what font should i use for essay

7 Best Fonts For University Essays (Teachers Choice)

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Choosing the best font for university essays is really difficult. As a university student, you have to stand out from other students’ academic papers.

What are the best fonts for university essays? Arial and Helvetica sans-serif style is a common font choice among university students. Some universities do have guidelines on their website about what fonts are allowed in academic essays, so make sure to check before you start typing.

The right font can make your paper look more professional and appealing to readers. But it’s hard to find fonts that are both beautiful and easy to read especially when there are thousands of them available online!

Best Fonts will help you easily choose the most suitable font for your project by offering expert suggestions based on your needs and interests.

I’ve dedicated myself to helping students succeed in their studies with our website full of useful tips on how to write an effective essay or research paper, as well as relevant information about different types of fonts (serif, sans serif, script, etc).

Our team consists of experienced writers who also know what it takes to get top grades at universities around the world! So if you need some extra help writing your next academic paper or just want some advice on choosing.

If you are in a hurry! Then you should be considered these quick recommended picks.

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What Are The Best Fonts For University Essays?

Students often use clear sans-serif style Arial, Times New Roman, Helvetica, Calibri fonts on their university academic essays, and some universities have a proper guideline on their website about the fonts that should be used.

But for my academic papers, I’ve been researching on the internet and find these 10 best fonts for university essays that are clear in human eyes and look so professional. Your university professor will love your academic papers and essays after using these fonts.

1. Wensley Modern Serif Font Family (Top Pick)

The font of choice for many university students, Wensley is a modern serif font typeface. If you want to impress your professors with an elegant and professional appearance then this style will be perfect for the job! This font includes non-english characters so it can fit any language perfectly.

Wensley Font

• This font is known as the perfect headline maker.
• Improved readability.
• Available in a variety of weights and styles.
• Fast delivery to your inbox.
• All fonts are 100% licensed, free lifetime support.

2. Madelin Serif Font Family

The font Madeline is a well accepted serif font among the universities and colleges. This high classed font includes all types of non-english characters and basic glyphs, making it perfect for students in academia. If you are a university student then this new typeface will drastically improve your academic papers.

Madelin Font

• Impress your professor with a professional looking paper.
• Make an academic research paper look more interesting and engaging to readers.
• Fonts that are easy to read on screens and in print.
• The best typeface for any design project.
• Be creative with your fonts!
• Unique and exciting typeface
• Can be used in any environment or situation
• Will have your audience drooling over this font
• Curvaceous letters make for an attractive design

3. Glamour Luxury Serif Font Family

Glamour Luxury Serif is a font for those looking to be both stylish and minimalistic. With many variations, it can make your paper stand out from the rest or you can use it on your resume as well!

Glamour Luxury Serif Font Family

The wide variety of options in Glamour Luxury Serif means that students will have an easy time finding this typeface for their institution work while professionals will find just what they need in order to maximize their efficiency at work with its clean design.

• The best way to express yourself on the academic papers
• Increase visibility, increase recognition and get a leg up on competitors
• Make your content stand out with bold fonts that are beautifully designed
• Fonts mixes aesthetics with readability so you can use them unapologetically

4. Adrina Modern Serif Font Family

Adrina is a modern rounded serif font with 3 weights that can be used by creatives and commercial professionals. It also has multilingual support to help university students, adults in the professional world, or anyone who needs it!

Aridina Font

• Give your design a unique touch with our extensive library of stylish fonts
• With over 100 fonts on offer you have an entire world to explore
• Whether it’s for personal or commercial use these typefaces are perfect for all occasions, big and small
• The variety means that there’s something to suit every project – whether it’s formal, laid back or fun.

5. Immani Serif Font Family Pack

Immani serif font is a logos-ready font with a modern, eye-catching serif look! This classy typeface is perfect for including in headings and other text collaborations within your project. With its sleek fonts, you can easily create stylish headlines or any other type of text that will catch the eyes of those all around you. It’s time to stop searching: this font is what you need!

Immani Font

Effortlessly design your next project with FontsTTD Serif TTF Typewriter Font. Including a variety of letter and number characters, as well as an additional 5 ornaments at each.

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• You will be able to combine both Font Weight Regular and Light
• Fonts with different fonts, ensuring any text is legible.
• You will also have the option of using a web font kit or downloading an OTF or TTF file.
• No worries about missing out on any key characters!

6. Bergen Text – Sans Serif Font

Bergen Text is an elegant, clean and minimalistic font for university and college academic papers. It has been designed specifically in a small 9-pixel size for easy legibility and accessibility reasons.

Bergen Font

In contrast to Fontana families (that are heavy with serifs), Bergen Text is very straightforward. This makes it the perfect candidate for creative works that need a commercial license and readability that will satisfy any customer’s needs.

UNLIMITED DOWNLOADS: 50 Million+ Fonts & Design Assets

All the Fonts you need and many other design elements, are available for a monthly subscription by subscribing to Envato Elements . The subscription costs $16.50 per month and gives you unlimited access to a massive and growing library of over 50 million items that can be downloaded as often as you need (stock photos too)!

Envato element offers key resources and parent tips about effective teaching strategies so students can learn more effectively, from pre-kindergarten to high school.

• Fonts designed for people who use small text sizes
• Sans font is available!
• Get a wide variety of fonts with just one purchase
• Improve legibility by using different weights and styles

7. Morton – Sans Serif Font

University students always find the best font to use on their academic papers and essays. However, some university has its own criteria to write these papers.

Morton Font

But most of the universities don’t have these font selections criteria on their academic guideline. That’s why students use basic and regular free fonts like Helvetica, Arial, Calibri.

If you want to stand out and increase your marks in academic and university essays. Then try to use a unique font. Because everyone is using the same font in their essays.

Related Post: 10 Best Dark & Moody Lightroom Presets Free and Premium

That’s why choosing a unique and stylish sans serif font in your writing is the best way to mark better.

• Fonts are a single click away.
• It’s perfect for small text sizes.
• A grotesque typeface classic.
• Comes in nine weights and stylistic variations for the nerd in all of us.

Final Words

Unique fonts are the key to standing out and making eye-popping clear academic papers. These best fonts can be really unique with clean formatting. Students and professionals always need these great typefaces for their documents, presentations, or any other assignment that needs design

You can check out Envato elements Fonts to get the most out of it. Thank you

About the author

Al Shariar Apon

I’m a digital content creators and tech-savvy enthusiast. In this website I would like to share my knowledge and Google productivity tools, tips, templates. Thank you.

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College essays are an entirely new type of writing for high school seniors. For that reason, many students are confused about proper formatting and essay structure. Should you double-space or single-space? Do you need a title? What kind of narrative style is best-suited for your topic?

In this post, we’ll be going over proper college essay format, traditional and unconventional essay structures (plus sample essays!), and which structure might work best for you. 

