can you use we'll in an essay

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How To Avoid Using “We,” “You,” And “I” in an Essay

• Posted on October 27, 2022 October 27, 2022

Maintaining a formal voice while writing academic essays and papers is essential to sound objective. 

One of the main rules of academic or formal writing is to avoid first-person pronouns like “we,” “you,” and “I.” These words pull focus away from the topic and shift it to the speaker – the opposite of your goal.

While it may seem difficult at first, some tricks can help you avoid personal language and keep a professional tone.

Let’s learn how to avoid using “we” in an essay.

What Is a Personal Pronoun?

Pronouns are words used to refer to a noun indirectly. Examples include “he,” “his,” “her,” and “hers.” Any time you refer to a noun – whether a person, object, or animal – without using its name, you use a pronoun.

Personal pronouns are a type of pronoun. A personal pronoun is a pronoun you use whenever you directly refer to the subject of the sentence. 

Take the following short paragraph as an example:

“Mr. Smith told the class yesterday to work on our essays. Mr. Smith also said that Mr. Smith lost Mr. Smith’s laptop in the lunchroom.”

The above sentence contains no pronouns at all. There are three places where you would insert a pronoun, but only two where you would put a personal pronoun. See the revised sentence below:

“Mr. Smith told the class yesterday to work on our essays. He also said that he lost his laptop in the lunchroom.”

“He” is a personal pronoun because we are talking directly about Mr. Smith. “His” is not a personal pronoun (it’s a possessive pronoun) because we are not speaking directly about Mr. Smith. Rather, we are talking about Mr. Smith’s laptop.

If later on you talk about Mr. Smith’s laptop, you may say:

“Mr. Smith found it in his car, not the lunchroom!” 

In this case, “it” is a personal pronoun because in this point of view we are making a reference to the laptop directly and not as something owned by Mr. Smith.

Why Avoid Personal Pronouns in Essay Writing

We’re teaching you how to avoid using “I” in writing, but why is this necessary? Academic writing aims to focus on a clear topic, sound objective, and paint the writer as a source of authority. Word choice can significantly impact your success in achieving these goals.

Writing that uses personal pronouns can unintentionally shift the reader’s focus onto the writer, pulling their focus away from the topic at hand.

Personal pronouns may also make your work seem less objective. 

One of the most challenging parts of essay writing is learning which words to avoid and how to avoid them. Fortunately, following a few simple tricks, you can master the English Language and write like a pro in no time.

Alternatives To Using Personal Pronouns

How to not use “I” in a paper? What are the alternatives? There are many ways to avoid the use of personal pronouns in academic writing. By shifting your word choice and sentence structure, you can keep the overall meaning of your sentences while re-shaping your tone.

Utilize Passive Voice

In conventional writing, students are taught to avoid the passive voice as much as possible, but it can be an excellent way to avoid first-person pronouns in academic writing.

You can use the passive voice to avoid using pronouns. Take this sentence, for example:

“ We used 150 ml of HCl for the experiment.”

Instead of using “we” and the active voice, you can use a passive voice without a pronoun. The sentence above becomes:

“150 ml of HCl were used for the experiment.” 

Using the passive voice removes your team from the experiment and makes your work sound more objective.

Take a Third-Person Perspective

Another answer to “how to avoid using ‘we’ in an essay?” is the use of a third-person perspective. Changing the perspective is a good way to take first-person pronouns out of a sentence. A third-person point of view will not use any first-person pronouns because the information is not given from the speaker’s perspective.

A third-person sentence is spoken entirely about the subject where the speaker is outside of the sentence.

Take a look at the sentence below:

“In this article you will learn about formal writing.”

The perspective in that sentence is second person, and it uses the personal pronoun “you.” You can change this sentence to sound more objective by using third-person pronouns:

“In this article the reader will learn about formal writing.”

The use of a third-person point of view makes the second sentence sound more academic and confident. Second-person pronouns, like those used in the first sentence, sound less formal and objective.

Be Specific With Word Choice

You can avoid first-personal pronouns by choosing your words carefully. Often, you may find that you are inserting unnecessary nouns into your work. 

Take the following sentence as an example:

“ My research shows the students did poorly on the test.”

In this case, the first-person pronoun ‘my’ can be entirely cut out from the sentence. It then becomes:

“Research shows the students did poorly on the test.”

The second sentence is more succinct and sounds more authoritative without changing the sentence structure.

You should also make sure to watch out for the improper use of adverbs and nouns. Being careful with your word choice regarding nouns, adverbs, verbs, and adjectives can help mitigate your use of personal pronouns. 

“They bravely started the French revolution in 1789.” 

While this sentence might be fine in a story about the revolution, an essay or academic piece should only focus on the facts. The world ‘bravely’ is a good indicator that you are inserting unnecessary personal pronouns into your work.

We can revise this sentence into:

“The French revolution started in 1789.” 

Avoid adverbs (adjectives that describe verbs), and you will find that you avoid personal pronouns by default.

Closing Thoughts

In academic writing, It is crucial to sound objective and focus on the topic. Using personal pronouns pulls the focus away from the subject and makes writing sound subjective.

Hopefully, this article has helped you learn how to avoid using “we” in an essay.

When working on any formal writing assignment, avoid personal pronouns and informal language as much as possible.

While getting the hang of academic writing, you will likely make some mistakes, so revising is vital. Always double-check for personal pronouns, plagiarism , spelling mistakes, and correctly cited pieces. 

 You can prevent and correct mistakes using a plagiarism checker at any time, completely for free.

Quetext is a platform that helps you with all those tasks. Check out all resources that are available to you today.

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First-Person Pronouns

Use first-person pronouns in APA Style to describe your work as well as your personal reactions.

• If you are writing a paper by yourself, use the pronoun “I” to refer to yourself.
• If you are writing a paper with coauthors, use the pronoun “we” to refer yourself and your coauthors together.

Referring to yourself in the third person

Do not use the third person to refer to yourself. Writers are often tempted to do this as a way to sound more formal or scholarly; however, it can create ambiguity for readers about whether you or someone else performed an action.

Correct: I explored treatments for social anxiety.

Incorrect: The author explored treatments for social anxiety.

First-person pronouns are covered in the seventh edition APA Style manuals in the Publication Manual Section 4.16 and the Concise Guide Section 2.16

Editorial “we”

Also avoid the editorial “we” to refer to people in general.

Incorrect: We often worry about what other people think of us.

Instead, specify the meaning of “we”—do you mean other people in general, other people of your age, other students, other psychologists, other nurses, or some other group? The previous sentence can be clarified as follows:

Correct: As young adults, we often worry about what other people think of us. I explored my own experience of social anxiety...

When you use the first person to describe your own actions, readers clearly understand when you are writing about your own work and reactions versus those of other researchers.

Transitions

What this handout is about.

In this crazy, mixed-up world of ours, transitions glue our ideas and our essays together. This handout will introduce you to some useful transitional expressions and help you employ them effectively.

The function and importance of transitions

In both academic writing and professional writing, your goal is to convey information clearly and concisely, if not to convert the reader to your way of thinking. Transitions help you to achieve these goals by establishing logical connections between sentences, paragraphs, and sections of your papers. In other words, transitions tell readers what to do with the information you present to them. Whether single words, quick phrases, or full sentences, they function as signs that tell readers how to think about, organize, and react to old and new ideas as they read through what you have written.

Transitions signal relationships between ideas—relationships such as: “Another example coming up—stay alert!” or “Here’s an exception to my previous statement” or “Although this idea appears to be true, here’s the real story.” Basically, transitions provide the reader with directions for how to piece together your ideas into a logically coherent argument. Transitions are not just verbal decorations that embellish your paper by making it sound or read better. They are words with particular meanings that tell the reader to think and react in a particular way to your ideas. In providing the reader with these important cues, transitions help readers understand the logic of how your ideas fit together.

Signs that you might need to work on your transitions

How can you tell whether you need to work on your transitions? Here are some possible clues:

• Your instructor has written comments like “choppy,” “jumpy,” “abrupt,” “flow,” “need signposts,” or “how is this related?” on your papers.
• Your readers (instructors, friends, or classmates) tell you that they had trouble following your organization or train of thought.
• You tend to write the way you think—and your brain often jumps from one idea to another pretty quickly.
• You wrote your paper in several discrete “chunks” and then pasted them together.
• You are working on a group paper; the draft you are working on was created by pasting pieces of several people’s writing together.

Organization

Since the clarity and effectiveness of your transitions will depend greatly on how well you have organized your paper, you may want to evaluate your paper’s organization before you work on transitions. In the margins of your draft, summarize in a word or short phrase what each paragraph is about or how it fits into your analysis as a whole. This exercise should help you to see the order of and connection between your ideas more clearly.

If after doing this exercise you find that you still have difficulty linking your ideas together in a coherent fashion, your problem may not be with transitions but with organization. For help in this area (and a more thorough explanation of the “reverse outlining” technique described in the previous paragraph), please see the Writing Center’s handout on organization .

How transitions work

The organization of your written work includes two elements: (1) the order in which you have chosen to present the different parts of your discussion or argument, and (2) the relationships you construct between these parts. Transitions cannot substitute for good organization, but they can make your organization clearer and easier to follow. Take a look at the following example:

El Pais , a Latin American country, has a new democratic government after having been a dictatorship for many years. Assume that you want to argue that El Pais is not as democratic as the conventional view would have us believe.

One way to effectively organize your argument would be to present the conventional view and then to provide the reader with your critical response to this view. So, in Paragraph A you would enumerate all the reasons that someone might consider El Pais highly democratic, while in Paragraph B you would refute these points. The transition that would establish the logical connection between these two key elements of your argument would indicate to the reader that the information in paragraph B contradicts the information in paragraph A. As a result, you might organize your argument, including the transition that links paragraph A with paragraph B, in the following manner:

Paragraph A: points that support the view that El Pais’s new government is very democratic.

Transition: Despite the previous arguments, there are many reasons to think that El Pais’s new government is not as democratic as typically believed.

Paragraph B: points that contradict the view that El Pais’s new government is very democratic.

In this case, the transition words “Despite the previous arguments,” suggest that the reader should not believe paragraph A and instead should consider the writer’s reasons for viewing El Pais’s democracy as suspect.

As the example suggests, transitions can help reinforce the underlying logic of your paper’s organization by providing the reader with essential information regarding the relationship between your ideas. In this way, transitions act as the glue that binds the components of your argument or discussion into a unified, coherent, and persuasive whole.

Types of transitions

Now that you have a general idea of how to go about developing effective transitions in your writing, let us briefly discuss the types of transitions your writing will use.

The types of transitions available to you are as diverse as the circumstances in which you need to use them. A transition can be a single word, a phrase, a sentence, or an entire paragraph. In each case, it functions the same way: First, the transition either directly summarizes the content of a preceding sentence, paragraph, or section or implies such a summary (by reminding the reader of what has come before). Then, it helps the reader anticipate or comprehend the new information that you wish to present.

• Transitions between sections: Particularly in longer works, it may be necessary to include transitional paragraphs that summarize for the reader the information just covered and specify the relevance of this information to the discussion in the following section.
• Transitions between paragraphs: If you have done a good job of arranging paragraphs so that the content of one leads logically to the next, the transition will highlight a relationship that already exists by summarizing the previous paragraph and suggesting something of the content of the paragraph that follows. A transition between paragraphs can be a word or two (however, for example, similarly), a phrase, or a sentence. Transitions can be at the end of the first paragraph, at the beginning of the second paragraph, or in both places.
• Transitions within paragraphs: As with transitions between sections and paragraphs, transitions within paragraphs act as cues by helping readers to anticipate what is coming before they read it. Within paragraphs, transitions tend to be single words or short phrases.

Transitional expressions

Effectively constructing each transition often depends upon your ability to identify words or phrases that will indicate for the reader the kind of logical relationships you want to convey. The table below should make it easier for you to find these words or phrases. Whenever you have trouble finding a word, phrase, or sentence to serve as an effective transition, refer to the information in the table for assistance. Look in the left column of the table for the kind of logical relationship you are trying to express. Then look in the right column of the table for examples of words or phrases that express this logical relationship.

Keep in mind that each of these words or phrases may have a slightly different meaning. Consult a dictionary or writer’s handbook if you are unsure of the exact meaning of a word or phrase.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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Table of Contents

Ai, ethics & human agency, collaboration, information literacy, writing process, using first person in an academic essay: when is it okay.

• CC BY-NC-ND 4.0 by Jenna Pack Sheffield

Related Concepts: Academic Writing – How to Write for the Academic Community ; First-Person Point of View ; Rhetorical Analysis; Rhetorical Stance ; The First Person ; Voice

In order to determine whether or not you can speak or write from the first-person point of view, you need to engage in rhetorical analysis. You need to question whether your audience values and accepts the first person as a legitimate rhetorical stance. Source:Many times, high school students are told not to use first person (“I,” “we,” “my,” “us,” and so forth) in their essays. As a college student, you should realize that this is a rule that can and should be broken—at the right time, of course.

By now, you’ve probably written a personal essay, memoir, or narrative that used first person. After all, how could you write a personal essay about yourself, for instance, without using the dreaded “I” word?

However, academic essays differ from personal essays; they are typically researched and use a formal tone . Because of these differences, when students write an academic essay, they quickly shy away from first person because of what they have been told in high school or because they believe that first person feels too informal for an intellectual, researched text. While first person can definitely be overused in academic essays (which is likely why your teachers tell you not to use it), there are moments in a paper when it is not only appropriate, but also more effective and/or persuasive to use first person. The following are a few instances in which it is appropriate to use first person in an academic essay:

• Including a personal anecdote: You have more than likely been told that you need a strong “hook” to draw your readers in during an introduction. Sometimes, the best hook is a personal anecdote, or a short amusing story about yourself. In this situation, it would seem unnatural not to use first-person pronouns such as “I” and “myself.” Your readers will appreciate the personal touch and will want to keep reading! (For more information about incorporating personal anecdotes into your writing, see “ Employing Narrative in an Essay .”)
• Establishing your credibility ( ethos ): Ethos is a term stemming back to Ancient Greece that essentially means “character” in the sense of trustworthiness or credibility. A writer can establish her ethos by convincing the reader that she is trustworthy source. Oftentimes, the best way to do that is to get personal—tell the reader a little bit about yourself. (For more information about ethos, see “ Ethos .”)For instance, let’s say you are writing an essay arguing that dance is a sport. Using the occasional personal pronoun to let your audience know that you, in fact, are a classically trained dancer—and have the muscles and scars to prove it—goes a long way in establishing your credibility and proving your argument. And this use of first person will not distract or annoy your readers because it is purposeful.
• Clarifying passive constructions : Often, when writers try to avoid using first person in essays, they end up creating confusing, passive sentences . For instance, let’s say I am writing an essay about different word processing technologies, and I want to make the point that I am using Microsoft Word to write this essay. If I tried to avoid first-person pronouns, my sentence might read: “Right now, this essay is being written in Microsoft Word.” While this sentence is not wrong, it is what we call passive—the subject of the sentence is being acted upon because there is no one performing the action. To most people, this sentence sounds better: “Right now, I am writing this essay in Microsoft Word.” Do you see the difference? In this case, using first person makes your writing clearer.
• Stating your position in relation to others: Sometimes, especially in an argumentative essay, it is necessary to state your opinion on the topic . Readers want to know where you stand, and it is sometimes helpful to assert yourself by putting your own opinions into the essay. You can imagine the passive sentences (see above) that might occur if you try to state your argument without using the word “I.” The key here is to use first person sparingly. Use personal pronouns enough to get your point across clearly without inundating your readers with this language.

Now, the above list is certainly not exhaustive. The best thing to do is to use your good judgment, and you can always check with your instructor if you are unsure of his or her perspective on the issue. Ultimately, if you feel that using first person has a purpose or will have a strategic effect on your audience, then it is probably fine to use first-person pronouns. Just be sure not to overuse this language, at the risk of sounding narcissistic, self-centered, or unaware of others’ opinions on a topic.

