection.
  • Use the past tense for events and the present for what you understand now. The switch in tense is often where the story turns into reflection.
  • Highlight description in one color and reflection in another. If description wins, cut the story, not the thinking: the reflection is the argument and gets most of the words.
A man in a dark green jumper at a lamplit desk at night, head in one hand and a glass in the other, an open notebook and pen in front of him among crumpled drafts, a decanter, a dog asleep at his elbow and a domed city lit up in the window.
A reflective essay tells what happened, then looks at it again. The second look is the essay.
On this page
  1. What makes an essay reflective
  2. Full example: a personal reflective essay
  3. Examples built on reflective models
  4. Course and reading reflections
  5. Description versus reflection
  6. Published reflective essays to read
  7. How to write a reflective essay
  8. Drafting a reflection in Strokes
  9. Frequently asked questions

A reflective essay looks back at an experience and explains what it changed: what you thought then, what you understand now, and what closed the gap. The story is evidence. The reflection is the argument, and it gets most of the words.

Below are six original examples: a full personal essay with notes on each paragraph, three reflections built on the models that courses and placements ask for (Gibbs’ Reflective Cycle, What? So what? Now what?, and the 5R framework), an end-of-course reflection and a reflection on a book. After them, the same moment written three ways, from description to real reflection, and a method for writing your own.

What makes an essay reflective

Reflective, narrative and argumentative essays can all start from the same afternoon. What differs is where the weight falls.

Essay typeBuilds towardThe question behind it
Essay typeNarrativeBuilds towardWhat happenedThe question behind itWhat was it like?
Essay typeReflectiveBuilds towardWhat it meant, and how your view changedThe question behind itWhat do I understand now that I didn’t then?
Essay typeArgumentativeBuilds towardA claim about the worldThe question behind itWhat should the reader believe or do?
The same experience can serve any of the three. The reflective version spends the least time on plot.

A reflective essay makes three moves, in some order. It describes the moment in enough concrete detail that a reader can see it. It interprets what the writer thought, felt or assumed at the time, and why. And it revises: what the writer understands now, and what they would do or see differently. Most weak reflections stop after the first move and attach a moral.

Write in the first person. Use the past tense for events and the present for what you understand now. That switch in tense is often exactly where the story turns into reflection, and you can see it happen in most of the samples here. The tone can be personal without being casual: no slang in academic or professional reflections.

Full example: a personal reflective essay

The prompt, typical of a first-year writing course: reflect on an experience that changed how you see other people. The essay runs just under 500 words.

Sample essay: The Returns Desk

The man set a cordless drill on the counter as if it had insulted him. “It doesn’t work,” he said. I tested it. It worked. He watched me pull the trigger twice and said again, “It doesn’t work,” and I remember thinking, with the confidence of a seventeen-year-old who had held the job for nine days, that he was either lying or confused.

That summer I worked the returns desk at a hardware store two exits from my house. The job came with a scanner, a binder of policies and one rule from my manager, Denise: refund what the policy allows, refuse what it doesn’t, and don’t argue. For the first weeks I treated every return as a test of that rule. A drill that worked was a drill that didn’t qualify. I said no politely and felt efficient.

The change came from a woman returning forty dollars of floor tile. She had the receipt, so there was nothing to decide, but while I counted the boxes she told me the tile was for her mother’s bathroom, and her mother had moved into assisted living the week before. She wasn’t returning tile. She was returning a plan. After that I heard it everywhere: paint that was the wrong blue for a nursery, a hose for a garden that never got dug, a drill bought for a shelf someone had meant to build. The objects were fine. The plans had failed, and my counter was where people came to say so out loud. I think now that the man with the drill was one of them. “It doesn’t work” was the only sentence he had for a project that had gone wrong, and I had answered the sentence instead of the person.

I don’t want to make the returns desk into more than it was. Most returns were wrong sizes and duplicate purchases, and the policy still decided them. But I stopped treating “it doesn’t work” as a claim to disprove and started asking what the thing was for. Sometimes the answer changed nothing. Sometimes it turned a refusal into an exchange for the right part, which was what the customer had wanted all along. In August Denise asked why my exchanges had gone up and my complaints had gone down. I said I was asking more questions, which was true but not the whole answer.

The whole answer is that I had confused being right with being useful. I was right about the drill. Being right let me end the conversation, and ending it was what I wanted, because I was seventeen and the line was long. I still catch myself doing it with my roommate, with group project partners, even with my own drafts: answering the sentence instead of the person. The returns desk didn’t cure that. It gave me a question to ask first. What was this for?

Original example. People and places are invented.