General College Essay Formatting Guidelines

How you format your essay will depend on whether you’re submitting in a text box, or attaching a document. We’ll go over the different best practices for both, but regardless of how you’re submitting, here are some general formatting tips:

• There’s no need for a title; it takes up unnecessary space and eats into your word count
• Stay within the word count as much as possible (+/- 10% of the upper limit). For further discussion on college essay length, see our post How Long Should Your College Essay Be?
• Indent or double space to separate paragraphs clearly

If you’re submitting in a text box:

• Avoid italics and bold, since formatting often doesn’t transfer over in text boxes
• Be careful with essays meant to be a certain shape (like a balloon); text boxes will likely not respect that formatting. Beyond that, this technique can also seem gimmicky, so proceed with caution
• Make sure that paragraphs are clearly separated, as text boxes can also undo indents and double spacing

If you’re attaching a document:

• Use a standard font and size like Times New Roman, 12 point
• Make your lines 1.5-spaced or double-spaced
• Use 1-inch margins
• Save as a PDF since it can’t be edited. This also prevents any formatting issues that come with Microsoft Word, since older versions are sometimes incompatible with the newer formatting
• Number each page with your last name in the header or footer (like “Smith 1”)
• Pay extra attention to any word limits, as you won’t be cut off automatically, unlike with most text boxes

Conventional College Essay Structures

Now that we’ve gone over the logistical aspects of your essay, let’s talk about how you should structure your writing. There are three traditional college essay structures. They are:

• In-the-moment narrative
• Narrative told over an extended period of time
• Series of anecdotes, or montage

Let’s go over what each one is exactly, and take a look at some real essays using these structures.

1. In-the-moment narrative

This is where you tell the story one moment at a time, sharing the events as they occur. In the moment narrative is a powerful essay format, as your reader experiences the events, your thoughts, and your emotions with you . This structure is ideal for a specific experience involving extensive internal dialogue, emotions, and reflections.

Here’s an example:

The morning of the Model United Nation conference, I walked into Committee feeling confident about my research. We were simulating the Nuremberg Trials – a series of post-World War II proceedings for war crimes – and my portfolio was of the Soviet Judge Major General Iona Nikitchenko. Until that day, the infamous Nazi regime had only been a chapter in my history textbook; however, the conference’s unveiling of each defendant’s crimes brought those horrors to life. The previous night, I had organized my research, proofread my position paper and gone over Judge Nikitchenko’s pertinent statements. I aimed to find the perfect balance between his stance and my own.

As I walked into committee anticipating a battle of wits, my director abruptly called out to me. “I’m afraid we’ve received a late confirmation from another delegate who will be representing Judge Nikitchenko. You, on the other hand, are now the defense attorney, Otto Stahmer.” Everyone around me buzzed around the room in excitement, coordinating with their allies and developing strategies against their enemies, oblivious to the bomb that had just dropped on me. I felt frozen in my tracks, and it seemed that only rage against the careless delegate who had confirmed her presence so late could pull me out of my trance. After having spent a month painstakingly crafting my verdicts and gathering evidence against the Nazis, I now needed to reverse my stance only three hours before the first session.

Gradually, anger gave way to utter panic. My research was fundamental to my performance, and without it, I knew I could add little to the Trials. But confident in my ability, my director optimistically recommended constructing an impromptu defense. Nervously, I began my research anew. Despite feeling hopeless, as I read through the prosecution’s arguments, I uncovered substantial loopholes. I noticed a lack of conclusive evidence against the defendants and certain inconsistencies in testimonies. My discovery energized me, inspiring me to revisit the historical overview in my conference “Background Guide” and to search the web for other relevant articles. Some Nazi prisoners had been treated as “guilty” before their court dates. While I had brushed this information under the carpet while developing my position as a judge, it now became the focus of my defense. I began scratching out a new argument, centered on the premise that the allied countries had violated the fundamental rule that, a defendant was “not guilty” until proven otherwise.

At the end of the three hours, I felt better prepared. The first session began, and with bravado, I raised my placard to speak. Microphone in hand, I turned to face my audience. “Greetings delegates. I, Otto Stahmer would like to…….” I suddenly blanked. Utter dread permeated my body as I tried to recall my thoughts in vain. “Defence Attorney, Stahmer we’ll come back to you,” my Committee Director broke the silence as I tottered back to my seat, flushed with embarrassment. Despite my shame, I was undeterred. I needed to vindicate my director’s faith in me. I pulled out my notes, refocused, and began outlining my arguments in a more clear and direct manner. Thereafter, I spoke articulately, confidently putting forth my points. I was overjoyed when Secretariat members congratulated me on my fine performance.

Going into the conference, I believed that preparation was the key to success. I wouldn’t say I disagree with that statement now, but I believe adaptability is equally important. My ability to problem-solve in the face of an unforeseen challenge proved advantageous in the art of diplomacy. Not only did this experience transform me into a confident and eloquent delegate at that conference, but it also helped me become a more flexible and creative thinker in a variety of other capacities. Now that I know I can adapt under pressure, I look forward to engaging in activities that will push me to be even quicker on my feet.

This essay is an excellent example of in-the-moment narration. The student openly shares their internal state with us — we feel their anger and panic upon the reversal of roles. We empathize with their emotions of “utter dread” and embarrassment when they’re unable to speak. 

For in-the-moment essays, overloading on descriptions is a common mistake students make. This writer provides just the right amount of background and details to help us understand the situation, however, and balances out the actual event with reflection on the significance of this experience. 

One main area of improvement is that the writer sometimes makes explicit statements that could be better illustrated through their thoughts, actions, and feelings. For instance, they say they “spoke articulately” after recovering from their initial inability to speak, and they also claim that adaptability has helped them in other situations. This is not as engaging as actual examples that convey the same meaning. Still, this essay overall is a strong example of in-the-moment narration, and gives us a relatable look into the writer’s life and personality.

2. Narrative told over an extended period of time

In this essay structure, you share a story that takes place across several different experiences. This narrative style is well-suited for any story arc with multiple parts. If you want to highlight your development over time, you might consider this structure. 

When I was younger, I was adamant that no two foods on my plate touch. As a result, I often used a second plate to prevent such an atrocity. In many ways, I learned to separate different things this way from my older brothers, Nate and Rob. Growing up, I idolized both of them. Nate was a performer, and I insisted on arriving early to his shows to secure front row seats, refusing to budge during intermission for fear of missing anything. Rob was a three-sport athlete, and I attended his games religiously, waving worn-out foam cougar paws and cheering until my voice was hoarse. My brothers were my role models. However, while each was talented, neither was interested in the other’s passion. To me, they represented two contrasting ideals of what I could become: artist or athlete. I believed I had to choose.

And for a long time, I chose athlete. I played soccer, basketball, and lacrosse and viewed myself exclusively as an athlete, believing the arts were not for me. I conveniently overlooked that since the age of five, I had been composing stories for my family for Christmas, gifts that were as much for me as them, as I loved writing. So when in tenth grade, I had the option of taking a creative writing class, I was faced with a question: could I be an athlete and a writer? After much debate, I enrolled in the class, feeling both apprehensive and excited. When I arrived on the first day of school, my teacher, Ms. Jenkins, asked us to write down our expectations for the class. After a few minutes, eraser shavings stubbornly sunbathing on my now-smudged paper, I finally wrote, “I do not expect to become a published writer from this class. I just want this to be a place where I can write freely.”

Although the purpose of the class never changed for me, on the third “submission day,” – our time to submit writing to upcoming contests and literary magazines – I faced a predicament. For the first two submission days, I had passed the time editing earlier pieces, eventually (pretty quickly) resorting to screen snake when hopelessness made the words look like hieroglyphics. I must not have been as subtle as I thought, as on the third of these days, Ms. Jenkins approached me. After shifting from excuse to excuse as to why I did not submit my writing, I finally recognized the real reason I had withheld my work: I was scared. I did not want to be different, and I did not want to challenge not only others’ perceptions of me, but also my own. I yielded to Ms. Jenkin’s pleas and sent one of my pieces to an upcoming contest.