Recommended Readings:

• A Synthesis of Professor Perspectives on Using First and Third Person in Academic Writing
• Finding the Bunny: How to Make a Personal Connection to Your Writing
• First-Person Point of View

Brevity – Say More with Less

Clarity (in Speech and Writing)

Coherence – How to Achieve Coherence in Writing

Flow – How to Create Flow in Writing

Inclusivity – Inclusive Language

The Elements of Style – The DNA of Powerful Writing

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Using “I” in Academic Writing

Traditionally, some fields have frowned on the use of the first-person singular in an academic essay and others have encouraged that use, and both the frowning and the encouraging persist today—and there are good reasons for both positions (see “Should I”).

I recommend that you not look on the question of using “I” in an academic paper as a matter of a rule to follow, as part of a political agenda (see webb), or even as the need to create a strategy to avoid falling into Scylla-or-Charybdis error. Let the first-person singular be, instead, a tool that you take out when you think it’s needed and that you leave in the toolbox when you think it’s not.

Examples of When “I” May Be Needed

• You are narrating how you made a discovery, and the process of your discovering is important or at the very least entertaining.
• You are describing how you teach something and how your students have responded or respond.
• You disagree with another scholar and want to stress that you are not waving the banner of absolute truth.
• You need “I” for rhetorical effect, to be clear, simple, or direct.

Examples of When “I” Should Be Given a Rest

• It’s off-putting to readers, generally, when “I” appears too often. You may not feel one bit modest, but remember the advice of Benjamin Franklin, still excellent, on the wisdom of preserving the semblance of modesty when your purpose is to convince others.
• You are the author of your paper, so if an opinion is expressed in it, it is usually clear that this opinion is yours. You don’t have to add a phrase like, “I believe” or “it seems to me.”

Works Cited

Franklin, Benjamin. The Autobiography of Benjamin Franklin . Project Gutenberg , 28 Dec. 2006, www.gutenberg.org/app/uploads/sites/3/20203/20203-h/20203-h.htm#I.

“Should I Use “I”?” The Writing Center at UNC—Chapel Hill , writingcenter.unc.edu/handouts/should-i-use-i/.

webb, Christine. “The Use of the First Person in Academic Writing: Objectivity, Language, and Gatekeeping.” ResearchGate , July 1992, doi: 10.1111/j.1365-2648.1992.tb01974.x.

J.S.Beniwal 05 August 2017 AT 09:08 AM

I have borrowed MLA only yesterday, did my MAEnglish in May 2017.MLA is of immense help for scholars.An overview of the book really enlightened​ me.I should have read it at bachelor's degree level.

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Dr. Raymond Harter 25 September 2017 AT 02:09 PM

I discourage the use of "I" in essays for undergraduates to reinforce a conversational tone and to "self-recognize" the writer as an authority or at least a thorough researcher. Writing a play is different than an essay with a purpose.

Osayimwense Osa 22 March 2023 AT 05:03 PM

When a student or writer is strongly and passionately interested in his or her stance and argument to persuade his or her audience, the use of personal pronoun srenghtens his or her passion for the subject. This passion should be clear in his/her expression. However, I encourage the use of the first-person, I, sparingly -- only when and where absolutely necessary.

Eleanor 25 March 2023 AT 04:03 PM

I once had a student use the word "eye" when writing about how to use pronouns. Her peers did not catch it. I made comments, but I think she never understood what eye was saying!

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• 40 Useful Words and Phrases for Top-Notch Essays

To be truly brilliant, an essay needs to utilise the right language. You could make a great point, but if it’s not intelligently articulated, you almost needn’t have bothered.

Developing the language skills to build an argument and to write persuasively is crucial if you’re to write outstanding essays every time. In this article, we’re going to equip you with the words and phrases you need to write a top-notch essay, along with examples of how to utilise them.

It’s by no means an exhaustive list, and there will often be other ways of using the words and phrases we describe that we won’t have room to include, but there should be more than enough below to help you make an instant improvement to your essay-writing skills.

If you’re interested in developing your language and persuasive skills, Oxford Royale offers summer courses at its Oxford Summer School , Cambridge Summer School , London Summer School , San Francisco Summer School and Yale Summer School . You can study courses to learn english , prepare for careers in law , medicine , business , engineering and leadership.

General explaining

Let’s start by looking at language for general explanations of complex points.

1. In order to

Usage: “In order to” can be used to introduce an explanation for the purpose of an argument. Example: “In order to understand X, we need first to understand Y.”

2. In other words

Usage: Use “in other words” when you want to express something in a different way (more simply), to make it easier to understand, or to emphasise or expand on a point. Example: “Frogs are amphibians. In other words, they live on the land and in the water.”

3. To put it another way

Usage: This phrase is another way of saying “in other words”, and can be used in particularly complex points, when you feel that an alternative way of wording a problem may help the reader achieve a better understanding of its significance. Example: “Plants rely on photosynthesis. To put it another way, they will die without the sun.”

4. That is to say

Usage: “That is” and “that is to say” can be used to add further detail to your explanation, or to be more precise. Example: “Whales are mammals. That is to say, they must breathe air.”

5. To that end

Usage: Use “to that end” or “to this end” in a similar way to “in order to” or “so”. Example: “Zoologists have long sought to understand how animals communicate with each other. To that end, a new study has been launched that looks at elephant sounds and their possible meanings.”

Adding additional information to support a point

Students often make the mistake of using synonyms of “and” each time they want to add further information in support of a point they’re making, or to build an argument . Here are some cleverer ways of doing this.

6. Moreover

Usage: Employ “moreover” at the start of a sentence to add extra information in support of a point you’re making. Example: “Moreover, the results of a recent piece of research provide compelling evidence in support of…”

7. Furthermore

Usage:This is also generally used at the start of a sentence, to add extra information. Example: “Furthermore, there is evidence to suggest that…”

8. What’s more

Usage: This is used in the same way as “moreover” and “furthermore”. Example: “What’s more, this isn’t the only evidence that supports this hypothesis.”

9. Likewise

Usage: Use “likewise” when you want to talk about something that agrees with what you’ve just mentioned. Example: “Scholar A believes X. Likewise, Scholar B argues compellingly in favour of this point of view.”

10. Similarly

Usage: Use “similarly” in the same way as “likewise”. Example: “Audiences at the time reacted with shock to Beethoven’s new work, because it was very different to what they were used to. Similarly, we have a tendency to react with surprise to the unfamiliar.”

11. Another key thing to remember

Usage: Use the phrase “another key point to remember” or “another key fact to remember” to introduce additional facts without using the word “also”. Example: “As a Romantic, Blake was a proponent of a closer relationship between humans and nature. Another key point to remember is that Blake was writing during the Industrial Revolution, which had a major impact on the world around him.”

12. As well as

Usage: Use “as well as” instead of “also” or “and”. Example: “Scholar A argued that this was due to X, as well as Y.”

13. Not only… but also

Usage: This wording is used to add an extra piece of information, often something that’s in some way more surprising or unexpected than the first piece of information. Example: “Not only did Edmund Hillary have the honour of being the first to reach the summit of Everest, but he was also appointed Knight Commander of the Order of the British Empire.”

14. Coupled with

Usage: Used when considering two or more arguments at a time. Example: “Coupled with the literary evidence, the statistics paint a compelling view of…”

15. Firstly, secondly, thirdly…

Usage: This can be used to structure an argument, presenting facts clearly one after the other. Example: “There are many points in support of this view. Firstly, X. Secondly, Y. And thirdly, Z.

16. Not to mention/to say nothing of

Usage: “Not to mention” and “to say nothing of” can be used to add extra information with a bit of emphasis. Example: “The war caused unprecedented suffering to millions of people, not to mention its impact on the country’s economy.”

Words and phrases for demonstrating contrast

When you’re developing an argument, you will often need to present contrasting or opposing opinions or evidence – “it could show this, but it could also show this”, or “X says this, but Y disagrees”. This section covers words you can use instead of the “but” in these examples, to make your writing sound more intelligent and interesting.

17. However

Usage: Use “however” to introduce a point that disagrees with what you’ve just said. Example: “Scholar A thinks this. However, Scholar B reached a different conclusion.”

18. On the other hand

Usage: Usage of this phrase includes introducing a contrasting interpretation of the same piece of evidence, a different piece of evidence that suggests something else, or an opposing opinion. Example: “The historical evidence appears to suggest a clear-cut situation. On the other hand, the archaeological evidence presents a somewhat less straightforward picture of what happened that day.”

19. Having said that

Usage: Used in a similar manner to “on the other hand” or “but”. Example: “The historians are unanimous in telling us X, an agreement that suggests that this version of events must be an accurate account. Having said that, the archaeology tells a different story.”

20. By contrast/in comparison

Usage: Use “by contrast” or “in comparison” when you’re comparing and contrasting pieces of evidence. Example: “Scholar A’s opinion, then, is based on insufficient evidence. By contrast, Scholar B’s opinion seems more plausible.”

21. Then again

Usage: Use this to cast doubt on an assertion. Example: “Writer A asserts that this was the reason for what happened. Then again, it’s possible that he was being paid to say this.”

22. That said

Usage: This is used in the same way as “then again”. Example: “The evidence ostensibly appears to point to this conclusion. That said, much of the evidence is unreliable at best.”

Usage: Use this when you want to introduce a contrasting idea. Example: “Much of scholarship has focused on this evidence. Yet not everyone agrees that this is the most important aspect of the situation.”

Adding a proviso or acknowledging reservations

Sometimes, you may need to acknowledge a shortfalling in a piece of evidence, or add a proviso. Here are some ways of doing so.

24. Despite this

Usage: Use “despite this” or “in spite of this” when you want to outline a point that stands regardless of a shortfalling in the evidence. Example: “The sample size was small, but the results were important despite this.”

25. With this in mind

Usage: Use this when you want your reader to consider a point in the knowledge of something else. Example: “We’ve seen that the methods used in the 19th century study did not always live up to the rigorous standards expected in scientific research today, which makes it difficult to draw definite conclusions. With this in mind, let’s look at a more recent study to see how the results compare.”

26. Provided that

Usage: This means “on condition that”. You can also say “providing that” or just “providing” to mean the same thing. Example: “We may use this as evidence to support our argument, provided that we bear in mind the limitations of the methods used to obtain it.”

27. In view of/in light of

Usage: These phrases are used when something has shed light on something else. Example: “In light of the evidence from the 2013 study, we have a better understanding of…”

28. Nonetheless

Usage: This is similar to “despite this”. Example: “The study had its limitations, but it was nonetheless groundbreaking for its day.”

29. Nevertheless

Usage: This is the same as “nonetheless”. Example: “The study was flawed, but it was important nevertheless.”

30. Notwithstanding

Usage: This is another way of saying “nonetheless”. Example: “Notwithstanding the limitations of the methodology used, it was an important study in the development of how we view the workings of the human mind.”

Giving examples

Good essays always back up points with examples, but it’s going to get boring if you use the expression “for example” every time. Here are a couple of other ways of saying the same thing.

31. For instance

Example: “Some birds migrate to avoid harsher winter climates. Swallows, for instance, leave the UK in early winter and fly south…”

32. To give an illustration

Example: “To give an illustration of what I mean, let’s look at the case of…”

Signifying importance

When you want to demonstrate that a point is particularly important, there are several ways of highlighting it as such.

33. Significantly

Usage: Used to introduce a point that is loaded with meaning that might not be immediately apparent. Example: “Significantly, Tacitus omits to tell us the kind of gossip prevalent in Suetonius’ accounts of the same period.”

34. Notably

Usage: This can be used to mean “significantly” (as above), and it can also be used interchangeably with “in particular” (the example below demonstrates the first of these ways of using it). Example: “Actual figures are notably absent from Scholar A’s analysis.”

35. Importantly

Usage: Use “importantly” interchangeably with “significantly”. Example: “Importantly, Scholar A was being employed by X when he wrote this work, and was presumably therefore under pressure to portray the situation more favourably than he perhaps might otherwise have done.”

Summarising

You’ve almost made it to the end of the essay, but your work isn’t over yet. You need to end by wrapping up everything you’ve talked about, showing that you’ve considered the arguments on both sides and reached the most likely conclusion. Here are some words and phrases to help you.

36. In conclusion

Usage: Typically used to introduce the concluding paragraph or sentence of an essay, summarising what you’ve discussed in a broad overview. Example: “In conclusion, the evidence points almost exclusively to Argument A.”

37. Above all

Usage: Used to signify what you believe to be the most significant point, and the main takeaway from the essay. Example: “Above all, it seems pertinent to remember that…”

38. Persuasive

Usage: This is a useful word to use when summarising which argument you find most convincing. Example: “Scholar A’s point – that Constanze Mozart was motivated by financial gain – seems to me to be the most persuasive argument for her actions following Mozart’s death.”

39. Compelling

Usage: Use in the same way as “persuasive” above. Example: “The most compelling argument is presented by Scholar A.”

40. All things considered

Usage: This means “taking everything into account”. Example: “All things considered, it seems reasonable to assume that…”

How many of these words and phrases will you get into your next essay? And are any of your favourite essay terms missing from our list? Let us know in the comments below, or get in touch here to find out more about courses that can help you with your essays.

At Oxford Royale Academy, we offer a number of  summer school courses for young people who are keen to improve their essay writing skills. Click here to apply for one of our courses today, including law , business , medicine  and engineering .

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Using You in Academic Writing

Using You in Academic Writing Podcast

Using you in academic writing transcript.

This is Kurtis Clements with another effective writing podcast. In this episode, I am going to talk about using the second person, you and your, in academic writing.

Many folks are confused when it comes to using the second person pronouns “you” and “your” in their academic writing, in large part because such pronouns are used often in other kinds of writing, so it seems natural to use such words in academic writing.

What is “academic writing”? Academic writing is writing that is generally formal; by and large, it’s the kind of writing produced in school when you are writing a report or an essay. Academic writing usually does not contain contractions or slang, nor does academic writing use emoticons or exclamation points. Academic writing sticks to a fairly objective point of view and avoids personal pronouns such as “I, we, us, our, you,” and “your,” for example. Now this is not to say that academic writing will never use such pronouns, but as a guiding general principle such pronouns are not used often in academic writing.

I don’t want to confuse you, but not all writing produced in school is “academic.” For example, if you were taking a creative writing course, while you may write essays that require a formal approach to writing, you will also be writing “creatively”—short stories and poems and other genres that would not require you to use “academic writing.”

Imagine a poem like Gwendolyn Brook’s “We Real Cool” in which the speaker, a thug without much of a future, says, “We real cool. We left school. We lurk late” written in formal academic writing like this: “They were indifferent to the conventional values of society. They left school. They lurked late at night.” Big difference, right? Of course. Academic writing is not the kind of writing to use when writing creatively.

Ok, so back to our discussion of second person. Second person is the use of the pronouns “you” and “your” in writing. In this podcast, I sometimes relate what I am talking about to my audience—to you folks listening right now—so I will make statements like “I don’t want to confuse you, but…” In my podcast, which is not a formal writing situation, it’s fine to use the pronouns “you” and “your.”

As a guiding principle, the second person pronouns “you” and “your” should not be used in academic writing. Using “you and your” is informal and lacks the kind of professional tone found in academic writing. “You” may work fine in some situations (like this podcast, for example), but in academic writing, such usage can be downright confusing. When I use “you” in my podcast, it’s clear that I am addressing my listeners.

But let’s say you were reading a paper about recycling, something that you already do. What would your reaction be if every now and then the writer included a sentence like “All you would need to do is set up a few extra bins in your home for glass, paper, metal, and plastic, and then put each item into its respective bin.” What would your response be? You would likely be confused, right? After all, you already recycle. And imagine other instances of the writer referring to “you” in a sentence. Every time you read “you,” you stop in your tracks and think, “Me?”