What each paragraph does

  • Opening. It starts in the middle of the scene and states the writer’s judgment at the time (“lying or confused”), so the later change is visible.
  • Context. The job, the rule and how the writer applied it. Nothing the reflection doesn’t use.
  • The turn. A specific person and detail change the writer’s reading. The insight arrives as an image, “returning a plan,” before it arrives as a statement.
  • The limit. “I don’t want to make the returns desk into more than it was” earns trust. Claims of total transformation read as performed.
  • Conclusion. The insight in one plain sentence, evidence that it still applies, and a question instead of a lesson.

Examples built on reflective models

Nursing, teaching, social work and many university courses ask for structured reflection, often on a placement or project. A reflective model supplies the headings and makes sure you get past description. Here are three common ones.

ModelStagesGood for
ModelGibbs’ Reflective Cycle (Gibbs, 1988)StagesDescription, Feelings, Evaluation, Analysis, Conclusion, Action planGood forOne incident where your feelings shaped what you did
ModelWhat? So what? Now what? (Borton, 1970; Driscoll, 1994)StagesWhat? So what? Now what?Good forShort or regular reflections: volunteering, weekly journals, group work
Model5R framework (Bain et al., 2002)StagesReporting, Responding, Relating, Reasoning, ReconstructingGood forLinking an experience to earlier ones and to theory
Your course may name another, such as CARL (context, action, results, learning) or the four F’s (facts, feelings, findings, future). Use the one in your brief.

Nursing placement: Gibbs’ Reflective Cycle

Graham Gibbs set out the cycle in Learning by Doing (1988), a guide to teaching and learning methods from Oxford Polytechnic’s Further Education Unit. Its six stages often become the headings of a placement reflection. A real one follows your program’s length and confidentiality rules.

Gibbs reflection: a handover I rushed

Description. In the second week of my surgical placement, I gave the verbal handover at the end of a late shift. I was running late, read through observations quickly and did not mention that Mrs. A had refused her evening meal and seemed more confused than in the morning. The night nurse found out when Mrs. A tried to get out of bed alone at 2 a.m.

Feelings. At the time I felt relieved to be done. When my mentor raised it the next day, I felt embarrassed, then defensive: I had recorded the change in the notes, so I told myself I hadn’t really left it out.

Evaluation. My written notes were accurate and timed. My verbal handover, which is what the night staff act on in their first hour, did not match them. The information existed but did not travel.

Analysis. I rushed because I treated handover as the end of my shift rather than the start of someone else’s. I also went through each patient in the same order, routine observations first, so a change from baseline was buried among normal readings. And I was reluctant to sound alarmed about a change I wasn’t sure of, so I let the notes say it for me. Structured handover tools such as SBAR (situation, background, assessment, recommendation) exist partly for this reason: they put what has changed first.

Conclusion. Accurate notes do not replace saying the important thing out loud. In my handover, the most important item came last or not at all.

Action plan. For the rest of this placement I will write three lines per patient before handover, starting with any change since the morning, and ask my mentor to listen to one handover a week and tell me what she would have wanted to hear first.

Original example. The patient is anonymized and the details invented.

Why it works. Analysis is the longest stage, as it should be. The feelings stage admits a defensive reaction instead of claiming instant insight, and the action plan is specific enough that someone could check whether it happened.

Volunteering: What? So what? Now what?

These three questions come from the educator Terry Borton (1970) and were developed into a reflective model by Driscoll (1994). They suit short pieces, such as a weekly service-learning journal or a page after a group project.

Homework club: What? So what? Now what?

What? I volunteer two afternoons a week at a library homework club for children aged eight to eleven. On Tuesday a fourth grader, Leo, refused to start a page of subtraction word problems. I explained borrowing three times. He put his head on the table, and I left feeling I had failed him.

So what? I explained the method three times and never asked what he already knew. When the coordinator sat with him later, she asked him to do the first problem out loud, and he could borrow fine. He was stuck on reading the word problems. I had been solving the problem I was comfortable with, the math, instead of the one in front of me. It also explains my frustration: repeating an explanation feels like effort, so I assumed it was the right kind of effort.

Now what? Before I explain anything, I will ask the student to try the first item out loud and show me where it gets hard. When a worksheet’s reading level seems to be the obstacle, I will tell the coordinator, who can find another.

Original example. Names are invented.

Why it works. “So what?” does the real work. It revises the writer’s first reading of the afternoon and turns the reflection on the writer’s own habit.

Student teaching: the 5R framework

Bain and colleagues set out the 5R framework in 2002, in a study of how student teachers reflect on practice. Its middle steps, relating and reasoning, push you to connect an experience to what you already know and to theory.