By the time the letter came, I had already forgotten about the contest. When the flimsy white envelope arrived in the mail, I was shocked and ecstatic to learn that I had received 2nd place in a nationwide writing competition. The next morning, however, I discovered Ms. Jenkins would make an announcement to the whole school exposing me as a poet. I decided to own this identity and embrace my friends’ jokes and playful digs, and over time, they have learned to accept and respect this part of me. I have since seen more boys at my school identifying themselves as writers or artists.

I no longer see myself as an athlete and a poet independently, but rather I see these two aspects forming a single inseparable identity – me. Despite their apparent differences, these two disciplines are quite similar, as each requires creativity and devotion. I am still a poet when I am lacing up my cleats for soccer practice and still an athlete when I am building metaphors in the back of my mind – and I have realized ice cream and gummy bears taste pretty good together.

The timeline of this essay spans from the writer’s childhood all the way to sophomore year, but we only see key moments along this journey. First, we get context for why the writer thought he had to choose one identity: his older brothers had very distinct interests. Then, we learn about the student’s 10th grade creative writing class, writing contest, and results of the contest. Finally, the essay covers the writers’ embarrassment of his identity as a poet, to gradual acceptance and pride in that identity. 

This essay is a great example of a narrative told over an extended period of time. It’s highly personal and reflective, as the piece shares the writer’s conflicting feelings, and takes care to get to the root of those feelings. Furthermore, the overarching story is that of a personal transformation and development, so it’s well-suited to this essay structure.

3. Series of anecdotes, or montage

This essay structure allows you to focus on the most important experiences of a single storyline, or it lets you feature multiple (not necessarily related) stories that highlight your personality. Montage is a structure where you piece together separate scenes to form a whole story. This technique is most commonly associated with film. Just envision your favorite movie—it likely is a montage of various scenes that may not even be chronological. 

Night had robbed the academy of its daytime colors, yet there was comfort in the dim lights that cast shadows of our advances against the bare studio walls. Silhouettes of roundhouse kicks, spin crescent kicks, uppercuts and the occasional butterfly kick danced while we sparred. She approached me, eyes narrowed with the trace of a smirk challenging me. “Ready spar!” Her arm began an upward trajectory targeting my shoulder, a common first move. I sidestepped — only to almost collide with another flying fist. Pivoting my right foot, I snapped my left leg, aiming my heel at her midsection. The center judge raised one finger. 

There was no time to celebrate, not in the traditional sense at least. Master Pollard gave a brief command greeted with a unanimous “Yes, sir” and the thud of 20 hands dropping-down-and-giving-him-30, while the “winners” celebrated their victory with laps as usual. 

Three years ago, seven-thirty in the evening meant I was a warrior. It meant standing up straighter, pushing a little harder, “Yes, sir” and “Yes, ma’am”, celebrating birthdays by breaking boards, never pointing your toes, and familiarity. Three years later, seven-thirty in the morning meant I was nervous. 

The room is uncomfortably large. The sprung floor soaks up the checkerboard of sunlight piercing through the colonial windows. The mirrored walls further illuminate the studio and I feel the light scrutinizing my sorry attempts at a pas de bourrée , while capturing the organic fluidity of the dancers around me. “ Chassé en croix, grand battement, pique, pirouette.” I follow the graceful limbs of the woman in front of me, her legs floating ribbons, as she executes what seems to be a perfect ronds de jambes. Each movement remains a negotiation. With admirable patience, Ms. Tan casts me a sympathetic glance.   

There is no time to wallow in the misery that is my right foot. Taekwondo calls for dorsiflexion; pointed toes are synonymous with broken toes. My thoughts drag me into a flashback of the usual response to this painful mistake: “You might as well grab a tutu and head to the ballet studio next door.” Well, here I am Master Pollard, unfortunately still following your orders to never point my toes, but no longer feeling the satisfaction that comes with being a third degree black belt with 5 years of experience quite literally under her belt. It’s like being a white belt again — just in a leotard and ballet slippers. 

But the appetite for new beginnings that brought me here doesn’t falter. It is only reinforced by the classical rendition of “Dancing Queen” that floods the room and the ghost of familiarity that reassures me that this new beginning does not and will not erase the past. After years spent at the top, it’s hard to start over. But surrendering what you are only leads you to what you may become. In Taekwondo, we started each class reciting the tenets: honor, courtesy, integrity, perseverance, self-control, courage, humility, and knowledge, and I have never felt that I embodied those traits more so than when I started ballet. 

The thing about change is that it eventually stops making things so different. After nine different schools, four different countries, three different continents, fluency in Tamil, Norwegian, and English, there are more blurred lines than there are clear fragments. My life has not been a tactfully executed, gold medal-worthy Taekwondo form with each movement defined, nor has it been a series of frappés performed by a prima ballerina with each extension identical and precise, but thankfully it has been like the dynamics of a spinning back kick, fluid, and like my chances of landing a pirouette, unpredictable. 

This essay takes a few different anecdotes and weaves them into a coherent narrative about the writer’s penchant for novel experiences. We’re plunged into her universe, in the middle of her Taekwondo spar, three years before the present day. She then transitions into a scene in a ballet studio, present day. By switching from past tense to present tense, the writer clearly demarcates this shift in time. 

The parallel use of the spoken phrase “Point” in the essay ties these two experiences together. The writer also employs a flashback to Master Pollard’s remark about “grabbing a tutu” and her habit of dorsiflexing her toes, which further cements the connection between these anecdotes. 

While some of the descriptions are a little wordy, the piece is well-executed overall, and is a stellar example of the montage structure. The two anecdotes are seamlessly intertwined, and they both clearly illustrate the student’s determination, dedication, reflectiveness, and adaptability. The writer also concludes the essay with a larger reflection on her life, many moves, and multiple languages. 

Unconventional College Essay Structures

Unconventional essay structures are any that don’t fit into the categories above. These tend to be higher risk, as it’s easier to turn off the admissions officer, but they’re also higher reward if executed correctly. 

There are endless possibilities for unconventional structures, but most fall under one of two categories:

1. Playing with essay format

Instead of choosing a traditional narrative format, you might take a more creative route to showcase your interests, writing your essay:

• As a movie script
• With a creative visual format (such as creating a visual pattern with the spaces between your sentences forming a picture)
• As a two-sided Lincoln-Douglas debate
• As a legal brief
• Using song lyrics

2. Linguistic techniques

You could also play with the actual language and sentence structure of your essay, writing it:

• In iambic pentameter
• Partially in your mother tongue
• In code or a programming language

These linguistic techniques are often hybrid, where you write some of the essay with the linguistic variation, then write more of an explanation in English.

Under no circumstances should you feel pressured to use an unconventional structure. Trying to force something unconventional will only hurt your chances. That being said, if a creative structure comes naturally to you, suits your personality, and works with the content of your essay — go for that structure!

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Dr. Mark Womack

What Font Should I Use?

The Modern Language Association (MLA) provides explicit, specific recommendations for the margins and spacing of academic papers. (See: Document Format .) But their advice on font selection is less precise: “Always choose an easily readable typeface (e.g. Times New Roman) in which the regular style contrasts clearly with the italic, and set it to a standard size (e.g. 12 point)” ( MLA Handbook , 7th ed., §4.2).

So which fonts are “easily readable” and have “clearly” contrasting italics? And what exactly is a “standard” size?

For academic papers, an “easily readable typeface” means a serif font, and a “standard” type size is between 10 and 12 point.

Use A Serif Font

Serifs are the tiny strokes at the end of a letter’s main strokes. Serif fonts have these extra strokes; sans serif fonts do not. ( Sans is French for “without.”) Serif fonts also vary the thickness of the letter strokes more than sans serifs, which have more uniform lines.