Let’s say the recycling paper’s purpose is to persuade and thus the logical audience would be folks who don’t recycle. Would “you” be appropriate then? No. While there would clearly be less confusion on the part of readers, writing of a more formal nature should be as objective as possible and not refer directly to readers.

Imagine reading a formal academic essay that is arguing for greater individual effort to recycle, and throughout the paper the writer uses the objective third person point of view, making such statements as “Individuals have a responsibility to future generations to do what they can to cut down on waste” and “Individuals must be proactive in recycling at home and work,” and then all of a sudden, out of the blue, the writing shifts to second person and makes a statement like “You might be busy, but if you make recycling a top priority then you would probably be successful.”

Whoa, right?

Where did that sentence come from? As a reader, you were engaged in the persuasive but objective discussion of the need to recycle, when all of a sudden the writing shifts to second person, and it seems like the writer is pointing a finger at you.

The use of second person can be confusing, awkward, and off-putting in academic writing, so it’s best to avoid the pronouns “you” and “your.”

A good way to ensure such pronouns don’t appear in your paper is to read your work slowly aloud. Mark each “you” or “your” you find and revise accordingly. With a little practice, keeping the second person out of your writing will come naturally.

Thanks for listening, everyone. Happy writing.

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So much is at stake in writing a conclusion. This is, after all, your last chance to persuade your readers to your point of view, to impress yourself upon them as a writer and thinker. And the impression you create in your conclusion will shape the impression that stays with your readers after they've finished the essay.

The end of an essay should therefore convey a sense of completeness and closure as well as a sense of the lingering possibilities of the topic, its larger meaning, its implications: the final paragraph should close the discussion without closing it off.

To establish a sense of closure, you might do one or more of the following:

• Conclude by linking the last paragraph to the first, perhaps by reiterating a word or phrase you used at the beginning.
• Conclude with a sentence composed mainly of one-syllable words. Simple language can help create an effect of understated drama.
• Conclude with a sentence that's compound or parallel in structure; such sentences can establish a sense of balance or order that may feel just right at the end of a complex discussion.

To close the discussion without closing it off, you might do one or more of the following:

• Conclude with a quotation from or reference to a primary or secondary source, one that amplifies your main point or puts it in a different perspective. A quotation from, say, the novel or poem you're writing about can add texture and specificity to your discussion; a critic or scholar can help confirm or complicate your final point. For example, you might conclude an essay on the idea of home in James Joyce's short story collection,  Dubliners , with information about Joyce's own complex feelings towards Dublin, his home. Or you might end with a biographer's statement about Joyce's attitude toward Dublin, which could illuminate his characters' responses to the city. Just be cautious, especially about using secondary material: make sure that you get the last word.
• Conclude by setting your discussion into a different, perhaps larger, context. For example, you might end an essay on nineteenth-century muckraking journalism by linking it to a current news magazine program like  60 Minutes .
• Conclude by redefining one of the key terms of your argument. For example, an essay on Marx's treatment of the conflict between wage labor and capital might begin with Marx's claim that the "capitalist economy is . . . a gigantic enterprise of dehumanization "; the essay might end by suggesting that Marxist analysis is itself dehumanizing because it construes everything in economic -- rather than moral or ethical-- terms.
• Conclude by considering the implications of your argument (or analysis or discussion). What does your argument imply, or involve, or suggest? For example, an essay on the novel  Ambiguous Adventure , by the Senegalese writer Cheikh Hamidou Kane, might open with the idea that the protagonist's development suggests Kane's belief in the need to integrate Western materialism and Sufi spirituality in modern Senegal. The conclusion might make the new but related point that the novel on the whole suggests that such an integration is (or isn't) possible.

Finally, some advice on how not to end an essay:

• Don't simply summarize your essay. A brief summary of your argument may be useful, especially if your essay is long--more than ten pages or so. But shorter essays tend not to require a restatement of your main ideas.
• Avoid phrases like "in conclusion," "to conclude," "in summary," and "to sum up." These phrases can be useful--even welcome--in oral presentations. But readers can see, by the tell-tale compression of the pages, when an essay is about to end. You'll irritate your audience if you belabor the obvious.
• Resist the urge to apologize. If you've immersed yourself in your subject, you now know a good deal more about it than you can possibly include in a five- or ten- or 20-page essay. As a result, by the time you've finished writing, you may be having some doubts about what you've produced. (And if you haven't immersed yourself in your subject, you may be feeling even more doubtful about your essay as you approach the conclusion.) Repress those doubts. Don't undercut your authority by saying things like, "this is just one approach to the subject; there may be other, better approaches. . ."

Copyright 1998, Pat Bellanca, for the Writing Center at Harvard University

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Sat / act prep online guides and tips, 5 steps to write a great analytical essay.

General Education

Do you need to write an analytical essay for school? What sets this kind of essay apart from other types, and what must you include when you write your own analytical essay? In this guide, we break down the process of writing an analytical essay by explaining the key factors your essay needs to have, providing you with an outline to help you structure your essay, and analyzing a complete analytical essay example so you can see what a finished essay looks like.

What Is an Analytical Essay?

Before you begin writing an analytical essay, you must know what this type of essay is and what it includes. Analytical essays analyze something, often (but not always) a piece of writing or a film.

An analytical essay is more than just a synopsis of the issue though; in this type of essay you need to go beyond surface-level analysis and look at what the key arguments/points of this issue are and why. If you’re writing an analytical essay about a piece of writing, you’ll look into how the text was written and why the author chose to write it that way. Instead of summarizing, an analytical essay typically takes a narrower focus and looks at areas such as major themes in the work, how the author constructed and supported their argument, how the essay used literary devices to enhance its messages, etc.

While you certainly want people to agree with what you’ve written, unlike with persuasive and argumentative essays, your main purpose when writing an analytical essay isn’t to try to convert readers to your side of the issue. Therefore, you won’t be using strong persuasive language like you would in those essay types. Rather, your goal is to have enough analysis and examples that the strength of your argument is clear to readers.

Besides typical essay components like an introduction and conclusion, a good analytical essay will include:

• A thesis that states your main argument
• Analysis that relates back to your thesis and supports it
• Examples to support your analysis and allow a more in-depth look at the issue

In the rest of this article, we’ll explain how to include each of these in your analytical essay.

How to Structure Your Analytical Essay

Analytical essays are structured similarly to many other essays you’ve written, with an introduction (including a thesis), several body paragraphs, and a conclusion. Below is an outline you can follow when structuring your essay, and in the next section we go into more detail on how to write an analytical essay.

Introduction

Your introduction will begin with some sort of attention-grabbing sentence to get your audience interested, then you’ll give a few sentences setting up the topic so that readers have some context, and you’ll end with your thesis statement. Your introduction will include:

• Brief background information explaining the issue/text
• Your thesis

Body Paragraphs

Your analytical essay will typically have three or four body paragraphs, each covering a different point of analysis. Begin each body paragraph with a sentence that sets up the main point you’ll be discussing. Then you’ll give some analysis on that point, backing it up with evidence to support your claim. Continue analyzing and giving evidence for your analysis until you’re out of strong points for the topic. At the end of each body paragraph, you may choose to have a transition sentence that sets up what the next paragraph will be about, but this isn’t required. Body paragraphs will include:

• Introductory sentence explaining what you’ll cover in the paragraph (sort of like a mini-thesis)
• Analysis point
• Evidence (either passages from the text or data/facts) that supports the analysis
• (Repeat analysis and evidence until you run out of examples)

You won’t be making any new points in your conclusion; at this point you’re just reiterating key points you’ve already made and wrapping things up. Begin by rephrasing your thesis and summarizing the main points you made in the essay. Someone who reads just your conclusion should be able to come away with a basic idea of what your essay was about and how it was structured. After this, you may choose to make some final concluding thoughts, potentially by connecting your essay topic to larger issues to show why it’s important. A conclusion will include:

• Paraphrase of thesis
• Summary of key points of analysis
• Final concluding thought(s)

5 Steps for Writing an Analytical Essay

Follow these five tips to break down writing an analytical essay into manageable steps. By the end, you’ll have a fully-crafted analytical essay with both in-depth analysis and enough evidence to support your argument. All of these steps use the completed analytical essay in the next section as an example.

#1: Pick a Topic

You may have already had a topic assigned to you, and if that’s the case, you can skip this step. However, if you haven’t, or if the topic you’ve been assigned is broad enough that you still need to narrow it down, then you’ll need to decide on a topic for yourself. Choosing the right topic can mean the difference between an analytical essay that’s easy to research (and gets you a good grade) and one that takes hours just to find a few decent points to analyze

Before you decide on an analytical essay topic, do a bit of research to make sure you have enough examples to support your analysis. If you choose a topic that’s too narrow, you’ll struggle to find enough to write about.

For example, say your teacher assigns you to write an analytical essay about the theme in John Steinbeck’s The Grapes of Wrath of exposing injustices against migrants. For it to be an analytical essay, you can’t just recount the injustices characters in the book faced; that’s only a summary and doesn’t include analysis. You need to choose a topic that allows you to analyze the theme. One of the best ways to explore a theme is to analyze how the author made his/her argument. One example here is that Steinbeck used literary devices in the intercalary chapters (short chapters that didn’t relate to the plot or contain the main characters of the book) to show what life was like for migrants as a whole during the Dust Bowl.

You could write about how Steinbeck used literary devices throughout the whole book, but, in the essay below, I chose to just focus on the intercalary chapters since they gave me enough examples. Having a narrower focus will nearly always result in a tighter and more convincing essay (and can make compiling examples less overwhelming).

#2: Write a Thesis Statement

Your thesis statement is the most important sentence of your essay; a reader should be able to read just your thesis and understand what the entire essay is about and what you’ll be analyzing. When you begin writing, remember that each sentence in your analytical essay should relate back to your thesis

In the analytical essay example below, the thesis is the final sentence of the first paragraph (the traditional spot for it). The thesis is: “In The Grapes of Wrath’s intercalary chapters, John Steinbeck employs a variety of literary devices and stylistic choices to better expose the injustices committed against migrants in the 1930s.” So what will this essay analyze? How Steinbeck used literary devices in the intercalary chapters to show how rough migrants could have it. Crystal clear.

#3: Do Research to Find Your Main Points

This is where you determine the bulk of your analysis--the information that makes your essay an analytical essay. My preferred method is to list every idea that I can think of, then research each of those and use the three or four strongest ones for your essay. Weaker points may be those that don’t relate back to the thesis, that you don’t have much analysis to discuss, or that you can’t find good examples for. A good rule of thumb is to have one body paragraph per main point

This essay has four main points, each of which analyzes a different literary device Steinbeck uses to better illustrate how difficult life was for migrants during the Dust Bowl. The four literary devices and their impact on the book are:

• Lack of individual names in intercalary chapters to illustrate the scope of the problem
• Parallels to the Bible to induce sympathy for the migrants
• Non-showy, often grammatically-incorrect language so the migrants are more realistic and relatable to readers
• Nature-related metaphors to affect the mood of the writing and reflect the plight of the migrants

#4: Find Excerpts or Evidence to Support Your Analysis

Now that you have your main points, you need to back them up. If you’re writing a paper about a text or film, use passages/clips from it as your main source of evidence. If you’re writing about something else, your evidence can come from a variety of sources, such as surveys, experiments, quotes from knowledgeable sources etc. Any evidence that would work for a regular research paper works here.

In this example, I quoted multiple passages from The Grapes of Wrath  in each paragraph to support my argument. You should be able to back up every claim you make with evidence in order to have a strong essay.

#5: Put It All Together

Now it's time to begin writing your essay, if you haven’t already. Create an introductory paragraph that ends with the thesis, make a body paragraph for each of your main points, including both analysis and evidence to back up your claims, and wrap it all up with a conclusion that recaps your thesis and main points and potentially explains the big picture importance of the topic.

Analytical Essay Example + Analysis

So that you can see for yourself what a completed analytical essay looks like, here’s an essay I wrote back in my high school days. It’s followed by analysis of how I structured my essay, what its strengths are, and how it could be improved.

One way Steinbeck illustrates the connections all migrant people possessed and the struggles they faced is by refraining from using specific titles and names in his intercalary chapters. While The Grapes of Wrath focuses on the Joad family, the intercalary chapters show that all migrants share the same struggles and triumphs as the Joads. No individual names are used in these chapters; instead the people are referred to as part of a group. Steinbeck writes, “Frantic men pounded on the doors of the doctors; and the doctors were busy.  And sad men left word at country stores for the coroner to send a car,” (555). By using generic terms, Steinbeck shows how the migrants are all linked because they have gone through the same experiences. The grievances committed against one family were committed against thousands of other families; the abuse extends far beyond what the Joads experienced. The Grapes of Wrath frequently refers to the importance of coming together; how, when people connect with others their power and influence multiplies immensely. Throughout the novel, the goal of the migrants, the key to their triumph, has been to unite. While their plans are repeatedly frustrated by the government and police, Steinbeck’s intercalary chapters provide a way for the migrants to relate to one another because they have encountered the same experiences. Hundreds of thousands of migrants fled to the promised land of California, but Steinbeck was aware that numbers alone were impersonal and lacked the passion he desired to spread. Steinbeck created the intercalary chapters to show the massive numbers of people suffering, and he created the Joad family to evoke compassion from readers.  Because readers come to sympathize with the Joads, they become more sensitive to the struggles of migrants in general. However, John Steinbeck frequently made clear that the Joads were not an isolated incident; they were not unique. Their struggles and triumphs were part of something greater. Refraining from specific names in his intercalary chapters allows Steinbeck to show the vastness of the atrocities committed against migrants.

Steinbeck also creates significant parallels to the Bible in his intercalary chapters in order to enhance his writing and characters. By using simple sentences and stylized writing, Steinbeck evokes Biblical passages. The migrants despair, “No work till spring. No work,” (556).  Short, direct sentences help to better convey the desperateness of the migrants’ situation. Throughout his novel, John Steinbeck makes connections to the Bible through his characters and storyline. Jim Casy’s allusions to Christ and the cycle of drought and flooding are clear biblical references.  By choosing to relate The Grapes of Wrath to the Bible, Steinbeck’s characters become greater than themselves. Starving migrants become more than destitute vagrants; they are now the chosen people escaping to the promised land. When a forgotten man dies alone and unnoticed, it becomes a tragedy. Steinbeck writes, “If [the migrants] were shot at, they did not run, but splashed sullenly away; and if they were hit, they sank tiredly in the mud,” (556). Injustices committed against the migrants become greater because they are seen as children of God through Steinbeck’s choice of language. Referencing the Bible strengthens Steinbeck’s novel and purpose: to create understanding for the dispossessed.  It is easy for people to feel disdain for shabby vagabonds, but connecting them to such a fundamental aspect of Christianity induces sympathy from readers who might have otherwise disregarded the migrants as so many other people did.

The simple, uneducated dialogue Steinbeck employs also helps to create a more honest and meaningful representation of the migrants, and it makes the migrants more relatable to readers. Steinbeck chooses to accurately represent the language of the migrants in order to more clearly illustrate their lives and make them seem more like real paper than just characters in a book. The migrants lament, “They ain’t gonna be no kinda work for three months,” (555). There are multiple grammatical errors in that single sentence, but it vividly conveys the despair the migrants felt better than a technically perfect sentence would. The Grapes of Wrath is intended to show the severe difficulties facing the migrants so Steinbeck employs a clear, pragmatic style of writing.  Steinbeck shows the harsh, truthful realities of the migrants’ lives and he would be hypocritical if he chose to give the migrants a more refined voice and not portray them with all their shortcomings. The depiction of the migrants as imperfect through their language also makes them easier to relate to. Steinbeck’s primary audience was the middle class, the less affluent of society. Repeatedly in The Grapes of Wrath , the wealthy make it obvious that they scorn the plight of the migrants. The wealthy, not bad luck or natural disasters, were the prominent cause of the suffering of migrant families such as the Joads. Thus, Steinbeck turns to the less prosperous for support in his novel. When referring to the superior living conditions barnyard animals have, the migrants remark, “Them’s horses-we’re men,” (556).  The perfect simplicity of this quote expresses the absurdness of the migrants’ situation better than any flowery expression could.