5R reflection: a gallery walk that drifted

Reporting. In my third week of student teaching I ran a gallery walk for a ninth-grade lesson on persuasive techniques: six ads around the room, groups rotating every five minutes to label them. By the third rotation most groups were talking about the weekend.

Responding. I raised my voice to restart the rotations, which worked for about a minute. Afterward I was frustrated with the class, then with myself for being frustrated with fourteen-year-olds for acting fourteen.

Relating. This was the second group activity of mine that had drifted, and both times every station asked the same question. In my own high school classes, stations only held my attention when each one asked something new.

Reasoning. With the same task at every station, groups had nothing new to do after the second rotation. My cooperating teacher pointed out that there was no product to hand in, so no reason to finish. I had assumed interest would carry the activity. The structure needed to.

Reconstructing. Next time each station will ask a different question, groups will add to a shared sheet so the last group reads everyone’s answers, and the lesson will end with a two-minute exit ticket. I will try the revised version with my second-period class next week and compare.

Original example.

Course and reading reflections

End-of-course reflection

Many writing courses close with a portfolio and a reflective essay or letter about your own growth. The best ones use your drafts as evidence, the way an analysis uses quotations.

Course reflection: what I learned about revision

In September I thought revision meant fixing commas. My first draft of the argument essay on school start times came back with a comment I didn’t understand: “Your best point is on page four.” I moved one sentence and resubmitted. It wasn’t until the October peer workshop, when Priya summarized my essay back to me and got it wrong, that I saw the problem. She hadn’t been careless. My argument really was buried under three paragraphs of background.

Comparing my first and final drafts now, the biggest change is not any sentence but the order. The final draft opens with the claim that used to sit on page four and cuts the background to one paragraph. I don’t think I am a good reviser yet. I still resist cutting what I worked hard on, and my second essay shows it. But I no longer think of revision as cleanup. It is where I find out what I meant.

Original example.

Why it works. It quotes the teacher’s comment, compares two drafts and names a weakness that remains. A course reflection that claims the writer has mastered everything is less convincing, and usually less true.

Reflecting on a book

Some classes ask for a reflective response to a text rather than an analysis. An analysis argues about the book. A reflection argues about what the book did to your thinking. This one is on Mary Shelley’s Frankenstein (1818).

Reading reflection: Frankenstein

I expected a monster story, because that is what Frankenstein is in every Halloween aisle. What I found was a book about a parent who runs away. Victor works “for nearly two years” to bring the creature to life, then rushes out of the room almost as soon as it opens its eyes. When the creature tells his own story in the middle of the novel, describing how he learned to speak by watching a family through a gap in a cottage wall, I found myself on his side, and that unsettled me. I had arrived ready to judge him by how he looked, which is exactly what every character in the book does. I notice now how quickly I use the word “monster” for people whose story I haven’t heard. The novel doesn’t let Victor off the hook, and it didn’t let me off either.

Original example. Quotation from Mary Shelley, Frankenstein (1818).

Description versus reflection

A first draft usually reports more than it reflects. Here is the same moment, a group presentation where one member didn’t show up, written three ways.

Three versions of the same moment

Descriptive: Our group presentation was on Thursday. Marcus didn’t come, so I had to present his slides. I didn’t know the material and we got a C. It was very stressful, and I learned the importance of teamwork.
All story, then a lesson in a stock phrase.

Shallow: When Marcus didn’t show up, I was angry, because I had done my part and now my grade depended on him. I learned that you can’t always rely on other people, so next time I will do more of the work myself.
Names a feeling and a lesson, but the lesson is the first thought anyone would have, and it never questions the writer’s own role.

Reflective: When Marcus didn’t show up, my first thought was that he had let us down. It took me a week to admit we had let him down first. We split the slides by topic, and he got the statistics section because nobody else wanted it. No one asked whether he understood it. He told me later he had been stuck for days and too embarrassed to say so. The group didn’t fail because one person disappeared. It failed because we divided the work without checking that everyone could do their share, and I was the one who proposed dividing it. Next time I would keep the split but add a check-in halfway, where each of us explains our part to the others.
Revises the first reading, finds a cause, accepts some of the blame and ends with a specific change.

Original example.

When you get stuck at the turn, these openings force a second look:

  • At the time I thought… Now I think…
  • What I didn’t notice then was…
  • I assumed… because…
  • The detail I keep coming back to is…
  • I’m less sure than I was that…
  • This connects to… (a reading, a theory, an earlier experience)
  • What I still don’t understand is…

Use them to draft, then cut most of them in revision. A finished reflection rarely needs to announce itself.