Books, newspapers, and magazines typically set their main text in a serif font because they make paragraphs and long stretches of text easier to read. Sans serifs (Arial, Calibri, Helvetica, Gill Sans, Verdana, and so on) work well for single lines of text, like headings or titles, but they rarely make a good choice for body text.

Moreover, most sans serifs don’t have a true italic style. Their “italics” are really just “obliques,” where the letters slant slightly to the right but keep the same shape and spacing. Most serifs, on the other hand, do have a true italic style, with distinctive letter forms and more compact spacing.

Since they’re more readable for long passages and have sharper contrast in their italics, you should always use a serif font for the text of an academic paper.

Use A Readable Type Size

The standard unit for measuring type size is the point . A point is 1 / 72 of an inch, roughly one pixel on a computer screen. The point size of a font tells you the size of the “em square” in which your computer displays each letter of the typeface. How tall or wide any given letter is depends on how the type designer drew it within the em square, thus a font’s height and width can vary greatly depending on the design of the typeface. That’s why if you set two fonts at the same point size, one usually looks bigger than the other.

Compare the following paragraphs, both set at 12 point but in different fonts:

For body text in academic papers, type sizes below 10 point are usually too small to read easily, while type sizes above 12 point tend to look oversized and bulky. So keep the text of your paper between 10 and 12 point .

Some teachers may require you to set your whole text at 12 point. Yet virtually every book, magazine, or newspaper ever printed for visually unimpaired grown-ups sets its body type smaller than 12 point. Newspapers use even smaller type sizes. The New York Times , for example, sets its body text in a perfectly legible 8.7 point font. So with proper spacing and margins, type sizes of 11 or 10 point can be quite comfortable to read.

Font Recommendations

I usually ask my students to use Century Schoolbook or Palatino for their papers. If your teacher requires you to submit your papers in a particular font, do so. (Unless they require you to use Arial , in which case drop the class.)

One thing to consider when choosing a font is how you submit your essay. When you submit a hard copy or a PDF, your reader will see the text in whatever typeface you use. Most electronic submission formats, on the other hand, can only use the fonts available on the reader’s computer. So if you submit the paper electronically, be sure to use a font your instructor has.

What follows is a list of some widely available, highly legible serif fonts well-suited for academic papers. I’ve divided them into four categories: Microsoft Word Fonts, Mac OS Fonts, Google Fonts, and Universal Fonts.

Microsoft Word Fonts

Microsoft Word comes with lots of fonts of varying quality. If your teacher asks you to submit your paper in Word format, you can safely assume they have Word and all the fonts that go with it.

Morris Fuller Benton designed Century Schoolbook in 1923 for elementary-school textbooks, so it’s a highly readable font. It’s one of the best fonts available with Microsoft Word. Because it’s so legible, U. S. Supreme Court Rule 33.1.b madates that all legal documents submitted to the Court be set in Century Schoolbook or a similar Century-style font.

Hermann Zapf designed Palatino in 1948 for titles and headings, but its elegant proportions make it a good font for body text. Named for Renaissance calligrapher Giambattista Palatino, this font has the beauty, harmony, and grace of fine handwriting. Palatino Linotype is the name of the font included with Microsoft Word; Mac OS includes a version of the same typeface called simply Palatino.

Microsoft Word includes several other fonts that can work well for academic essays: Bell MT , Californian FB , Calisto MT , Cambria , Garamond , and Goudy Old Style .

Mac OS Fonts

Apple has a well-deserved reputation for design excellence which extends to its font library. But you can’t count on any of these Mac OS fonts being on a computer that runs Windows.

Finding his inspiration in the typography of Pierre Simon Fournier, Matthew Carter designed Charter in 1987 to look good even on crappy mid-80s fax machines and printers. Its ability to hold up even in low resolution makes Charter work superbly well on screen. Bitstream released Charter under an open license, so you can add it to your font arsenal for free. You can download Charter here .

In 1991 Apple commissioned Jonathan Hoefler to design a font that could show off the Mac’s ability to handle complex typography. The result was Hoefler Text , included with every Mac since then. The bold weight of Hoefler Text on the Mac is excessively heavy, but otherwise it’s a remarkable font: compact without being cramped, formal without being stuffy, and distinctive without being obtrusive. If you have a Mac, start using it.

Other Mac OS fonts you might consider are Baskerville and Palatino .

Google Fonts

When you submit a paper using Google Docs, you can access Google’s vast library of free fonts knowing that anyone who opens it in Google Docs will have those same fonts. Unfortunately, most of those free fonts are worth exactly what you paid for them, so choose wisely.

IBM Plex is a super-family of typefaces designed by Mike Abbink and the Bold Monday type foundry for — you guessed it — IBM. Plex serif is a solid, legible font that borrows features from Janson and Bodoni in its design. Plex is, not surprisingly, a thoroughly corporate font that aims for and achieves a bland neutrality suitable for most research papers.

John Baskerville originally designed this typeface in the 1850s, employing new techniques to make sharper contrasts between thin and thick strokes in the letter forms. The crisp, elegant design has inspired dozens of subsequent versions. Libre Baskerville is based on the American Type Founder’s 1941 version, modified to make it better for on-screen reading.

Unfortunately. Google Fonts has few really good serif fonts. Some others you might consider are Crimson Pro and Spectral .

Universal Fonts

Anyone you send your document to will have these fonts because they’re built in to both Windows and Mac OS.

Matthew Carter designed Georgia in 1993 for maximum legibility on computer screens. Georgia looks very nice on web sites, but in print it can look a bit clunky, especially when set at 12 point. Like Times New Roman, it’s on every computer and is quite easy to read. The name “Georgia” comes from a tabloid headline: “Alien Heads Found in Georgia.”

Times New Roman is, for better or worse, the standard font for academic manuscripts. Many teachers require it because it’s a solid, legible, and universally available font. Stanley Morison designed it in 1931 for The Times newspaper of London, so it’s a very efficient font and legible even at very small sizes. Times New Roman is always a safe choice. But unless your instructor requires it, you should probably use something a bit less overworked.

7 Best Fonts For University Essays

When it comes to writing essays for university, the type of font you use can be just as important as the content itself. Different fonts can help set the tone and create a specific mood or atmosphere. Today, we’ll discuss seven of the best fonts to use for your college essays. These fonts are professional yet easy to read, so they’ll help you produce a high-quality paper that will definitely impress your professor!

What are the best fonts for academic essays?

When it comes to university essays, there are a few things that are more important than the font. The content, of course, is the essential part. But the font can also be important, as it can help to set the tone of the essay and make it more visually appealing. As you might already know, some fonts are better suited for academic works than others.

For example, Times New Roman is a classic choice that conveys seriousness and sophistication; but if you want to add a little personality to your essay, you could try a handwriting font like Comic Sans. Anyway, the best font for your school essay is the one that makes your work look its best. So experiment with different fonts until you find the perfect match. And if you’re still not sure what font to use, contact an essay help professional and ask them for advice. Sometimes getting the help we need can easily solve the issue we’re experiencing.

Why is font selection important when writing an essay?

Just as a well-tailored suit can make you look more professional, the right font can make your writing appear more polished. Of course, there’s more to font selection than simply finding something that looks good on the page. For instance, a playful script font might be appropriate for a casual invitation, but it would look out of place in a formal business letter. Likewise, a serious serif font would be inappropriate for a child’s homework assignment.

What are some of the most common types of fonts used in academic papers?