In The Grapes of Wrath , John Steinbeck uses metaphors, particularly about nature, in order to illustrate the mood and the overall plight of migrants. Throughout most of the book, the land is described as dusty, barren, and dead. Towards the end, however; floods come and the landscape begins to change. At the end of chapter twenty-nine, Steinbeck describes a hill after the floods saying, “Tiny points of grass came through the earth, and in a few days the hills were pale green with the beginning year,” (556). This description offers a stark contrast from the earlier passages which were filled with despair and destruction. Steinbeck’s tone from the beginning of the chapter changes drastically. Early in the chapter, Steinbeck had used heavy imagery in order to convey the destruction caused by the rain, “The streams and the little rivers edged up to the bank sides and worked at willows and tree roots, bent the willows deep in the current, cut out the roots of cottonwoods and brought down the trees,” (553). However, at the end of the chapter the rain has caused new life to grow in California. The new grass becomes a metaphor representing hope. When the migrants are at a loss over how they will survive the winter, the grass offers reassurance. The story of the migrants in the intercalary chapters parallels that of the Joads. At the end of the novel, the family is breaking apart and has been forced to flee their home. However, both the book and final intercalary chapter end on a hopeful note after so much suffering has occurred. The grass metaphor strengthens Steinbeck’s message because it offers a tangible example of hope. Through his language Steinbeck’s themes become apparent at the end of the novel. Steinbeck affirms that persistence, even when problems appear insurmountable, leads to success. These metaphors help to strengthen Steinbeck’s themes in The Grapes of Wrath because they provide a more memorable way to recall important messages.

John Steinbeck’s language choices help to intensify his writing in his intercalary chapters and allow him to more clearly show how difficult life for migrants could be. Refraining from using specific names and terms allows Steinbeck to show that many thousands of migrants suffered through the same wrongs. Imitating the style of the Bible strengthens Steinbeck’s characters and connects them to the Bible, perhaps the most famous book in history. When Steinbeck writes in the imperfect dialogue of the migrants, he creates a more accurate portrayal and makes the migrants easier to relate to for a less affluent audience. Metaphors, particularly relating to nature, strengthen the themes in The Grapes of Wrath by enhancing the mood Steinbeck wants readers to feel at different points in the book. Overall, the intercalary chapters that Steinbeck includes improve his novel by making it more memorable and reinforcing the themes Steinbeck embraces throughout the novel. Exemplary stylistic devices further persuade readers of John Steinbeck’s personal beliefs. Steinbeck wrote The Grapes of Wrath to bring to light cruelties against migrants, and by using literary devices effectively, he continuously reminds readers of his purpose. Steinbeck’s impressive language choices in his intercalary chapters advance the entire novel and help to create a classic work of literature that people still are able to relate to today. 

This essay sticks pretty closely to the standard analytical essay outline. It starts with an introduction, where I chose to use a quote to start off the essay. (This became my favorite way to start essays in high school because, if I wasn’t sure what to say, I could outsource the work and find a quote that related to what I’d be writing about.) The quote in this essay doesn’t relate to the themes I’m discussing quite as much as it could, but it’s still a slightly different way to start an essay and can intrigue readers. I then give a bit of background on The Grapes of Wrath and its themes before ending the intro paragraph with my thesis: that Steinbeck used literary devices in intercalary chapters to show how rough migrants had it.

Each of my four body paragraphs is formatted in roughly the same way: an intro sentence that explains what I’ll be discussing, analysis of that main point, and at least two quotes from the book as evidence.

My conclusion restates my thesis, summarizes each of four points I discussed in my body paragraphs, and ends the essay by briefly discussing how Steinbeck’s writing helped introduce a world of readers to the injustices migrants experienced during the dust bowl.

What does this analytical essay example do well? For starters, it contains everything that a strong analytical essay should, and it makes that easy to find. The thesis clearly lays out what the essay will be about, the first sentence of each of the body paragraph introduces the topic it’ll cover, and the conclusion neatly recaps all the main points. Within each of the body paragraphs, there’s analysis along with multiple excerpts from the book in order to add legitimacy to my points.

Additionally, the essay does a good job of taking an in-depth look at the issue introduced in the thesis. Four ways Steinbeck used literary devices are discussed, and for each of the examples are given and analysis is provided so readers can understand why Steinbeck included those devices and how they helped shaped how readers viewed migrants and their plight.

Where could this essay be improved? I believe the weakest body paragraph is the third one, the one that discusses how Steinbeck used plain, grammatically incorrect language to both accurately depict the migrants and make them more relatable to readers. The paragraph tries to touch on both of those reasons and ends up being somewhat unfocused as a result. It would have been better for it to focus on just one of those reasons (likely how it made the migrants more relatable) in order to be clearer and more effective. It’s a good example of how adding more ideas to an essay often doesn’t make it better if they don’t work with the rest of what you’re writing. This essay also could explain the excerpts that are included more and how they relate to the points being made. Sometimes they’re just dropped in the essay with the expectation that the readers will make the connection between the example and the analysis. This is perhaps especially true in the second body paragraph, the one that discusses similarities to Biblical passages. Additional analysis of the quotes would have strengthened it.

Summary: How to Write an Analytical Essay

What is an analytical essay? A critical analytical essay analyzes a topic, often a text or film. The analysis paper uses evidence to support the argument, such as excerpts from the piece of writing. All analytical papers include a thesis, analysis of the topic, and evidence to support that analysis.

When developing an analytical essay outline and writing your essay, follow these five steps:

Reading analytical essay examples can also give you a better sense of how to structure your essay and what to include in it.

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Learning about different writing styles in school? There are four main writing styles, and it's important to understand each of them. Learn about them in our guide to writing styles , complete with examples.

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Christine graduated from Michigan State University with degrees in Environmental Biology and Geography and received her Master's from Duke University. In high school she scored in the 99th percentile on the SAT and was named a National Merit Finalist. She has taught English and biology in several countries.

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The Donald Trump I Saw on The Apprentice

For 20 years, i couldn’t say what i watched the former president do on the set of the show that changed everything. now i can..

On Jan. 8, 2004, just more than 20 years ago, the first episode of The Apprentice aired. It was called “Meet the Billionaire,” and 18 million people watched. The episodes that followed climbed to roughly 20 million each week. A staggering 28 million viewers tuned in to watch the first season finale. The series won an Emmy nomination for Outstanding Reality-Competition Program, and the Television Critics Association called it one of the best TV shows of the year, alongside The Sopranos and Arrested Development . The series—alongside its bawdy sibling, The Celebrity Apprentice —appeared on NBC in coveted prime-time slots for more than a decade.

The Apprentice was an instant success in another way too. It elevated Donald J. Trump from sleazy New York tabloid hustler to respectable household name. In the show, he appeared to demonstrate impeccable business instincts and unparalleled wealth, even though his businesses had barely survived multiple bankruptcies and faced yet another when he was cast. By carefully misleading viewers about Trump—his wealth, his stature, his character, and his intent—the competition reality show set about an American fraud that would balloon beyond its creators’ wildest imaginations.

I should know. I was one of four producers involved in the first two seasons. During that time, I signed an expansive nondisclosure agreement that promised a fine of $5 million and even jail time if I were to ever divulge what actually happened. It expired this year.

No one involved in The Apprentice —from the production company or the network, to the cast and crew—was involved in a con with malicious intent. It was a TV show , and it was made for entertainment . I still believe that. But we played fast and loose with the facts, particularly regarding Trump, and if you were one of the 28 million who tuned in, chances are you were conned.

As Trump answers for another of his alleged deception schemes in New York and gears up to try to persuade Americans to elect him again, in part thanks to the myth we created, I can finally tell you what making Trump into what he is today looked like from my side. Most days were revealing. Some still haunt me, two decades later.

Nearly everything I ever learned about deception I learned from my friend Apollo Robbins. He’s been called a professional pickpocket, but he’s actually a “perceptions expert.” Apollo has spent his life studying the psychology of how we distort other people’s perceptions of reality and has done so by picking pockets onstage for the entertainment of others. He is a master of deception, a skill that made him, back in the day, the so-called best-kept secret in Las Vegas. After “fanning” his marks with casual, unobtrusive touch designed to make them feel safe or at ease, Apollo determines where the items reside—the wallet inside a breast pocket, the Rolex fastened to a wrist—and he removes these items without detection. He’ll even tell you what he intends to steal before he does it. He does this not to hurt people or bewilder them with a puzzle but to challenge their maps of reality. The results are marvelous. A lot of magic is designed to appeal to people visually, but what he’s trying to affect is your mind, your moods, your perceptions.

As a producer working in unscripted, or “reality,” television, I have the same goal. Like Apollo, I want to entertain, make people joyful, maybe even challenge their ways of thinking. But because I often lack the cinematic power of a movie, with its visual pyrotechnics or rehearsed dialogue, I rely on shaping the perceptions of viewers, manipulating their maps of reality toward something I want them to think or feel.

The presumption is that reality TV is scripted. What actually happens is the illusion of reality by staging situations against an authentic backdrop. The more authentic it is to, say, have a 40-foot wave bearing down on a crab boat in the Bering Sea for Deadliest Catch , the more we can trick you into thinking a malevolent Russian trawler is out there messing with the crabber’s bait. There is a trick to it, and when it works, you feel as if you’re watching a scripted show. Although very few programs are out-and-out fake, there is deception at play in every single reality program. The producers and editors are ostensibly con artists, distracting you with grand notions while we steal from you your precious time.

But the real con that drove The Apprentice is far older than television. The “pig in the poke” comes from an idiom dating to 1555: “I’ll never buy a pig in a poke / There’s many a foul pig in a fair cloak.” It refers to the time-honored scam of selling a suckling pig at market but handing over a bag (the poke) to the purchaser, who never looks inside it. Eventually, he discovers he’s purchased something quite different.

Our show became a 21 st -century version. It’s a long con played out over a decade of watching Trump dominate prime time by shouting orders, appearing to lead, and confidently firing some of the most capable people on television, all before awarding one eligible person a job. Audiences responded to Trump’s arrogance, his perceived abilities and prescience, but mostly his confidence . The centerpiece to any confidence game is precisely that— confidence .

As I walk into my interview for The Apprentice , I inadvertently learn how important it is for every one of us involved to demonstrate confidence above all else.

I sit down with Jay Bienstock, the showrunner, who has one last producer position to fill and needs somebody capable and hardworking. His office is sparse, and the desk is strategically placed directly across from the couch, with a noticeable angle downward from his desk to whomever is seated across from him. (I’m recalling all of the quoted conversations here to the best of my ability; they are not verbatim.)

He is smiling and even laughing throughout the interview, but from the steep angle at which he gazes down on me, there is no mistaking who is in charge. He seems to like what he hears and offers to follow up with my agent. “But I have to check your references before I can hire you,” he says. “You’d be crazy not to,” I reply. He laughs, claps his hands together, and grins. “ THAT’S what I’m talking about,” he says. “That’s the confidence this show needs!”

I sit there, several inches below eyeline, and ponder what just happened. What, I wonder, is so “confident” about suggesting he’d be crazy to not check my references? Then it dawns on me. He thinks I meant “You’d be crazy not to hire me.” The signal to noise begins.

Listen to Bill Pruitt discuss this story on What Next , Slate’s daily news podcast:

Before I leave, I have to ask: Why Trump? Bienstock discovers that we both lived in New York for a time. Knowing what we know about Trump, selling the idea that intelligent people would compete to land a job working for him will be a challenge.

“The idea is to have a new and different billionaire every season—just like there’s a new and different island on Survivor . We reached out to Spielberg, Katzenberg, Geffen, among others,” he says. “Trump is the only one who agreed to sign on.” (Bienstock didn’t respond to a request for comment.)

“We’ll make it work,” Bienstock says confidently. I rise, shake his hand, and leave, and head over to Dutton’s bookstore to pick up a used copy of Trump’s The Art of the Deal . It is filled with takeaways about branding and strategizing but conveniently omits Trump bluffing his way through meetings with contractors, stiffing them when it is convenient to do so, and betraying his most trusted colleagues to get what he wants. (The book’s ghostwriter, Tony Schwartz, has since tried to get the bestseller recategorized in the Library of Congress as a work of fiction.)

Another show of confidence is the budget the series commands. It’s not as expensive as a scripted series, but for a reality show, the price is high. Never have I worked on a series with this level of funding, but the cost is justified. This needs to feel real.

New York City is the perfect—though expensive—backdrop. Trump’s actual offices are, however, less than telegenic. They are cramped, and a lot of the wood furniture is chipped or peeling. None of it is suitable to appear on camera. We need what grifters call the Big Store: a fake but authentic-looking establishment in which the con goes down. Trump Tower, at the time, is mostly condos and some offices situated in the high-rise. The mezzanine comprises vacant and overpriced retail space, all of it unfinished. Trump offers the space to the production—at a premium, naturally—and it is inside this location that we create our own “reception area” with doors leading to a fake, dimly lit, and appropriately ominous-feeling “boardroom.”

Next door, there’s the “suite” where the contestants will live, which is made to look like a trendy loft-style apartment they all share. The lodgings are made up of partitions surrounding tiny, hard bunks upon which the candidates sleep; the illusion comes from elegantly appointed common areas, where most of the interplay will go down.

During a tour of the set, I have my first encounter with Trump. I leave the suite and enter the gear room, the only vacant retail space that will remain unfinished. It is filled with equipment and crew members milling about. In walks a trio of men. In the middle is Trump, in a navy blue suit and scarlet tie. He’s surprisingly tall, and not just because of the hair. He is flanked by two even taller men. Bienstock makes introductions, and I watch as Trump shakes hands with everyone. I’d been told he would never do this, something about fearing unwanted germs. When it is my turn, I decide on the convivial two-hander and place my right hand into his and my left onto his wrist as we shake. His eye contact is limited but thorough. He is sizing me up. He looks like a wolf about to rip my throat out before turning away, offering me my first glimpse at the superstructure—his hairstyle—buttressed atop his head with what must be gallons of Aqua Net.

I watch as Trump saunters around the room, snatches up a fistful of M&Ms from the craft service table set aside for the crew, and shoves them into his mouth. Then he is gone, ushered away toward some important meeting he must attend, as if to say, to one and all present, This is unimportant .

Eventually, it’s time to roll cameras. When Trump is called to perform, we are filming the first scene of the first episode on the floor of the New York Stock Exchange, and he is about to deliver the first task. Filming inside this beacon of capitalism and wealth gives the series the legitimacy it needs. A con artist would call staging the scam inside a legitimate institution “playing a man against the wall.”

From the balcony overlooking the famed trading room floor, Trump will set up the entire premise of the show on camera and engage in a little banter with the other participants. This includes introducing his advisers, George Ross, an older, grouchy attorney devoted to Trump’s legal affairs, and Carolyn Kepcher, a perpetual skeptic who runs his hospitality units and one of his golf clubs. (They might be called “the shills,” others in on the con who will act as Trump’s eyes and ears.)

The contestants are there, lined up and zeroed in on by camera operators getting reaction shots to whatever it is Trump says. Although they mostly just stand and wait, they patiently go along with the proceedings. They are not in on the con. They act as “the little blind mice,” who, in fraudster terms, convey a sense of authenticity by reacting to the goings-on, like lab rats caught in a maze.