Published reflective essays to read

The form is old. Michel de Montaigne’s Essais (first published in 1580) gave it its name: an essai is an attempt, a trial. He thinks on the page, changes his mind and says so, which is still a fair description of reflection.

A reason stated before the experience

I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.

Henry David Thoreau, Walden (1854), from “Where I Lived, and What I Lived For”

Thoreau states his purpose before the experience, and the rest of Walden tests it. Two modern essays are worth finding in an anthology or library:

  • E. B. White, “Once More to the Lake” (1941). White takes his son to the Maine lake of his childhood and keeps feeling that he has become his father and his son has become him. The essay stays in scene until the last sentence turns that confusion into a sense of his own mortality.
  • Joan Didion, “On Keeping a Notebook” (1966). Collected in Slouching Towards Bethlehem (1968). Didion asks why she writes down what she does and decides her notebook records how things felt to her more than what happened: a model for reflecting on a habit rather than an event.

How to write a reflective essay

  1. Pick a moment, not a period

    One afternoon, one conversation, one decision. “My semester abroad” is too big. “The night I got lost and was too proud to ask for directions” is an essay.

  2. Write down what you believed then

    Before drafting, write one sentence about what you thought at the time. If you can’t find a then-view that differs from your now-view, you may have a story without a reflection. Pick another moment.

  3. Draft the scene quickly and keep it short

    Give the reader enough to see it: names, objects, one line of dialogue. Show rather than tell here, because the concrete details are your evidence later.

  4. Find the turn

    Name the detail, person or event that changed how you read the moment. It usually belongs in the middle of the essay, and it is the paragraph to spend the most time on.

  5. Ask why, then why again

    Why did you think what you thought? Why did it change? What does it connect to: a later experience, a reading, a theory from the course? For a structured assignment, these answers fill the analysis or reasoning stage of your model.

  6. End with what is different now

    A specific change in what you do, or an honest question you still have. Avoid “This experience taught me the importance of…”, which tells the reader you have nothing more specific.

  7. Revise for balance

    Highlight description in one color and reflection in another. If the first color wins, cut the story, not the thinking.

This outline fits most personal and course reflections. For a blank version you can fill in, use the essay outline template, and for the difference in shape between a story and a reflection, compare these with our narrative essay examples.

Reflective essay outline

Introduction
  Open in the moment, or with what you believed then
  One or two sentences of context
  The tension or question the essay explores

Body
  What happened (brief, concrete)
  The turn: the detail, person or event that changed your reading
  What it means: why you thought what you did, what you think now
  Optional: a connection to a later experience, a reading or a theory

Conclusion
  What is different now, specifically
  What is still unresolved, if anything

Reflection

  • One moment, examined closely
  • A then-view and a now-view that differ
  • Concrete details used as evidence
  • Admitting what you got wrong or still don’t know
  • A specific change or open question at the end

Description with a moral

  • A whole season summarized
  • Feelings named but never explained
  • A neat transformation with no doubts
  • A lesson anyone could predict from the title

If you keep a journal, it is the best source of material you have: entries written at the time preserve the then-view that memory quietly edits. Our guide on how to start journaling covers the habit.

Drafting a reflection in Strokes

Two features in Strokes suit reflective writing. Its version history saves drafts as you go, so for a course reflection you can preview your first draft with the changes marked and quote your own revisions as evidence. And you can add a draft to an AI Assistant chat and ask questions that test the reflection rather than write it: “Which paragraphs only describe what happened?” or “Where do I state a lesson without showing what changed my mind?” Check your school’s rules on AI before using any assistant on graded work.

Frequently asked questions

How long is a reflective essay?

As long as the assignment says. Many class reflective essays run roughly 500 to 1,000 words, and a reflection inside a placement portfolio can be shorter. Whatever the length, keep the description brief and give most of the words to what the experience means.

Can I use “I” in a reflective essay?

Yes. Reflective writing is written in the first person. In academic and professional reflections, keep the register formal: no slang, full sentences, and the same care with evidence you would take in any other essay.

What is the difference between a reflective essay and a narrative essay?

A narrative essay builds toward what happened and how it felt. A reflective essay builds toward what it meant and how your understanding changed. A narrative can end at the climax. A reflection is only getting started there.

Does a reflective essay need a thesis?

It needs a point. Academic reflective essays usually state it in the introduction. Personal reflective essays often let it emerge, naming the insight plainly near the end. Follow your assignment if it asks for a thesis statement.

Do I need sources in a reflective essay?

Personal reflections usually don’t. Course and professional reflections often expect you to connect your experience to course readings or theory, cited in the style your program uses. The 5R framework’s reasoning stage and Gibbs’ analysis stage are where those references go.

Read next

The AI-native editor built for creativity, content, and work