There’s no need to get too fancy when it comes to fonts for academic papers. In most cases, simple is best. Here are seven of the most common types used in academic writings:

• Times New Roman: This classic serif font is a go-to for many writers. It’s easy to read and has a timeless look.
• Arial: A popular sans serif font, Arial is also easy to read and works well for long paragraphs of text.
• Calibri: Another sans serif font, Calibri is slightly more modern than Arial and is a good choice for papers that need to make a strong visual impact.
• Courier: Courier is a classic monospaced font that works well for lengthy blocks of text, such as code or large tables.
• Helvetica: Helvetica is another popular sans serif font that exudes professionalism and simplicity.
• Georgia: Georgia is a beautiful serif font with a slightly more playful feel than Times New Roman. It’s perfect for papers that need a touch of personality.
• Comic Sans : Comic Sans might not be appropriate for all academic papers, but it can be used sparingly to add visual interest or levity to an otherwise dry subject matter. Just use caution with this one – too much Comic Sans can be overwhelming!

How can you choose the right font for your paper’s tone and style?

The font you choose should be legible and appropriate for the tone of your paper. For instance, a formal research paper would benefit from a more serious font, while a lighthearted personal essay could be written in a playful script. In the end, the best way to choose the right font is to experiment with different options until you find one that feels right for your project, as explained above.

What should you avoid when selecting a font for your essay?

While there are a few general guidelines you can follow, ultimately it comes down to personal preference (and the whims of your teacher). That being said, there are a few things you should avoid when selecting a font for your essay.

• Steer clear of any fancy script fonts – they may look nice, but they’re hard to read and will likely decrease your chances of getting a good grade.
• Avoid using excessively small or large fonts; stick to something that’s easy on the eyes and won’t annoy your reader.
• Don’t be afraid to experiment a bit – try out different fonts and see which one works best for you.

Choosing the right font for your university essay is important. The type you choose should be legible, appropriate for the tone of your paper, and easy on the eyes. When in doubt, experiment with different fonts until you find the perfect match.

What are some of your favorite fonts? Let us know in the comments below!

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Sat / act prep online guides and tips, the 3 popular essay formats: which should you use.

General Education

Not sure which path your essay should follow? Formatting an essay may not be as interesting as choosing a topic to write about or carefully crafting elegant sentences, but it’s an extremely important part of creating a high-quality paper. In this article, we’ll explain essay formatting rules for three of the most popular essay styles: MLA, APA, and Chicago.

For each, we’ll do a high-level overview of what your essay’s structure and references should look like, then we include a comparison chart with nitty-gritty details for each style, such as which font you should use for each and whether they’re a proponent of the Oxford comma. We also include information on why essay formatting is important and what you should do if you’re not sure which style to use.

Why Is Your Essay Format Important?

Does it really matter which font size you use or exactly how you cite a source in your paper? It can! Style formats were developed as a way to standardize how pieces of writing and their works cited lists should look. 

Why is this necessary? Imagine you’re a teacher, researcher, or publisher who reviews dozens of papers a week. If the papers didn’t follow the same formatting rules, you could waste a lot of time trying to figure out which sources were used, if certain information is a direct quote or paraphrased, even who the paper’s author is. Having essay formatting rules to follow makes things easier for everyone involved. Writers can follow a set of guidelines without trying to decide for themselves which formatting choices are best, and readers don’t need to go hunting for the information they’re trying to find.

Next, we’ll discuss the three most common style formats for essays.

MLA Essay Format

MLA style was designed by the Modern Language Association, and it has become the most popular college essay format for students writing papers for class. It was originally developed for students and researchers in the literature and language fields to have a standardized way of formatting their papers, but it is now used by people in all disciplines, particularly humanities. MLA is often the style teachers prefer their students to use because it has simple, clear rules to follow without extraneous inclusions often not needed for school papers. For example, unlike APA or Chicago styles, MLA doesn’t require a title page for a paper, only a header in the upper left-hand corner of the page.

MLA style doesn’t have any specific requirements for how to write your essay, but an MLA format essay will typically follow the standard essay format of an introduction (ending with a thesis statement), several body paragraphs, and a conclusion.

One of the nice things about creating your works cited for MLA is that all references are structured the same way, regardless of whether they’re a book, newspaper, etc. It’s the only essay format style that makes citing references this easy! Here is a guide on how to cite any source in MLA format. When typing up your works cited, here are a few MLA format essay rules to keep in mind:

• The works cited page should be the last paper of your paper.
• This page should still be double-spaced and include the running header of your last name and page number.
• It should begin with “Works Cited” at the top of the page, centered.
• Your works cited should be organized in alphabetical order, based on the first word of the citation.

APA Essay Format

APA stands for the American Psychological Association. This format type is most often used for research papers, specifically those in behavioral sciences (such as psychology and neuroscience) and social sciences (ranging from archeology to economics). Because APA is often used for more research-focused papers, they have a more specific format to follow compared to, say, MLA style.

All APA style papers begin with a title page, which contains the title of the paper (in capital letters), your name, and your institutional affiliation (if you’re a student, then this is simply the name of the school you attend). The APA recommends the title of your paper not be longer than 12 words.

After your title page, your paper begins with an abstract. The abstract is a single paragraph, typically between 150 to 250 words, that sums up your research. It should include the topic you’re researching, research questions, methods, results, analysis, and a conclusion that touches on the significance of the research. Many people find it easier to write the abstract last, after completing the paper.

After the abstract comes the paper itself. APA essay format recommends papers be short, direct, and make their point clearly and concisely. This isn’t the time to use flowery language or extraneous descriptions. Your paper should include all the sections mentioned in the abstract, each expanded upon.

Following the paper is the list of references used. Unlike MLA style, in APA essay format, every source type is referenced differently. So the rules for referencing a book are different from those for referencing a journal article are different from those referencing an interview. Here’s a guide for how to reference different source types in APA format . Your references should begin on a new page that says “REFERENCES” at the top, centered. The references should be listed in alphabetical order.

Chicago Essay Format

Chicago style (sometimes referred to as “Turabian style”) was developed by the University of Chicago Press and is typically the least-used by students of the three major essay style formats. The Chicago Manual of Style (currently on its 17th edition) contains within its 1000+ pages every rule you need to know for this style. This is a very comprehensive style, with a rule for everything. It’s most often used in history-related fields, although many people refer to The Chicago Manual of Style for help with a tricky citation or essay format question. Many book authors use this style as well.

Like APA, Chicago style begins with a title page, and it has very specific format rules for doing this which are laid out in the chart below. After the title page may come an abstract, depending on whether you’re writing a research paper or not. Then comes the essay itself. The essay can either follow the introduction → body → conclusion format of MLA or the different sections included in the APA section. Again, this depends on whether you’re writing a paper on research you conducted or not.

Unlike MLA or APA, Chicago style typically uses footnotes or endnotes instead of in-text or parenthetical citations. You’ll place the superscript number at the end of the sentence (for a footnote) or end of the page (for an endnote), then have an abbreviated source reference at the bottom of the page. The sources will then be fully referenced at the end of the paper, in the order of their footnote/endnote numbers. The reference page should be titled “Bibliography” if you used footnotes/endnotes or “References” if you used parenthetical author/date in-text citations.

Comparison Chart

Below is a chart comparing different formatting rules for APA, Chicago, and MLA styles.

How Should You Format Your Essay If Your Teacher Hasn’t Specified a Format?

What if your teacher hasn’t specified which essay format they want you to use? The easiest way to solve this problem is simply to ask your teacher which essay format they prefer. However, if you can’t get ahold of them or they don’t have a preference, we recommend following MLA format. It’s the most commonly-used essay style for students writing papers that aren’t based on their own research, and its formatting rules are general enough that a teacher of any subject shouldn’t have a problem with an MLA format essay. The fact that this style has one of the simplest sets of rules for citing sources is an added bonus!