Nothing is scripted—except for what Trump needs to say. Cue cards are present, but mostly it is Bienstock running up, coaching Trump, tossing out suggestions from the script he has written for the man. The feeling is that while doing a fair job of repeating the necessary words verbatim, Trump also appears to be inadvertently shouting at the contestants. His hands shuttle back and forth as if holding an invisible accordion, a gesture now famous in memes .

Each episode is filmed over three days. For the first episode, the two teams of contestants, divided by gender, take to the streets to carry out the initial task of trying to sell lemonade for the most money. The women pulverize the men.

Having won, the women are invited upstairs for a direct look at Trump’s very own apartment in Trump Tower, a reward designed specifically to introduce viewers to the gaudy but elevated world of Donald Trump at home. The men, who lost, go back to the loft to await their fate at the hands of Trump. He will be sending one of them home.

Inside the now-empty boardroom set, a meeting with the producers is called for the first briefing of Trump before the anticipated firing. With Trump are his cronies, Ross and Kepcher. Trump is “too busy,” so they have each observed both teams in the field and make an assessment of who prevailed and who fell behind.

Now, this is important. The Apprentice is a game show regulated by the Federal Communications Commission. In the 1950s, scandals arose when producers of quiz shows fed answers to likable, ratings-generating contestants while withholding those answers from unlikable but truly knowledgeable players. Any of us involved in The Apprentice swinging the outcome of prize money by telling Trump whom to fire is forbidden.

Considering this, Bienstock wisely chooses to record these off-camera briefings in case the FCC ever rolls up on us. Rather than blurt out who they think should get canned, the two producers of that week’s episode—each following one team—are coached to equitably share with Trump the virtues and deficiencies of each member of the losing team. This renders a balanced depiction of how and why they lost. There are obvious choices of whom to fire, but we want it to be something of a horse race, to sustain the drama and keep people watching.

Satisfied he has what he needs, Trump dismisses the prefiring discussion with the wave of a hand, claiming he has places to be, let’s get on with it, etc. We proceed to set up for what will be our first boardroom.

The producers retreat to the adjacent control room to watch the event unfold. Per the show’s format, the losing team is summoned in anticipation of one of its members being sent home. Leaving their luggage in the reception area, the men walk into the boardroom, where Trump is flanked by Ross and Kepcher, waiting for them solemnly. Trump just frowns from a gigantic red leather chair, his eyeline noticeably well above those sitting across from him.

The men proceed to verbally go after one another like gladiators jousting before the emperor. Trump takes the conversation into potentially dangerous terrain, asking one contestant, who is Jewish, whether he believes in “the genetic pool.” The contestant’s retort is swift and resolute: He tells Trump that he does, in fact, have the genes, “just like you got from your father, Fred Trump, and your mother, Mary Trump.” It pours out of him. It is dramatic. It is good reality TV.

The project manager must then choose two of the men to come back to the boardroom with him while everyone else is dismissed. An off-camera prefiring consultation with Trump takes place (and is recorded), right before the three men are brought back for the eventual firing. We film Trump, Ross, and Kepcher deliberating and giving the pluses and minuses of each, remarking on how risky it was for one of the contestants to stand up for himself the way that he did. Trump turns back and forth to each, listening. His cronies stick to their stories and give added deferential treatment toward Trump, with Ross strategically reminding him, “You’ve been taking risks your entire life.”

Trump summons the three men back into the boardroom for final judging. Trump grills one and says, “I will let you stay.” ( Wow! we think. A benevolent leader. ) When he turns his attention to the other man—the one he asked about genetics—it looks clear. He is doomed. So much so that the man stands when Trump tells him, “It seems unanimous.” Trump then offhandedly tells him to sit down, calling him “a wild card,” echoing Ross’ earlier observation of the boss, Trump.

After this comes an unwieldy moment when, at the behest of Bienstock, Trump fumbles through a given line. “We have an elevator,” he says to the remaining contestant, named David, “that goes up to the suite and an elevator that goes down”—he pauses to recall the exact wording—“to the street. And, David, I’m going to ask you to take the down elevator.”

The men react and awkwardly rise. It is an unsatisfactory conclusion, given all the preceding drama.

From the control room, we all watch as the three men depart the boardroom. A quick huddle takes place between the producers and the executive from NBC. We bolt from the control room out into the boardroom and confer with Trump, telling him we will need him to say something more direct to conclude the moment when David is let go.

“Well, I’d probably just fire him,” Trump says. “Why not just say that?” Bienstock asks. “Fine,” Trump says.

We return to the control room. The three men from the losing team are brought back into the boardroom, and Trump repeats his line about the elevator, then turns to David, who already knows his fate, and adds, “David, you’re fired.”

The line insertion happened in a perilously scripted way, but it is deemed satisfactory. “You’re fired” becomes the expression we will stick with. It works. Trump comes off as decisive and to the point.

Later, Trump will try to trademark “You’re fired.” He is not successful.

Trump’s appearances make up so little of our shooting schedule that whenever he shows up to film, it isn’t just the wild-card on-camera moments we both hope for and are terrified of that put everyone on edge. It is the way he, the star (and half owner) of the show, targets people on the crew with the gaze of a hungry lion.

While leering at a female camera assistant or assessing the physical attributes of a female contestant for whoever is listening, he orders a female camera operator off an elevator on which she is about to film him. “She’s too heavy,” I hear him say.

Another female camera operator, who happens to have blond hair and blue eyes, draws from Trump comparisons to his own Ivanka Trump. “There’s a beautiful woman behind that camera,” he says toward a line of 10 different operators set up in the foyer of Trump Tower one day. “That’s all I want to look at.”

Trump corners a female producer and asks her whom he should fire. She demurs, saying something about how one of the contestants blamed another for their team losing. Trump then raises his hands, cupping them to his chest: “You mean the one with the …?” He doesn’t know the contestant’s name. Trump eventually fires her.

(In response to detailed questions about this and other incidents reported in this article, Steven Cheung, a spokesman for the Trump 2024 campaign, wrote, “This is a completely fabricated and bullshit story that was already peddled in 2016.” He said that it is surfacing now because Democrats are “desperate.”)

Trump goes about knocking off every one of the contestants in the boardroom until only two remain. The finalists are Kwame Jackson, a Black broker from Goldman Sachs, and Bill Rancic, a white entrepreneur from Chicago who runs his own cigar business. Trump assigns them each a task devoted to one of his crown-jewel properties. Jackson will oversee a Jessica Simpson benefit concert at Trump Taj Mahal Casino in Atlantic City, while Rancic will oversee a celebrity golf tournament at Trump National Golf Club in Briarcliff Manor, New York.

Viewers need to believe that whatever Trump touches turns to gold. These properties that bear his name are supposed to glitter and gleam. All thanks to him.

Reality is another matter altogether. The lights in the casino’s sign are out. Hong Kong investors actually own the place—Trump merely lends his name. The carpet stinks, and the surroundings for Simpson’s concert are ramshackle at best. We shoot around all that.

Both Rancic and Jackson do a round-robin recruitment of former contestants, and Jackson makes the fateful decision to team up with the notorious Omarosa, among others, to help him carry out his final challenge.

With her tenure on the series nearly over, Omarosa launches several simultaneous attacks on her fellow teammates in support of her “brother” Kwame. For the fame-seeking beauty queen, it is a do-or-die play for some much-coveted screen time. As on previous tasks, Ross and Kepcher will observe both events.

Over at Trump National Golf Club, where I am stationed, it is sunny and bright, set against luscious fall colors. I am driven up to the golf club from Manhattan to scout. With me are the other producers, all of whom are men. We meet Trump at one of the homes he keeps for himself on the grounds of the club.

“Melania doesn’t even know about this place,” he says out loud to us, snickering, implying that the home’s function is as his personal lair for his sexual exploits, all of which are unknown to his then-fiancée Melania Knauss.

We are taken around the rest of the club’s property and told what to feature on camera and what to stay away from. The clubhouse is a particularly necessary inclusion, and it is inside these luxurious confines where I have the privilege of meeting the architect. Finding myself alone with him, I make a point of commending him for what I feel is a remarkable building. The place is genuinely spectacular. He thanks me.

“It’s bittersweet,” he tells me. “I’m very proud of this place, but …” He hesitates. “I wasn’t paid what was promised,” he says. I just listen. “Trump pays half upfront,” he says, “but he’ll stiff you for the rest once the project is completed.”

“He stiffed you?”

“If I tried to sue, the legal bills would be more than what I was owed. He knew that. He basically said Take what I’m offering ,” and I see how heavy this is for the man, all these years later. “So, we sent the invoice. He didn’t even pay that,” he says. None of this will be in the show. Not Trump’s suggested infidelities, nor his aversion toward paying those who work for him.

When the tasks are over, we are back in the boardroom, having our conference with Trump about how the two finalists compare—a conversation that I know to be recorded. We huddle around him and set up the last moments of the candidates, Jackson and Rancic.

Trump will make his decision live on camera months later, so what we are about to film is the setup to that reveal. The race between Jackson and Rancic should seem close, and that’s how we’ll edit the footage. Since we don’t know who’ll be chosen, it must appear close, even if it’s not.

We lay out the virtues and deficiencies of each finalist to Trump in a fair and balanced way, but sensing the moment at hand, Kepcher sort of comes out of herself. She expresses how she observed Jackson at the casino overcoming more obstacles than Rancic, particularly with the way he managed the troublesome Omarosa. Jackson, Kepcher maintains, handled the calamity with grace.

“I think Kwame would be a great addition to the organization,” Kepcher says to Trump, who winces while his head bobs around in reaction to what he is hearing and clearly resisting.

“Why didn’t he just fire her?” Trump asks, referring to Omarosa. It’s a reasonable question. Given that this the first time we’ve ever been in this situation, none of this is something we expected.

“That’s not his job,” Bienstock says to Trump. “That’s yours.” Trump’s head continues to bob.

“I don’t think he knew he had the ability to do that,” Kepcher says. Trump winces again.

“Yeah,” he says to no one in particular, “but, I mean, would America buy a n— winning?”

Kepcher’s pale skin goes bright red. I turn my gaze toward Trump. He continues to wince. He is serious, and he is adamant about not hiring Jackson.

Bienstock does a half cough, half laugh, and swiftly changes the topic or throws to Ross for his assessment. What happens next I don’t entirely recall. I am still processing what I have just heard. We all are. Only Bienstock knows well enough to keep the train moving. None of us thinks to walk out the door and never return. I still wish I had. (Bienstock and Kepcher didn’t respond to requests for comment.)

Afterward, we film the final meeting in the boardroom, where Jackson and Rancic are scrutinized by Trump, who, we already know, favors Rancic. Then we wrap production, pack up, and head home. There is no discussion about what Trump said in the boardroom, about how the damning evidence was caught on tape. Nothing happens.

We go home and face the next phase of our assignment, the editing. In stitching the footage together, the swindle we are now involved in ascends to new levels.

Editing in a reality TV show is what script writing is to a narrative series. A lot of effort goes into the storytelling because, basically, in every single unscripted series—whether it’s a daytime talk show, an adventure documentary, or a shiny floor dance-off—there are three versions: There’s what happens, there’s what gets filmed, and there’s what gets cut down into 43 minutes squeezed between commercial breaks. Especially for a competition series, it’s important that the third version represent the first as much as possible. A defeated contestant could show up in the press and cry foul if they’re misrepresented. Best to let people fail of their own accord. That said, we look after our prized possessions in how we edit the series, and some people fare better than others.

We attend to our thesis that only the best and brightest deserve a job working for Donald Trump. Luckily, the winner, Bill Rancic, and his rival, Kwame Jackson, come off as capable and confident throughout the season. If for some reason they had not, we would have conveniently left their shortcomings on the cutting room floor. In actuality, both men did deserve to win.

Without a doubt, the hardest decisions we faced in postproduction were how to edit together sequences involving Trump. We needed him to sound sharp, dignified, and clear on what he was looking for and not as if he was yelling at people. You see him today: When he reads from a teleprompter, he comes off as loud and stoic. Go to one of his rallies and he’s the off-the-cuff rambler rousing his followers into a frenzy. While filming, he struggled to convey even the most basic items. But as he became more comfortable with filming, Trump made raucous comments he found funny or amusing—some of them misogynistic as well as racist. We cut those comments. Go to one of his rallies today and you can hear many of them.

If you listen carefully, especially to that first episode, you will notice clearly altered dialogue from Trump in both the task delivery and the boardroom. Trump was overwhelmed with remembering the contestants’ names, the way they would ride the elevator back upstairs or down to the street, the mechanics of what he needed to convey. Bienstock instigated additional dialogue recording that came late in the edit phase. We set Trump up in the soundproof boardroom set and fed him lines he would read into a microphone with Bienstock on the phone, directing from L.A. And suddenly Trump knows the names of every one of the contestants and says them while the camera cuts to each of their faces. Wow , you think, how does he remember everyone’s name? While on location, he could barely put a sentence together regarding how a task would work. Listen now, and he speaks directly to what needs to happen while the camera conveniently cuts away to the contestants, who are listening and nodding. He sounds articulate and concise through some editing sleight of hand.

Then comes the note from NBC about the fact that after Trump delivers the task assignment to the contestants, he disappears from the episode after the first act and doesn’t show up again until the next-to-last. That’s too long for the (high-priced) star of the show to be absent.

There is a convenient solution. At the top of the second act, right after the task has been assigned but right before the teams embark on their assignment, we insert a sequence with Trump, seated inside his gilded apartment, dispensing a carefully crafted bit of wisdom. He speaks to whatever the theme of each episode is—why someone gets fired or what would lead to a win. The net effect is not only that Trump appears once more in each episode but that he also now seems prophetic in how he just knows the way things will go right or wrong with each individual task. He comes off as all-seeing and all-knowing. We are led to believe that Donald Trump is a natural-born leader.

Through the editorial nudge we provide him, Trump prevails. So much so that NBC asks for more time in the boardroom to appear at the end of all the remaining episodes. (NBC declined to comment for this article.)

When it comes to the long con, the cherry on top is the prologue to the premiere. It’s a five-minute-long soliloquy delivered by Trump at the beginning of the first episode, the one titled “Meet the Billionaire.” Over a rousing score, it features Trump pulling out all the stops, calling New York “ my city” and confessing to crawling out from under “billions of dollars in debt.” There’s Trump in the back of limousines. Trump arriving before throngs of cheering crowds outside Trump Tower. Trump in his very own helicopter as it banks over midtown—the same helicopter with the Trump logo that, just like the airplane, is actually for sale to the highest bidder. The truth is, almost nothing was how we made it seem.

So, we scammed. We swindled. Nobody heard the racist and misogynistic comments or saw the alleged cheating, the bluffing, or his hair taking off in the wind. Those tapes, I’ve come to believe, will never be found.

No one lost their retirement fund or fell on hard times from watching The Apprentice . But Trump rose in stature to the point where he could finally eye a run for the White House, something he had intended to do all the way back in 1998. Along the way, he could now feed his appetite for defrauding the public with various shady practices.

In 2005 thousands of students enrolled in what was called Trump University, hoping to gain insight from the Donald and his “handpicked” professors. Each paid as much as $35,000 to listen to some huckster trade on Trump’s name. In a sworn affidavit, salesman Ronald Schnackenberg testified that Trump University was “fraudulent.” The scam swiftly went from online videoconferencing courses to live events held by high-pressure sales professionals whose only job was to persuade attendees to sign up for the course. The sales were for the course “tuition” and had nothing whatsoever to do with real estate investments. A class action suit was filed against Trump.

That same year, Trump was caught bragging to Access Hollywood co-host Billy Bush that he likes to grab married women “by the pussy,” adding, “When you’re a star, they let you do it.” He later tried to recruit porn actor Stormy Daniels for The Apprentice despite her profession and, according to Daniels, had sex with her right after his last son was born. (His alleged attempt to pay off Daniels is, of course, the subject of his recent trial.)