What's Next?

Thinking about taking an AP English class? Read our guide on AP English classes to learn whether you should take AP English Language or AP English Literature (or both!)

Compound sentences are an importance sentence type to know. Read our guide on compound sentences for everything you need to know about compound, complex, and compound-complex sentences.

Need ideas for a research paper topic? Our guide to research paper topics has over 100 topics in ten categories so you can be sure to find the perfect topic for you.

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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Essay writing: Formatting

• Introductions
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• Planning & drafting
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Essays are formal documents and should look professional Advice from the Skills Team

Whilst there are no hard rules about how you format essays, there are some conventions and common practices that are best to follow. If you use the settings on this page, you will produce an acceptably formatted essay.

Document layout

Margins - between 2 cm and 2.54 cm (1 inch) all around.

Line spacing - either 1.5 or double-line spacing.

Paragraph spacing - either 1 clear line between or at least 8 pt space after each paragraph (more if double-line spaced)

Alignment - left aligned (fully justified with a straight right-edge is not recommended as this reduces readability and accessibility). Some longer essays may require subheadings which should also be left-aligned.

Indents - no indents on first lines of paragraphs are needed.

It is also good practice to put your student number and module number in the header of the document and a page number at the bottom of the page.

Text formatting

Font - the default font that comes with MS Word (currently Calibri) is fine for academic work. You may see persistent advice in handbooks that suggests you should use Times New Roman or Arial. If you prefer these, you can change it - but this is no longer a requirement.

Font size - fonts should be 11 or 12 point.

Font style - headings and subheadings, if they are required (most essays will not use them), are usually formatted in bold and should be at least 2 point sizes larger than the standard text. Underlining should be avoided as this is seen as rather dated. Some text can be formatted in italics - see our page  Italics, when to use them , for guidance.

Shorter quotations in the text do not need to be italicised and should have double-quotations marks "like this" to indicate they are direct quotations. Longer quotations (what counts as this differs depending on your referencing style) should be created in their own paragraph, single spaced and indented by 1cm from both left and right margins:

For example:

Graduate attributes for employability are described as:

a set of achievements – skills, understandings and personal attributes – that makes graduates more likely to gain employment and be successful in their chosen occupations, which benefits themselves, the workforce, the community and the economy. (Yorke, 2006)

The main change in this definition compared to the earlier definition of graduate attributes from Bowden (2000) is that that the attributes are no longer ...

UoH Harvard/APA

Your reference list should be in alphabetical order (by author surname) and single line spaced. There should be a clear line space (or at least 6 pt space) between each reference. All references should be left-aligned with no indentation. For information about how to format individual references, see the Harvard Hull Referencing Guide.

UoH Footnotes

Your reference list should be in alphabetical order (by first author surname) and single line spaced.  All references should be left-aligned and have a hanging indent (all but the first line are indented by approx. 1cm). For information about how to format individual references, see the  Footnotes Hull Referencing Guide.

Other referencing styles

Please see your individual departmental guidance.

We provide here a Microsoft Word template that can be used for your essays. It has the correct layout and formatting, including useful styles.

• Essay template

Download this template to somewhere you can access easily. When you click to open it, it will open a new document based on the template , leaving the original intact.

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APA 7 Style: Formatting Guidelines

Common guidelines for apa-format papers.

APA 7 (2020) has introduced new guidelines for student papers that differ from the guidelines for professional papers being submitted for publication. Make sure to check with your professor or teaching assistant on whether they prefer that you use the student or professional format for your work.

Common Guidelines for All APA-Format Papers

Line Spacing

Paragraph alignment and indentation, page numbers.

• Figures and Tables

References Page

Guidelines Specific to Student Papers

Guidelines Specific to Professional Papers Being Submitted for Publication

• Headers with Running Head and Page Numbers

Guidelines for All APA-Format Papers

APA 7 (2020) accepts the use of a wider range of fonts than previous editions. Use a consistent font throughout the paper. While the size of the font in the text of the paper should confirm to one of the options below, figures may include a smaller or larger font size as needed.

Font options include:

• Times New Roman (12-point)
• Calibri (11-point)
• Arial (11-point)
• Lucinda (10-point)
• Sans Unicode (10-point)
• Georgia (11-point)
• Computer Modern (10-point)

The entire paper, including the title page, body of the paper, references and appendices, should be double-spaced. The bodies of figures and tables are excluded from this rule. Do not add extra line spaces between paragraphs or after a heading. 

Use 2.54 CM (1 inch) margins on all sides of the paper.

All paragraphs should be left-aligned (do not full-justify text). For each new paragraph indent five spaces or ½ inch.  Use the tab key to indent paragraphs.

All papers should have a page number in the top right corner of the header. Page numbers should be on every page of the paper, with the title page being page 1.

APA 7 (2020) recommends the use of headings in order to clarify the organization of papers. Note that a heading for the introduction is not needed or recommended. The number and level of headings required depend on the length and complexity of the paper.

• Level One headings are centred and bolded and use title case capitalization (all key words capitalized). The text of the paper begins on the next line as a new paragraph.
• Level 2 Headings are left-aligned and bolded and use title case capitalization (all key words capitalized). The text of the paper begins on the next line as a new paragraph.
• Level 3 Headings are left-aligned, bolded, and italicized . They use title case capitalization (all key words capitalized). The text of the paper begins on the next line as a new paragraph.
• Level 4 Headings are indented, bolded and use title case capitalization (all key words capitalized). There is a period at the end of a level 4 heading, and the text of the paragraph begins immediately after the period.
• Level 5 Headings are indented, bolded, and italicized . They use title case capitalization (all key words capitalized). There is a period at the end of a level 5 heading, and the text of the paragraph begins immediately after the period.

Sample Paper with Different Levels of Headers  

Tables and Figures

Label both tables and figures, numbering them consecutively in the order that they are discussed in the text. 

Tables include a numbered label, such as “Table 1”, and this bolded label is placed above the title. Below the label, insert a table title in italics; this title should briefly identify the data in the table that follows the label.

Figures can include maps, graphs, charts or other images. Place a label, such as "Figure 1", above the figure; this label is in bold. Below the label, insert a figure title using title case and italics. Below the image, place a caption to offer more detailed information on the figure.

Refer to all tables and figures in the text of your paper by their label: “In Table 1, it is clear that . . .” or “. . . area is separated into five geographically distinct sections (see Figure 2).

APA 7 (2020) offers two options for the placement of tables and figures. They can either be integrated into the text of the paper soon after it is first mentioned in the text. Or, tables and figures can be included after the references. If you choose to position tables and figures after the references page, each table should be positioned on a separate page followed by each figure positioned on a separate page.

More advice on figures and tables from the APA Style website

• APA (2020) recommends that you ask your professor or the editor to which you are submitting a manuscript for publication whether they have a preference as to whether figures and tables be integrated into the text or included on separate pages after the references.

All sources cited in the paper (except for personal communications) should be included in a references list. Begin the references page on a separate page, following the conclusion on the text of the paper. On the top line of the references page, the word References should be centred and bolded. The first reference begins on the next line of the reference page.

For further information on how to format the references page, see APA 7 Style: References . 

Sample References Page

Appendices 

An appendix includes relevant, supplementary information to the paper. Appendices should be placed after the references page and tables and figures (if relevant).

• Each appendix should begin on a separate page and should have a label and title.
• The appendix label and title should be centred and bolded. Write the label on one line and then the title on the next line.
• If you have only one appendix, label it Appendix.
• If you have more than one appendix, label them Appendix A, Appendix B, or Appendix C etc. in the order that it is discussed in the text of the paper.
• You must refer to all appendices in the text of your paper by their label (see Appendix) or (see Appendix A).

Sample Appendix 

How Should I Format My University Essay ?

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How should i format my university essay.

Students are often unsure of exactly how they should format their essays, assignments and reports for university if they haven’t been given specific or precise guidelines by their lecturers or tutors.

Luckily, there is a standard way to format essays for university that is generally accepted across Australian and New Zealand universities. This article will explain what you need to do to follow those most commonly accepted guidelines.

Your font should be Times New Roman or Arial. Don’t use anything fancy, and avoid Calibri and Cambria. Even though Word has set these as the default fonts, they are generally not the preferred font to use at university.

Your essay should be at least 1.5 line spaced, and often double spacing is preferred. This is to give your grader enough room to make corrections or write comments for you in the spaces in between, if they are grading on hard copy. If they are grading electronically, that spacing just makes the document easier to read on screen.

For an essay or assignment, in which you might only have one to three levels of headings, you might follow these guidelines:

Heading 1 (Centred, bold, size 14)

Heading 2 (left aligned, bold, size 12)

Heading 3 (left aligned, bold and italics, size 12)

Paragraphing

You can either use a first-line indent of 1.27 cm at the start of each paragraph or you can use a line space between each paragraph, but don’t use both.

Page Margins

Keep your margins set as the default used by Word, or at a minimum 2.54 cm all around. If your tutor or lecturer is grading on paper, they might appreciate a 4 cm left-hand margin so they have more room to write comments for you in the margins.

If you need any further assistance with essay editing, you can read more about our professional editing service . Capstone Editing is always here to help.

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College Application Essay Format Rules

The college application essay has become the most important part of applying to college. In this article, we will go over the  best college essay format for getting into top schools, including how to structure the elements of a college admissions essay: margins, font, paragraphs, spacing, headers, and organization. 

We will focus on commonly asked questions about the best college essay structure. Finally, we will go over essay formatting tips and examples.

Table of Contents

• General college essay formatting rules
• How to format a college admissions essay
• Sections of a college admissions essay
• College application essay format examples

General College Essay Format Rules

Before talking about how to format your college admission essays, we need to talk about general college essay formatting rules.

Pay attention to word count

It has been well-established that the most important rule of college application essays is to  not go over the specific Application Essay word limit .  The word limit for the Common Application essay is typically 500-650 words.

Not only may it be impossible to go over the word count (in the case of the  Common Application essay , which uses text fields), but admissions officers often use software that will throw out any essay that breaks this rule. Following directions is a key indicator of being a successful student. 

Refocusing on the essay prompt and eliminating unnecessary adverbs, filler words, and prepositional phrases will help improve your essay.

On the other hand, it is advisable to use almost every available word. The college essay application field is very competitive, so leaving extra words on the table puts you at a disadvantage. Include an example or anecdote near the end of your essay to meet the total word count.

Do not write a wall of text: use paragraphs

Here is a brutal truth:  College admissions counselors only read the application essays that help them make a decision .  Otherwise, they will not read the essay at all. The problem is that you do not know whether the rest of your application (transcripts, academic record, awards, etc.) will be competitive enough to get you accepted.

A very simple writing rule for your application essay (and for essay editing of any type) is to  make your writing readable by adding line breaks and separate paragraphs.

Line breaks do not count toward word count, so they are a very easy way to organize your essay structure, ideas, and topics. Remember, college counselors, if you’re lucky, will spend 30 sec to 1 minute reading your essay. Give them every opportunity to understand your writing.

Do not include an essay title 

Unless specifically required, do not use a title for your personal statement or essay. This is a waste of your word limit and is redundant since the essay prompt itself serves as the title.

Never use overly casual, colloquial, or text message-based formatting like this: 

THIS IS A REALLY IMPORTANT POINT!. #collegeapplication #collegeessay.

Under no circumstances should you use emojis, all caps, symbols, hashtags, or slang in a college essay. Although technology, texting, and social media are continuing to transform how we use modern language (what a great topic for a college application essay!), admissions officers will view the use of these casual formatting elements as immature and inappropriate for such an important document.

How To Format A College Application Essay

There are many  tips for writing college admissions essays . How you upload your college application essay depends on whether you will be cutting and pasting your essay into a text box in an online application form or attaching a formatted document.

Save and upload your college essay in the proper format

Check the application instructions if you’re not sure what you need to do. Currently, the Common Application requires you to copy and paste your essay into a text box.

There are three main formats when it comes to submitting your college essay or personal statement:

If submitting your application essay in a text box

For the Common Application, there is no need to attach a document since there is a dedicated input field. You still want to write your essay in a word processor or Google doc. Just make sure once you copy-paste your essay into the text box that your line breaks (paragraphs), indents, and formatting is retained. 

• Formatting like  bold , underline, and  italics  are often lost when copy-pasting into a text box.
• Double-check that you are under the word limit.  Word counts may be different within the text box .
• Make sure that paragraphs and spacing are maintained;  text input fields often undo indents and double-spacing .
• If possible, make sure the font is standardized.  Text input boxes usually allow just one font . 

If submitting your application essay as a document

When attaching a document, you must do more than just double-check the format of your admissions essay. You need to be proactive and make sure the structure is logical and will be attractive to readers.

Microsoft Word (.DOC) format

If you are submitting your application essay as a file upload, then you will likely submit a .doc or .docx file. The downside is that MS Word files are editable, and there are sometimes conflicts between different MS Word versions (2010 vs 2016 vs Office365). The upside is that Word can be opened by almost any text program.

This is a safe choice if maintaining the  visual  elements of your essay is important. Saving your essay as a PDF prevents any formatting issues that come with Microsoft Word, since older versions are sometimes incompatible with the newer formatting. 

Although PDF viewing programs are commonly available, many older readers and Internet users (who will be your admissions officers) may not be ready to view PDFs.

• Use 1-inch margins . This is the default setting for Microsoft Word. However, students from Asia using programs like Hangul Word Processor will need to double-check.
• Use a standard serif font.  These include Times New Roman, Courier, and Garamond. A serif font adds professionalism to your essay.
• Use standard 12-font size. 
• Use 1.5- or double-spacing.  Your application essay should be readable. Double spaces are not an issue as the essay should already fit on one page.
• Add a Header  with your First Name, Last Name, university, and other required information.
• Clearly   separate your paragraphs.  By default, just press ‘ENTER’ twice.

Sections Of A College Admissions Essay

University admissions protocols usually allow you to choose the format and style of your writing. Despite this, the general format of “Introduction-Body-Conclusion” is the most common structure. This is a common format you can use and adjust to your specific writing style.

College Application Essay Introduction

Typically, your first paragraph should introduce you or the topic that you will discuss. You must have a killer opener if you want the admissions committees to pay attention. 

Essays that use rhetorical tools, factual statements, dialog, etc. are encouraged. There is room to be creative since many application essays specifically focus on past learning experiences.

College Application Essay Body

Clearly answering the essay prompt is the most important part of the essay body. Keep reading over the prompt and making sure everything in the body supports it. 

Since personal statement essays are designed to show you are as a person and student, the essay body is also where you talk about your experiences and identity.

Make sure you include the following life experiences and how they relate to the essay prompt. Be sure to double-check that they relate back to the essay prompt. A college admissions essay is NOT an autobiography:

Personal challenges

• How did you overcome them?
• How or how much do past challenges define your current outlook or worldview? 
• What did you learn about yourself when you failed?