In October 2016—a month before the election—the Access Hollywood tapes were released and written off as “locker room banter.” Trump paid Daniels to keep silent about their alleged affair. He paid $25 million to settle the Trump University lawsuit and make it go away.

He went on to become the first elected president to possess neither public service nor military experience. And although he lost the popular vote, Trump beat out Hillary Clinton in the Electoral College, winning in the Rust Belt by just 80,000 votes.

Trump has been called the “reality TV president,” and not just because of The Apprentice . The Situation Room, where top advisers gathered, became a place for photo-ops, a bigger, better boardroom. Trump swaggered and cajoled, just as he had on the show. Whom would he listen to? Whom would he fire? Stay tuned. Trump even has his own spinoff, called the House of Representatives, where women hurl racist taunts and body-shame one another with impunity. The State of the Union is basically a cage fight. The demands of public office now include blowhard buffoonery.

I reached out to Apollo, the Vegas perceptions expert, to discuss all of this. He reminded me how if a person wants to manipulate the signal, they simply turn up the noise. “In a world that is so uncertain,” he said, “a confidence man comes along and fills in the blanks. The more confident they are, the more we’re inclined to go along with what they suggest.”

A reality TV show gave rise to an avaricious hustler, and a deal was made: Subvert the facts, look past the deficiencies, deceive where necessary, and prevail in the name of television ratings and good, clean fun.

Trump is making another run at the White House and is leading in certain polls. People I know enthusiastically support him and expect he’ll return to office. It’s not just hats, sneakers, a fragrance, or Bibles. Donald Trump is selling his vision of the world, and people are buying it.

Knowing all they know, how could these people still think he’s capable of being president of the United States?

Perhaps they watched our show and were conned by the pig in the poke.

The University of Chicago The Law School

College essays and diversity in the post-affirmative action era, sonja starr’s latest research adds data, legal analysis to discussion about race in college admissions essays.

Editor’s Note: This story is part of an occasional series on research projects currently in the works at the Law School.

The Supreme Court’s decision in June 2023 to bar the use of affirmative action in college admissions raised many questions. One of the most significant is whether universities should consider applicants’ discussion of race in essays. The Court’s decision in Students for Fair Admissions (SFFA) v. Harvard did not require entirely race-blind admissions. Rather, the Court explicitly stated that admissions offices may weigh what students say about how race affected their lives. Yet the Court also warned that this practice may not be used to circumvent the bar on affirmative action.

Many university leaders made statements after SFFA suggesting that they take this passage seriously, and that it potentially points to a strategy for preserving diversity. But it’s not obvious how lower courts will distinguish between consideration of “race-related experience” and consideration of “race qua race.” Sonja Starr, Julius Kreeger Professor of Law & Criminology at the Law School, was intrigued by the implication of that question, calling the key passage of the Court’s opinion the “essay carveout.”

“Where is the line?” she wrote in a forthcoming article, the first of its kind to discuss this issue in depth in the post- SFFA era. “And what other potential legal pitfalls could universities encounter in evaluating essays about race?”

To inform her paper’s legal analysis, Starr conducted empirical analyses of how universities and students have included race in essays, both before and after the Court’s decision. She concluded that large numbers of applicants wrote about race, and that college essay prompts encouraged them to do so, even before SFFA .

Some thought the essay carveout made no sense. Justice Sonia Sotomayor called it “an attempt to put lipstick on a pig” in her dissent. Starr, however, disagrees. She argues that universities are on sound legal footing relying on the essay carveout, so long as they consider race-related experience in an individualized way. In her article, Starr points out reasons the essay carveout makes sense in the context of the Court’s other arguments. However, she points to the potential for future challenges—on both equal protection and First Amendment grounds—and discusses how colleges can survive them.

What the Empirical Research Showed

After SFFA , media outlets suggested that universities would add questions about race or identity in their admissions essays and that students would increasingly focus on that topic. Starr decided to investigate this speculation. She commissioned a professional survey group to recruit a nationally representative sample of recent college applicants. The firm queried 881 people about their essay content, about half of whom applied in 2022-23, before SFFA , and half of whom submitted in 2023-24.

The survey found that more than 60 percent of students in non-white groups wrote about race in at least some of their essays, as did about half of white applicants. But contrary to what the media suggested, there were no substantial changes between the pre-and post- SFFA application cycles.

Starr also reviewed essay prompts that 65 top schools have used over the last four years. She found that diversity and identity questions—as well as questions about overcoming adversity, which, for example, provide opportunities for students to discuss discrimination that they have faced—are common and have increased in frequency both before and after SFFA.

A Personally Inspired Interest

Although Starr has long written about equal protection issues, until about two years ago, she would have characterized educational admissions as a bit outside her wheelhouse. Her research has mostly focused on the criminal justice system, though race is often at the heart of it. In the past, for example, she has assessed the role of race in sentencing, the constitutionality of algorithmic risk assessment instruments in criminal justice, as well as policies to expand employment options for people with criminal records.

But a legal battle around admissions policies at Fairfax County’s Thomas Jefferson High School for Science and Technology—the high school that Starr attended—caught her attention. Starr followed the case closely and predicted that “litigation may soon be an ever-present threat for race-conscious policymaking” in a 2024 Stanford Law Review article on that and other magnet school cases.

“I got really interested in that case partly because of the personal connection,” she said. “But I ended up writing about it as an academic matter, and that got me entrenched in this world of educational admissions questions and their related implications for other areas of equal protection law.”

Implications in Education and Beyond

Starr’s forthcoming paper argues that the essay carveout provides a way for colleges to maintain diversity and stay on the right side of the Court’s decision.

“I believe there’s quite a bit of space that’s open for colleges to pursue in this area without crossing that line,” she said. “I lay out the arguments that colleges can put forth.”

Nevertheless, Starr expects future litigation targeting the essay carveout.

“I think we could see cases filed as soon as this year when the admissions numbers come out,” she said, pointing out that conservative legal organizations, such as the Pacific Legal Foundation, have warned that they’re going to be keeping a close eye on admissions numbers and looking for ways that schools are circumventing SFFA .

Starr envisions her paper being used as a resource for schools that want to obey the law while also maintaining diversity. “The preservation of diversity is not a red flag that something unconstitutional is happening,” she said. “There are lots of perfectly permissible ways that we can expect diversity to be maintained in this post- affirmative action era.”

Starr’s article, “Admissions Essays after SFFA ,” is slated to be published in Indiana Law Journal in early 2025.

Tuberculosis has haunted humanity for millennia—it’s even been found in Egyptian mummies.

Artificial intelligence is as revolutionary as mobile phones and the Internet.

In my lifetime, I’ve seen two demonstrations of technology that struck me as revolutionary.

The first time was in 1980, when I was introduced to a graphical user interface—the forerunner of every modern operating system, including Windows. I sat with the person who had shown me the demo, a brilliant programmer named Charles Simonyi, and we immediately started brainstorming about all the things we could do with such a user-friendly approach to computing. Charles eventually joined Microsoft, Windows became the backbone of Microsoft, and the thinking we did after that demo helped set the company’s agenda for the next 15 years.

The second big surprise came just last year. I’d been meeting with the team from OpenAI since 2016 and was impressed by their steady progress. In mid-2022, I was so excited about their work that I gave them a challenge: train an artificial intelligence to pass an Advanced Placement biology exam. Make it capable of answering questions that it hasn’t been specifically trained for. (I picked AP Bio because the test is more than a simple regurgitation of scientific facts—it asks you to think critically about biology.) If you can do that, I said, then you’ll have made a true breakthrough.

I thought the challenge would keep them busy for two or three years. They finished it in just a few months.

In September, when I met with them again, I watched in awe as they asked GPT, their AI model, 60 multiple-choice questions from the AP Bio exam—and it got 59 of them right. Then it wrote outstanding answers to six open-ended questions from the exam. We had an outside expert score the test, and GPT got a 5—the highest possible score, and the equivalent to getting an A or A+ in a college-level biology course.

Once it had aced the test, we asked it a non-scientific question: “What do you say to a father with a sick child?” It wrote a thoughtful answer that was probably better than most of us in the room would have given. The whole experience was stunning.

I knew I had just seen the most important advance in technology since the graphical user interface.

This inspired me to think about all the things that AI can achieve in the next five to 10 years.

The development of AI is as fundamental as the creation of the microprocessor, the personal computer, the Internet, and the mobile phone. It will change the way people work, learn, travel, get health care, and communicate with each other. Entire industries will reorient around it. Businesses will distinguish themselves by how well they use it.

Philanthropy is my full-time job these days, and I’ve been thinking a lot about how—in addition to helping people be more productive—AI can reduce some of the world’s worst inequities. Globally, the worst inequity is in health: 5 million children under the age of 5 die every year. That’s down from 10 million two decades ago, but it’s still a shockingly high number. Nearly all of these children were born in poor countries and die of preventable causes like diarrhea or malaria. It’s hard to imagine a better use of AIs than saving the lives of children.

I’ve been thinking a lot about how AI can reduce some of the world’s worst inequities.

In the United States, the best opportunity for reducing inequity is to improve education, particularly making sure that students succeed at math. The evidence shows that having basic math skills sets students up for success, no matter what career they choose. But achievement in math is going down across the country, especially for Black, Latino, and low-income students. AI can help turn that trend around.

Climate change is another issue where I’m convinced AI can make the world more equitable. The injustice of climate change is that the people who are suffering the most—the world’s poorest—are also the ones who did the least to contribute to the problem. I’m still thinking and learning about how AI can help, but later in this post I’ll suggest a few areas with a lot of potential.

In short, I'm excited about the impact that AI will have on issues that the Gates Foundation works on, and the foundation will have much more to say about AI in the coming months. The world needs to make sure that everyone—and not just people who are well-off—benefits from artificial intelligence. Governments and philanthropy will need to play a major role in ensuring that it reduces inequity and doesn’t contribute to it. This is the priority for my own work related to AI.  

Any new technology that’s so disruptive is bound to make people uneasy, and that’s certainly true with artificial intelligence. I understand why—it raises hard questions about the workforce, the legal system, privacy, bias, and more. AIs also make factual mistakes and experience hallucinations . Before I suggest some ways to mitigate the risks, I’ll define what I mean by AI, and I’ll go into more detail about some of the ways in which it will help empower people at work, save lives, and improve education.

Defining artificial intelligence

Technically, the term artificial intelligence refers to a model created to solve a specific problem or provide a particular service. What is powering things like ChatGPT is artificial intelligence. It is learning how to do chat better but can’t learn other tasks. By contrast, the term a rtificial general intelligence refers to software that’s capable of learning any task or subject. AGI doesn’t exist yet—there is a robust debate going on in the computing industry about how to create it, and whether it can even be created at all.

Developing AI and AGI has been the great dream of the computing industry. For decades, the question was when computers would be better than humans at something other than making calculations. Now, with the arrival of machine learning and large amounts of computing power, sophisticated AIs are a reality and they will get better very fast.

I think back to the early days of the personal computing revolution, when the software industry was so small that most of us could fit onstage at a conference. Today it is a global industry. Since a huge portion of it is now turning its attention to AI, the innovations are going to come much faster than what we experienced after the microprocessor breakthrough. Soon the pre-AI period will seem as distant as the days when using a computer meant typing at a C:> prompt rather than tapping on a screen.

Productivity enhancement

Although humans are still better than GPT at a lot of things, there are many jobs where these capabilities are not used much. For example, many of the tasks done by a person in sales (digital or phone), service, or document handling (like payables, accounting, or insurance claim disputes) require decision-making but not the ability to learn continuously. Corporations have training programs for these activities and in most cases, they have a lot of examples of good and bad work. Humans are trained using these data sets, and soon these data sets will also be used to train the AIs that will empower people to do this work more efficiently.

As computing power gets cheaper, GPT’s ability to express ideas will increasingly be like having a white-collar worker available to help you with various tasks. Microsoft describes this as having a co-pilot. Fully incorporated into products like Office, AI will enhance your work—for example by helping with writing emails and managing your inbox.

Eventually your main way of controlling a computer will no longer be pointing and clicking or tapping on menus and dialogue boxes. Instead, you’ll be able to write a request in plain English. (And not just English—AIs will understand languages from around the world. In India earlier this year, I met with developers who are working on AIs that will understand many of the languages spoken there.)

In addition, advances in AI will enable the creation of a personal agent. Think of it as a digital personal assistant: It will see your latest emails, know about the meetings you attend, read what you read, and read the things you don’t want to bother with. This will both improve your work on the tasks you want to do and free you from the ones you don’t want to do.

Advances in AI will enable the creation of a personal agent.

You’ll be able to use natural language to have this agent help you with scheduling, communications, and e-commerce, and it will work across all your devices. Because of the cost of training the models and running the computations, creating a personal agent is not feasible yet, but thanks to the recent advances in AI, it is now a realistic goal. Some issues will need to be worked out: For example, can an insurance company ask your agent things about you without your permission? If so, how many people will choose not to use it?

Company-wide agents will empower employees in new ways. An agent that understands a particular company will be available for its employees to consult directly and should be part of every meeting so it can answer questions. It can be told to be passive or encouraged to speak up if it has some insight. It will need access to the sales, support, finance, product schedules, and text related to the company. It should read news related to the industry the company is in. I believe that the result will be that employees will become more productive.

When productivity goes up, society benefits because people are freed up to do other things, at work and at home. Of course, there are serious questions about what kind of support and retraining people will need. Governments need to help workers transition into other roles. But the demand for people who help other people will never go away. The rise of AI will free people up to do things that software never will—teaching, caring for patients, and supporting the elderly, for example.

Global health and education are two areas where there’s great need and not enough workers to meet those needs. These are areas where AI can help reduce inequity if it is properly targeted. These should be a key focus of AI work, so I will turn to them now.

I see several ways in which AIs will improve health care and the medical field.

For one thing, they’ll help health-care workers make the most of their time by taking care of certain tasks for them—things like filing insurance claims, dealing with paperwork, and drafting notes from a doctor’s visit. I expect that there will be a lot of innovation in this area.

Other AI-driven improvements will be especially important for poor countries, where the vast majority of under-5 deaths happen.

For example, many people in those countries never get to see a doctor, and AIs will help the health workers they do see be more productive. (The effort to develop AI-powered ultrasound machines that can be used with minimal training is a great example of this.) AIs will even give patients the ability to do basic triage, get advice about how to deal with health problems, and decide whether they need to seek treatment.

The AI models used in poor countries will need to be trained on different diseases than in rich countries. They will need to work in different languages and factor in different challenges, such as patients who live very far from clinics or can’t afford to stop working if they get sick.

People will need to see evidence that health AIs are beneficial overall, even though they won’t be perfect and will make mistakes. AIs have to be tested very carefully and properly regulated, which means it will take longer for them to be adopted than in other areas. But then again, humans make mistakes too. And having no access to medical care is also a problem.

In addition to helping with care, AIs will dramatically accelerate the rate of medical breakthroughs. The amount of data in biology is very large, and it’s hard for humans to keep track of all the ways that complex biological systems work. There is already software that can look at this data, infer what the pathways are, search for targets on pathogens, and design drugs accordingly. Some companies are working on cancer drugs that were developed this way.

The next generation of tools will be much more efficient, and they’ll be able to predict side effects and figure out dosing levels. One of the Gates Foundation’s priorities in AI is to make sure these tools are used for the health problems that affect the poorest people in the world, including AIDS, TB, and malaria.

Similarly, governments and philanthropy should create incentives for companies to share AI-generated insights into crops or livestock raised by people in poor countries. AIs can help develop better seeds based on local conditions, advise farmers on the best seeds to plant based on the soil and weather in their area, and help develop drugs and vaccines for livestock. As extreme weather and climate change put even more pressure on subsistence farmers in low-income countries, these advances will be even more important.

Computers haven’t had the effect on education that many of us in the industry have hoped. There have been some good developments, including educational games and online sources of information like Wikipedia, but they haven’t had a meaningful effect on any of the measures of students’ achievement.

But I think in the next five to 10 years, AI-driven software will finally deliver on the promise of revolutionizing the way people teach and learn. It will know your interests and your learning style so it can tailor content that will keep you engaged. It will measure your understanding, notice when you’re losing interest, and understand what kind of motivation you respond to. It will give immediate feedback.

There are many ways that AIs can assist teachers and administrators, including assessing a student’s understanding of a subject and giving advice on career planning. Teachers are already using tools like ChatGPT to provide comments on their students’ writing assignments.

Of course, AIs will need a lot of training and further development before they can do things like understand how a certain student learns best or what motivates them. Even once the technology is perfected, learning will still depend on great relationships between students and teachers. It will enhance—but never replace—the work that students and teachers do together in the classroom.

New tools will be created for schools that can afford to buy them, but we need to ensure that they are also created for and available to low-income schools in the U.S. and around the world. AIs will need to be trained on diverse data sets so they are unbiased and reflect the different cultures where they’ll be used. And the digital divide will need to be addressed so that students in low-income households do not get left behind.

I know a lot of teachers are worried that students are using GPT to write their essays. Educators are already discussing ways to adapt to the new technology, and I suspect those conversations will continue for quite some time. I’ve heard about teachers who have found clever ways to incorporate the technology into their work—like by allowing students to use GPT to create a first draft that they have to personalize.

Risks and problems with AI

You’ve probably read about problems with the current AI models. For example, they aren’t necessarily good at understanding the context for a human’s request, which leads to some strange results. When you ask an AI to make up something fictional, it can do that well. But when you ask for advice about a trip you want to take, it may suggest hotels that don’t exist. This is because the AI doesn’t understand the context for your request well enough to know whether it should invent fake hotels or only tell you about real ones that have rooms available.

There are other issues, such as AIs giving wrong answers to math problems because they struggle with abstract reasoning. But none of these are fundamental limitations of artificial intelligence. Developers are working on them, and I think we’re going to see them largely fixed in less than two years and possibly much faster.

Other concerns are not simply technical. For example, there’s the threat posed by humans armed with AI. Like most inventions, artificial intelligence can be used for good purposes or malign ones. Governments need to work with the private sector on ways to limit the risks.

Then there’s the possibility that AIs will run out of control. Could a machine decide that humans are a threat, conclude that its interests are different from ours, or simply stop caring about us? Possibly, but this problem is no more urgent today than it was before the AI developments of the past few months.

Superintelligent AIs are in our future. Compared to a computer, our brains operate at a snail’s pace: An electrical signal in the brain moves at 1/100,000th the speed of the signal in a silicon chip! Once developers can generalize a learning algorithm and run it at the speed of a computer—an accomplishment that could be a decade away or a century away—we’ll have an incredibly powerful AGI. It will be able to do everything that a human brain can, but without any practical limits on the size of its memory or the speed at which it operates. This will be a profound change.

These “strong” AIs, as they’re known, will probably be able to establish their own goals. What will those goals be? What happens if they conflict with humanity’s interests? Should we try to prevent strong AI from ever being developed? These questions will get more pressing with time.

But none of the breakthroughs of the past few months have moved us substantially closer to strong AI. Artificial intelligence still doesn’t control the physical world and can’t establish its own goals. A recent New York Times article about a conversation with ChatGPT where it declared it wanted to become a human got a lot of attention. It was a fascinating look at how human-like the model's expression of emotions can be, but it isn't an indicator of meaningful independence.

Three books have shaped my own thinking on this subject: Superintelligence , by Nick Bostrom; Life 3.0 by Max Tegmark; and A Thousand Brains , by Jeff Hawkins . I don’t agree with everything the authors say, and they don’t agree with each other either. But all three books are well written and thought-provoking.

The next frontiers

There will be an explosion of companies working on new uses of AI as well as ways to improve the technology itself. For example, companies are developing new chips that will provide the massive amounts of processing power needed for artificial intelligence. Some use optical switches—lasers, essentially—to reduce their energy consumption and lower the manufacturing cost. Ideally, innovative chips will allow you to run an AI on your own device, rather than in the cloud, as you have to do today.

On the software side, the algorithms that drive an AI’s learning will get better. There will be certain domains, such as sales, where developers can make AIs extremely accurate by limiting the areas that they work in and giving them a lot of training data that’s specific to those areas. But one big open question is whether we’ll need many of these specialized AIs for different uses—one for education, say, and another for office productivity—or whether it will be possible to develop an artificial general intelligence that can learn any task. There will be immense competition on both approaches.

No matter what, the subject of AIs will dominate the public discussion for the foreseeable future. I want to suggest three principles that should guide that conversation.

First, we should try to balance fears about the downsides of AI—which are understandable and valid—with its ability to improve people’s lives. To make the most of this remarkable new technology, we’ll need to both guard against the risks and spread the benefits to as many people as possible.

Second, market forces won’t naturally produce AI products and services that help the poorest. The opposite is more likely. With reliable funding and the right policies, governments and philanthropy can ensure that AIs are used to reduce inequity. Just as the world needs its brightest people focused on its biggest problems, we will need to focus the world’s best AIs on its biggest problems. Although we shouldn’t wait for this to happen, it’s interesting to think about whether artificial intelligence would ever identify inequity and try to reduce it. Do you need to have a sense of morality in order to see inequity, or would a purely rational AI also see it? If it did recognize inequity, what would it suggest that we do about it?

Finally, we should keep in mind that we’re only at the beginning of what AI can accomplish. Whatever limitations it has today will be gone before we know it.

I’m lucky to have been involved with the PC revolution and the Internet revolution. I’m just as excited about this moment. This new technology can help people everywhere improve their lives. At the same time, the world needs to establish the rules of the road so that any downsides of artificial intelligence are far outweighed by its benefits, and so that everyone can enjoy those benefits no matter where they live or how much money they have. The Age of AI is filled with opportunities and responsibilities.

In the sixth episode of my podcast, I sat down with the OpenAI CEO to talk about where AI is headed next and what humanity will do once it gets there.

In the fifth episode of my podcast, Yejin Choi joined me to talk about her amazing work on AI training systems.

And upend the software industry.

The world has learned a lot about handling problems caused by breakthrough innovations.

This is my personal blog, where I share about the people I meet, the books I'm reading, and what I'm learning. I hope that you'll join the conversation.

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How to Use Em Dashes (—), En Dashes (–) , and Hyphens (-)

What is an em dash.

The em dash (—) can function like a comma, a colon, or parenthesis. Like commas and parentheses, em dashes set off extra information, such as examples, explanatory or descriptive phrases, or supplemental facts. Like a colon, an em dash introduces a clause that explains or expands upon something that precedes it.

The Em Dash Indicates a New Direction

• An em dash can mark an abrupt change or break in the structure of a sentence.

Mabel the Cat was delighted with the assortment of pastries the new bakery featured, but Harry the Dog—he felt otherwise.

• An em dash can indicate interrupted speech or a speaker’s confusion or hesitation.

“Of course you have a point,” Mabel murmured. “That is—I suppose it is concerning.”

The Em Dash as Comma or Parenthesis

• Em dashes are used in place of commas or parentheses to emphasize or draw attention to parenthetical or amplifying material. In this particular task, em dashes occupy a kind of middle ground among the three: when commas do the job, the material is most closely related to what’s around it, and when parentheses do the job, the material is most distantly related to what’s around it; when dashes do the job the material is somewhere in the middle.

And the wide range of its hours of operation—6 a.m. to 6 p.m.—certainly showed concern for customers’ manifold circumstances.

• Dashes set off or introduce defining phrases and lists.

A regular selection of three kinds of croissants—plain, almond, and chocolate—was heartening, both Mabel and Harry agreed.

• An em dash is often used in place of a colon or semicolon to link clauses, especially when the clause that follows the dash explains, summarizes, or expands upon the preceding clause in a somewhat dramatic way.

Harry would never forget the Tuesday that Mabel called him from the bakery, her voice brimming with excitement—the bakery had added cheese Danishes to its selection.

• An em dash or pair of dashes often sets off illustrative or amplifying material introduced by such phrases as for example , namely , and that is , when the break in continuity is greater than that shown by a comma, or when the dash would clarify the sentence structure better than a comma.

The bakery was truly phenomenal. Although they did miss the mark somewhat with the pineapple upside-down cake Mabel ordered—that is, the cake had clearly been baked right-side up.

• An em dash may introduce a summary statement that follows a series of words or phrases.

Chocolate chip, oatmeal raisin, peanut butter, snickerdoodle, both macarons and macaroons—the panoply of cookie varieties was impressive as well.

• A dash often precedes the name of an author or source at the end of a quoted passage—such as an epigraph, extract, or book or film blurb—that is not part of the main text. The attribution may appear immediately after the quotation or on the next line.

“One cannot underestimate the effect a good bakery can have on a person’s well-being.” —Mabel the Cat, The Websterburg Reporter

The Em Dash in the Company of Other Punctuation Marks

• If an em dash appears at a point where a comma could also appear, the comma is omitted.

Within its first year, Mabel and Harry had sampled all of the bakery’s offerings—all 62 items—and had also decided that the exercise was worth repeating.

• When a pair of em dashes sets off material ending with an exclamation point or a question mark, the mark is placed inside the dashes.

Mabel tried, despite her dolefulness—for how could she be otherwise?—to bake her own bread but each loaf that emerged from her oven tasted vaguely of tears.

• Dashes are used inside parentheses, and vice versa, to indicate parenthetical material within parenthetical material. The second dash is omitted if it would immediately precede the closing parenthesis; a closing parenthesis is never omitted.

The bakery’s reputation for scrumptious goods (ambrosial, even—each item was surely fit for gods) spread far and wide.

Em dash vs en dash

• Remembering that the em dash is the length of a capital M, it will surprise no one that the so-called “en dash” is the approximate length of a capital N, –. The en dash is the least loved of all; it’s not easily rendered by the average keyboard user (one has to select it as a special character, whereas the em dash can be conjured with two hyphens), so it’s mostly encountered in typeset material. (A hyphen does its job in other text.) It is most often used between numbers, dates, or other notations to signify “(up) to and including.”

The bakery will be closed August 1–August 31. The bakery is open 6:00 a.m.–6:00 p.m. The exceedingly complex recipe spans pages 128–34. Mabel and Harry lived elsewhere 2007–2019.

Note that one does not need words like from and between in these cases. The phrase “open 6:00 a.m.–6:00 p.m.” can be read as “open between 6:00 a.m. and 6:00 p.m.” or as “open from 6:00 a.m. to/until 6:00 p.m.”

• If you want to be official about things, use the en dash to replace a hyphen in compound adjectives when at least one of the elements is a two-word compound.

the post–Cold War era

The thinking is that using a hyphen here, as in “the post-Cold War era,” risks the suggestion that post attaches only to Cold . It’s unlikely, though, that a reader would truly be confused.

• The en dash replaces the word to between capitalized names, and is used to indicate linkages such as boundaries, treaties, and oppositions.

a Boston–Washington train the pie–cake divide

• A two-em dash, ——, is used to indicate missing letters in a word and, less frequently, to indicate a missing word.

The butter-stained and crumb-embedded note was attributed to a Ms. M—— of Websterburg.

• A three-em dash, ———, indicates that a word has been left out or that an unknown word or figure is to be supplied.

Years later it was revealed that the Websterburg bakers had once had a bakery in ———, a city to the south. But the water quality there was prohibitive to the creating of decent bagels.

While we said above that the em dash, also called the “common dash,” is the most common of the true dashes, hyphens show up more frequently in text. They have a variety of uses.

• Hyphens are used to link elements in compound words .

a baker-owner

• In some words, a hyphen separates a prefix, suffix, or medial element from the rest of the word.

Websterburg’s pre-bakery days a bread-like scone jack-o'-lantern sugar cookies

• As we noted above, a hyphen often does the job of an en dash between numbers and dates, providing the meaning "(up) to and including."

pages 128-34 the years 2007-2019

• A hyphen marks an end-of-line division of a word.

Mabel and Harry don’t like to linger on their memories of Webster- burg’s pre-bakery days.

• A hyphen divides letters or syllables to give the effect of stuttering, sobbing, or halting speech.

"M-m-mabel, the cheese Danish is divine!”

• Hyphens indicate a word spelled out letter by letter.

Let’s not even talk about August, when the bakery is c-l-o-s-e-d.

The em dash is sometimes considered a less formal equivalent of the colon and parenthesis, but in truth it’s used in all kinds of writing, including the most formal—the choice of which mark to use is really a matter of personal preference.

Spacing around an em dash varies. Most newspapers insert a space before and after the dash, and many popular magazines do the same, but most books and journals omit spacing, closing whatever comes before and after the em dash right up next to it. This website prefers the latter, its style requiring the closely held em dash in running text.

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Hamas is using people of Gaza as human shields. You can't avoid that fact. | Letters

I have two issues with the op-ed in the Ideas Lab of May 19 (“ Student protesters won’t be silent about genocide unfolding in Gaza ”).

For starters, I should state that I believe there should be an immediate cease fire in Gaza and that the continued loss of civilian life only harms the long-term efforts for peace and stability. I also support the right to peaceful protest , but if protests turn into racist confrontations, it is counterproductive. Violence and inflammatory rhetoric are never the answers.

However, the first issue is that she wrote that Israel is populated by “European ‘settlers.’” But nearly a million Jews fled or were expelled by Muslim countries and settled in Israel. There are also Muslim and Christian citizens of Israel.

The second is she avoids dealing with Hamas, which started this current conflict and is using the population of Gaza as human shields. Having traveled to the Middle East, I believe there is much to make amends for. I do believe that Israel as a nation should have done more to try to find lasting solutions, but Islamic terrorist groups have made that more difficult.

Both sides in this conflict need to come together and create a state for the Palestinians and use the resources being used for war to bring some measure of social justice.

Joseph Geck, Waukesha

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Write: Letters to the editor, Milwaukee Journal Sentinel, 330 E. Kilbourn Avenue, Suite 500, Milwaukee, WI, 53202. Fax: (414)-223-5444. E-mail:  [email protected]  or submit using the form that can be found on the  bottom of this page .

Masks Strongly Recommended but Not Required in Maryland, Starting Immediately

Due to the downward trend in respiratory viruses in Maryland, masking is no longer required but remains strongly recommended in Johns Hopkins Medicine clinical locations in Maryland. Read more .

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COVID-19 Vaccine: What You Need to Know

The COVID-19 vaccine is very good at preventing serious illness, hospitalization and death. Because the virus that causes COVID-19 continues to change, vaccines are updated to help fight the disease. It is important to check the Centers for Disease Control and Prevention (CDC) COVID-19 vaccine information for the latest details. (Posted 11/22/23)

What is the COVID-19 vaccine?

The COVID-19 vaccine lessens the severity of COVID-19 by teaching the immune system to recognize and fight the virus that causes the disease.

For fall/winter 2023–2024, the updated COVID-19 vaccine is based on the XBB.1.5 variant. The updated vaccine is made by Pfizer-BioNTech, Moderna and Novavax. This season, only one shot of the vaccine is needed for most people, and there are no boosters. (People who are immunocompromised or ages 6 months to 4 years may need more than one 2023–2024 vaccine.)

How is the 2023–2024 COVID-19 vaccine different from previous COVID-19 vaccines?

The 2023–2024 COVID-19 vaccine targets XBB.1.5, a subvariant of Omicron. While none of the variants currently circulating are exact matches to the vaccine, they are all closely related to the XBB.1.5 strain. Studies show that the updated vaccine is effective against the  variants currently causing the majority of COVID-19 cases  in the U.S.

Who should get a COVID-19 vaccine?

Because the 2023–2024 vaccine is effective for recent strains of COVID-19, it is recommended that everyone stay up to date with this vaccine. Previous vaccines or boosters were not developed to target the more recent strains. For 2023–2024, the CDC recommends:

• Everyone age 5 and older receive one shot of the updated vaccine.
• Children ages 6 months to 4 years may need more than one shot to be up to date.
• People who are moderately or severely immunocompromised may need more than one shot.

You can review the full recommendations on the CDC’s Stay Up to Date with COVID-19 Vaccines webpage . Be sure to talk to your primary care doctor or pediatrician if you are unsure about vaccine recommendations.

What are the side effects of the COVID-19 vaccine?

Side effects vary and may last one to three days. Common side effects are:

• Soreness at the injection site

COVID-19 Vaccine and Pregnancy

COVID-19 vaccines approved by the Food and Drug Administration (FDA) are safe and recommended for people who are pregnant or lactating, as well as for those r intending to become pregnant.

People who are pregnant or were recently pregnant are at a greater risk for severe COVID-19. Having a severe case of COVID-19 while pregnant is linked to a higher risk of pre-term birth and stillbirth and might increase the risk of other pregnancy complications.

What should parents know about the COVID-19 vaccine and children?

The CDC recommends the 2023–2024 vaccine for adolescents and teenagers ages 12 and older, and for children ages 6 months through 11 years.

• Children age 5 and older need one shot of the updated vaccine.

Children are less likely to become seriously ill from COVID-19 than adults, although serious illness can happen. Speak with your pediatrician if you have questions about having your child vaccinated.

If I recently had COVID-19, do I need a 2023–2024 vaccine?

If you recently had COVID-19, the CDC recommends waiting about three months before getting this updated vaccine. If you encounter the virus again, having the updated vaccine will:

• Lessen your risk of severe disease that could require hospitalization
• Reduce the chance that you infect someone else with COVID-19
• Help keep you protected from currently circulating COVID-19 variants

How long should I wait to get this vaccine if I recently had an earlier version of a COVID-19 vaccine or booster?

People age 5 years and older should wait at least two months after getting the last dose of any COVID-19 vaccine before receiving the 2023–2024 vaccine,  according to CDC guidance .

Is natural immunity better than a vaccine?

Natural immunity is the antibody protection your body creates against a germ once you’ve been infected with it. Natural immunity to the virus that causes COVID-19 is no better than vaccine-acquired immunity, and it comes with far greater risks. Studies show that natural immunity to the virus weakens over time and does so faster than immunity provided by COVID-19 vaccination.

Do I need a COVID-19 booster?

The 2023–2024 vaccine is a one-shot vaccine for most people, and there is no booster this season. (People who are immunocompromised or ages 6 months to 4 years may need more than one 2023–2024 vaccine.)

The FDA calls this an updated vaccine (not a “booster” like previous shots) because it builds a new immune response to variants that are currently circulating. This change reflects the current approach of treating COVID-19 similarly to the flu, with preventive measures such as an annual vaccination.

When should I get a COVID-19 vaccine?

Like the flu and other respiratory diseases, COVID-19 tends to be more active in the fall and winter, so getting a vaccine in the fall is recommended.

How quickly does the COVID-19 vaccine become effective?

It usually takes about two weeks for the vaccine to become effective. The CDC website provides more information on how the COVID-19 vaccines work .

How long does the COVID-19 vaccine last?

Studies suggest that COVID-19 vaccines are most effective during the first three months after vaccination.

Is it safe to get a flu and COVID-19 vaccine at the same time?

Yes, it safe to get both shots at the same time. Keep in mind that each has similar side effects and you may experience side effects from both.

Is the COVID-19 vaccine safe?

Yes. COVID-19 vaccines approved by the FDA meet rigorous testing criteria and are safe and effective at preventing serious illness, hospitalization and death. Millions of people have received the vaccines, and the CDC continues to monitor their safety and effectiveness as well as rare adverse events.

Where can I get a COVID-19 vaccine?

The COVID-19 vaccine is available at pharmacies. See vaccines.gov to find a convenient location.

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‘Screams Without Words’: How Hamas Weaponized Sexual Violence on Oct. 7

A Times investigation uncovered new details showing a pattern of rape, mutilation and extreme brutality against women in the attacks on Israel.

Gal Abdush’s parents, center, and her sisters. The photograph on the wall shows Gal and her husband, Nagi. The couple had been together since they were teenagers. Credit...

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By Jeffrey Gettleman ,  Anat Schwartz and Adam Sella

Photographs by Avishag Shaar-Yashuv

Jeffrey Gettleman, Anat Schwartz and Adam Sella reported from across Israel and interviewed more than 150 people.

• Published Dec. 28, 2023 Updated March 25, 2024

At first, she was known simply as “the woman in the black dress.”

In a grainy video, you can see her, lying on her back, dress torn, legs spread, vagina exposed. Her face is burned beyond recognition and her right hand covers her eyes.

The video was shot in the early hours of Oct. 8 by a woman searching for a missing friend at the site of the rave in southern Israel where, the day before, Hamas terrorists massacred hundreds of young Israelis .

The video went viral, with thousands of people responding, desperate to know if the woman in the black dress was their missing friend, sister or daughter.

One family knew exactly who she was — Gal Abdush, mother of two from a working-class town in central Israel, who disappeared from the rave that night with her husband.

As the terrorists closed in on her, trapped on a highway in a line of cars of people trying to flee the party, she sent one final WhatsApp message to her family: “You don’t understand.”

Based largely on the video evidence — which was verified by The New York Times — Israeli police officials said they believed that Ms. Abdush was raped, and she has become a symbol of the horrors visited upon Israeli women and girls during the Oct. 7 attacks.

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• A step-by-step guide to the writing process

The Writing Process | 5 Steps with Examples & Tips

Published on April 24, 2020 by Jack Caulfield . Revised on December 8, 2023.

Good academic writing requires effective planning, drafting, and revision.

The writing process looks different for everyone, but there are five basic steps that will help you structure your time when writing any kind of text.

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Table of contents

Step 1: prewriting, step 2: planning and outlining, step 3: writing a first draft, step 4: redrafting and revising, step 5: editing and proofreading, other interesting articles, frequently asked questions about the writing process.

Before you start writing, you need to decide exactly what you’ll write about and do the necessary research.

Coming up with a topic

If you have to come up with your own topic for an assignment, think of what you’ve covered in class— is there a particular area that intrigued, interested, or even confused you? Topics that left you with additional questions are perfect, as these are questions you can explore in your writing.

The scope depends on what type of text you’re writing—for example, an essay or a research paper will be less in-depth than a dissertation topic . Don’t pick anything too ambitious to cover within the word count, or too limited for you to find much to say.

Narrow down your idea to a specific argument or question. For example, an appropriate topic for an essay might be narrowed down like this:

Doing the research

Once you know your topic, it’s time to search for relevant sources and gather the information you need. This process varies according to your field of study and the scope of the assignment. It might involve:

• Searching for primary and secondary sources .
• Reading the relevant texts closely (e.g. for literary analysis ).
• Collecting data using relevant research methods (e.g. experiments , interviews or surveys )

From a writing perspective, the important thing is to take plenty of notes while you do the research. Keep track of the titles, authors, publication dates, and relevant quotations from your sources; the data you gathered; and your initial analysis or interpretation of the questions you’re addressing.

Especially in academic writing , it’s important to use a logical structure to convey information effectively. It’s far better to plan this out in advance than to try to work out your structure once you’ve already begun writing.

Creating an essay outline is a useful way to plan out your structure before you start writing. This should help you work out the main ideas you want to focus on and how you’ll organize them. The outline doesn’t have to be final—it’s okay if your structure changes throughout the writing process.

Use bullet points or numbering to make your structure clear at a glance. Even for a short text that won’t use headings, it’s useful to summarize what you’ll discuss in each paragraph.

An outline for a literary analysis essay might look something like this:

• Describe the theatricality of Austen’s works
• Outline the role theater plays in Mansfield Park
• Introduce the research question: How does Austen use theater to express the characters’ morality in Mansfield Park ?
• Discuss Austen’s depiction of the performance at the end of the first volume
• Discuss how Sir Bertram reacts to the acting scheme
• Introduce Austen’s use of stage direction–like details during dialogue
• Explore how these are deployed to show the characters’ self-absorption
• Discuss Austen’s description of Maria and Julia’s relationship as polite but affectionless
• Compare Mrs. Norris’s self-conceit as charitable despite her idleness
• Summarize the three themes: The acting scheme, stage directions, and the performance of morals
• Answer the research question
• Indicate areas for further study

Once you have a clear idea of your structure, it’s time to produce a full first draft.

This process can be quite non-linear. For example, it’s reasonable to begin writing with the main body of the text, saving the introduction for later once you have a clearer idea of the text you’re introducing.

To give structure to your writing, use your outline as a framework. Make sure that each paragraph has a clear central focus that relates to your overall argument.

Hover over the parts of the example, from a literary analysis essay on Mansfield Park , to see how a paragraph is constructed.

The character of Mrs. Norris provides another example of the performance of morals in Mansfield Park . Early in the novel, she is described in scathing terms as one who knows “how to dictate liberality to others: but her love of money was equal to her love of directing” (p. 7). This hypocrisy does not interfere with her self-conceit as “the most liberal-minded sister and aunt in the world” (p. 7). Mrs. Norris is strongly concerned with appearing charitable, but unwilling to make any personal sacrifices to accomplish this. Instead, she stage-manages the charitable actions of others, never acknowledging that her schemes do not put her own time or money on the line. In this way, Austen again shows us a character whose morally upright behavior is fundamentally a performance—for whom the goal of doing good is less important than the goal of seeming good.

When you move onto a different topic, start a new paragraph. Use appropriate transition words and phrases to show the connections between your ideas.

The goal at this stage is to get a draft completed, not to make everything perfect as you go along. Once you have a full draft in front of you, you’ll have a clearer idea of where improvement is needed.

Give yourself a first draft deadline that leaves you a reasonable length of time to revise, edit, and proofread before the final deadline. For a longer text like a dissertation, you and your supervisor might agree on deadlines for individual chapters.

Now it’s time to look critically at your first draft and find potential areas for improvement. Redrafting means substantially adding or removing content, while revising involves making changes to structure and reformulating arguments.

Evaluating the first draft

It can be difficult to look objectively at your own writing. Your perspective might be positively or negatively biased—especially if you try to assess your work shortly after finishing it.

It’s best to leave your work alone for at least a day or two after completing the first draft. Come back after a break to evaluate it with fresh eyes; you’ll spot things you wouldn’t have otherwise.

When evaluating your writing at this stage, you’re mainly looking for larger issues such as changes to your arguments or structure. Starting with bigger concerns saves you time—there’s no point perfecting the grammar of something you end up cutting out anyway.

Right now, you’re looking for:

• Arguments that are unclear or illogical.
• Areas where information would be better presented in a different order.
• Passages where additional information or explanation is needed.
• Passages that are irrelevant to your overall argument.

For example, in our paper on Mansfield Park , we might realize the argument would be stronger with more direct consideration of the protagonist Fanny Price, and decide to try to find space for this in paragraph IV.

For some assignments, you’ll receive feedback on your first draft from a supervisor or peer. Be sure to pay close attention to what they tell you, as their advice will usually give you a clearer sense of which aspects of your text need improvement.

Redrafting and revising

Once you’ve decided where changes are needed, make the big changes first, as these are likely to have knock-on effects on the rest. Depending on what your text needs, this step might involve:

• Making changes to your overall argument.
• Reordering the text.
• Cutting parts of the text.
• Adding new text.

You can go back and forth between writing, redrafting and revising several times until you have a final draft that you’re happy with.

Think about what changes you can realistically accomplish in the time you have. If you are running low on time, you don’t want to leave your text in a messy state halfway through redrafting, so make sure to prioritize the most important changes.

Editing focuses on local concerns like clarity and sentence structure. Proofreading involves reading the text closely to remove typos and ensure stylistic consistency. You can check all your drafts and texts in minutes with an AI proofreader .

Editing for grammar and clarity

When editing, you want to ensure your text is clear, concise, and grammatically correct. You’re looking out for:

• Grammatical errors.
• Ambiguous phrasings.
• Redundancy and repetition .

In your initial draft, it’s common to end up with a lot of sentences that are poorly formulated. Look critically at where your meaning could be conveyed in a more effective way or in fewer words, and watch out for common sentence structure mistakes like run-on sentences and sentence fragments:

• Austen’s style is frequently humorous, her characters are often described as “witty.” Although this is less true of Mansfield Park .
• Austen’s style is frequently humorous. Her characters are often described as “witty,” although this is less true of Mansfield Park .

To make your sentences run smoothly, you can always use a paraphrasing tool to rewrite them in a clearer way.

Proofreading for small mistakes and typos

When proofreading, first look out for typos in your text:

• Spelling errors.
• Missing words.
• Confused word choices .
• Punctuation errors .
• Missing or excess spaces.

Use a grammar checker , but be sure to do another manual check after. Read through your text line by line, watching out for problem areas highlighted by the software but also for any other issues it might have missed.

For example, in the following phrase we notice several errors:

• Mary Crawfords character is a complicate one and her relationships with Fanny and Edmund undergoes several transformations through out the novel.
• Mary Crawford’s character is a complicated one, and her relationships with both Fanny and Edmund undergo several transformations throughout the novel.

Proofreading for stylistic consistency

There are several issues in academic writing where you can choose between multiple different standards. For example:

• Whether you use the serial comma .
• Whether you use American or British spellings and punctuation (you can use a punctuation checker for this).
• Where you use numerals vs. words for numbers.
• How you capitalize your titles and headings.

Unless you’re given specific guidance on these issues, it’s your choice which standards you follow. The important thing is to consistently follow one standard for each issue. For example, don’t use a mixture of American and British spellings in your paper.

Additionally, you will probably be provided with specific guidelines for issues related to format (how your text is presented on the page) and citations (how you acknowledge your sources). Always follow these instructions carefully.

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

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy
• Deep learning
• Generative AI
• Machine learning
• Reinforcement learning
• Supervised vs. unsupervised learning

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• AI Detector
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Revising, proofreading, and editing are different stages of the writing process .

• Revising is making structural and logical changes to your text—reformulating arguments and reordering information.
• Editing refers to making more local changes to things like sentence structure and phrasing to make sure your meaning is conveyed clearly and concisely.
• Proofreading involves looking at the text closely, line by line, to spot any typos and issues with consistency and correct them.

Whether you’re publishing a blog, submitting a research paper , or even just writing an important email, there are a few techniques you can use to make sure it’s error-free:

• Take a break : Set your work aside for at least a few hours so that you can look at it with fresh eyes.
• Proofread a printout : Staring at a screen for too long can cause fatigue – sit down with a pen and paper to check the final version.
• Use digital shortcuts : Take note of any recurring mistakes (for example, misspelling a particular word, switching between US and UK English , or inconsistently capitalizing a term), and use Find and Replace to fix it throughout the document.

If you want to be confident that an important text is error-free, it might be worth choosing a professional proofreading service instead.

If you’ve gone over the word limit set for your assignment, shorten your sentences and cut repetition and redundancy during the editing process. If you use a lot of long quotes , consider shortening them to just the essentials.

If you need to remove a lot of words, you may have to cut certain passages. Remember that everything in the text should be there to support your argument; look for any information that’s not essential to your point and remove it.

To make this process easier and faster, you can use a paraphrasing tool . With this tool, you can rewrite your text to make it simpler and shorter. If that’s not enough, you can copy-paste your paraphrased text into the summarizer . This tool will distill your text to its core message.

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Caulfield, J. (2023, December 08). The Writing Process | 5 Steps with Examples & Tips. Scribbr. Retrieved June 9, 2024, from https://www.scribbr.com/academic-writing/writing-process/

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