Personal achievements and successes

• What people helped you along the way?
• What did you learn about the nature of success

Lessons learned

• In general, did your experiences inform your choice of university or major?

Personal beliefs

• Politics, philosophy, and religion may be included here, but be careful when discussing sensitive personal or political topics. 
• Academic goals
• Personal goals
• Professional goals
• How will attending the university help you achieve these goals?

College Application Essay Conclusion

The conclusion section is a call to action directly aimed at the admissions officers. You must demonstrate why you are a great fit for the university, which means you should refer to specific programs, majors, or professors that guided or inspired you. 

In this “why this school” part of the essay, you can also explain why the university is a great fit for  your  goals. Be straightforward and truthful, but express your interest in the school boldly.

College Application Essay Format Examples

Here are several formatting examples of successful college admission essays, along with comments from the essay editor.

Note: Actual sample essays edited by  Wordvice professional editors .  Personal info has been redacted for privacy. This is not a college essay template.

College Admission Essay Example 1

This essay asks the student to write about how normal life experiences can have huge effects on personal growth:

Common App Essay Prompt: Thoughtful Rides

The Florida turnpike is a very redundant and plain expressway; we do not have the scenic luxury of mountains, forests, or even deserts stretching endlessly into the distance. Instead, we are blessed with repetitive fields of grazing cows and countless billboards advertising local businesses. I have been subjected to these monotonous views three times a week, driving two hours every other day to Sunrise and back to my house in Miami, Florida—all to practice for my competitive soccer team in hopes of receiving a scholarship to play soccer at the next level. 

The Introduction sets up a clear, visceral memory and communicates a key extracurricular activity. 

When I first began these mini road trips, I would jam out to my country playlist and sing along with my favorite artists, and the trek would seem relatively short. However, after listening to “Beautiful Crazy” by Luke Combs for the 48th time in a week, the song became as repetitive as the landscape I was driving through. Changing genres did not help much either; everything I played seemed to morph into the same brain-numbing sound.  Eventually, I decided to do what many peers in my generation fail to do: turn off the distractions, enjoy the silence, and immerse myself in my own thoughts. In the end, this seemingly simple decision led to a lot of personal growth and tranquility in my life. 

The first part of the Body connects the student’s past experience with the essay prompt: personal growth and challenging assumptions.

Although I did not fully realize it at the time, these rides were the perfect opportunity to reflect on myself and the people around me. I quickly began noticing the different personalities surrounding me in the flow of traffic, and this simple act of noticing reminded me that I was not the only human on this planet that mattered. I was just as unimportant as the woman sitting in the car next to mine. Conversely, I also came to appreciate how a gesture as simple as letting another driver merge into your lane can impact a stranger’s day. Maybe the other driver is late for a work interview or rushing to the hospital because their newborn is running a high fever and by allowing them to advance in the row of cars, you made their day just a little less stressful. I realized that if I could improve someone else’s day from my car,  I could definitely be a kinder person and take other people’s situations into consideration—because you never know if someone is having one of the worst days of their lives and their interaction with you could provide the motivation they need to keep going on . 

This part uses two examples to support the writer’s answer to the essay prompt. It ends the paragraph with a clear statement.

Realizing I was not the only being in the universe that mattered was not the only insight I attained during these drives. Over and over, I asked myself why I had chosen to change soccer clubs, leaving Pinecrest, the team I had played on for 8 years with my best friends and that was only a 10-minute drive from my house, to play for a completely unfamiliar team that required significantly more travel.  Eventually, I came to understand that I truly enjoy challenging myself and pushing past complacency . One of my main goals in life is to play and experience college soccer—that, and to eventually pursue a career as a doctor. Ultimately, leaving my comfort zone in Pinecrest, where mediocrity was celebrated, to join a team in Sunrise, where championships were expected and college offers were abundant, was a very positive decision in my life. 

This part clearly tells how the experience shaped the writer as a person. The student’s personality can be directly attributed to this memory. It also importantly states personal and academic goals.

Even if I do not end up playing college soccer, I know now that I will never back down from any challenge in my life; I am committed to pushing myself past my comfort zone. These car rides have given me insight into how strong I truly am and how much impact I can have on other people’s lives. 

The Conclusion restates the overall lesson learned.

College Admission Essay Example 2

The next essay asks the reader to use leadership roles or extracurricular activities and describe the experience, contribution, and what the student learned about themselves.

As I release the air from the blood-pressure monitor’s valve, I carefully track the gauge, listening for the faint “lub-dub” of  Winnie’s heart. Checking off the “hypertensive” box on his medical chart when reading 150/95, I then escort Winnie to the blood sugar station. This was the typical procedure of a volunteer at the UConn Migrant Farm Worker Clinic. Our traveling medical clinic operated at night, visiting various Connecticut farms to provide healthcare for migrant workers. Filling out charts, taking blood pressure, and recording BMI were all standard procedures, but the relationships I built with farmers such as Winnie impacted me the most.

This Introduction is very impactful. It highlights the student’s professional expertise as a healthcare worker and her impact on marginalized communities. It also is written in the present tense to add impact.

While the clinic was canceled this year due to COVID-19, I still wanted to do something for them. During a PPE-drive meeting this July, Winnie recounted his family history. I noticed his eyebrows furrow with anxiety as he spoke about his family’s safety in Tierra Blanca, Mexico. I realized that Winnie lacked substantial information about his hometown, and fear-mongering headlines did nothing to assuage his fears. After days of searching, I discovered that his hometown, Guanajuato, reported fewer cases of COVID-19 in comparison with surrounding towns. I then created a color-coded map of his town, showing rates across the different districts. Winnie’s eyes softened, marveling at the map I made for him this August. I didn’t need to explain what he saw: Guanajuato, his home state, was pale yellow, the color I chose to mark the lowest level of cases. By making this map, I didn’t intend to give him new hope; I wanted to show him where hope was.

The student continues to tell the powerful story of one of her patients. This humbles and empowers the student, motivating her in the next paragraph.

This interaction fueled my commitment to search for hope in my journey of becoming a public health official. Working in public health policy, I hope to tackle complex world problems, such as economic and social barriers to healthcare and find creative methods of improving outcomes in queer and Latinx communities. I want to study the present and potential future intervention strategies in minority communities for addressing language barriers to information including language on posters and gendered language, and for instituting social and support services for community youth. These stepping stones will hopefully prepare me for conducting professional research for the Medical Organization for Latino Advancement. I aspire to be an active proponent of healthcare access and equity for marginalized groups, including queer communities. I first learned about the importance of recognizing minority identities in healthcare through my bisexual sister, Sophie, and her nonbinary friend, Gilligan. During discussions with her friends, I realized the importance of validating diverse gender expressions in all facets of my life.

Here, the past experience is directly connected to future academic and professional goals, which themselves are motivated by a desire to increase access among communities as well as personal family experiences. This is a strong case for why personal identity is so important.

My experiences with Winnie and my sister have empowered me to be creative, thoughtful, and brave while challenging the assumptions currently embedded in the “visual vocabulary” of both the art and science fields. I envision myself deconstructing hegemonic ideas of masculinity and femininity and surmounting the limitations of traditional perceptions of male and female bodies as it relates to existing healthcare practices. Through these subtle changes, I aim to make a large impact.

The Conclusion positions the student as an impactful leader and visionary. This is a powerful case for the admissions board to consider.

If you want to read more college admissions essay examples, check out our articles about  successful college personal statements  and the  2021-2022 Common App prompts and example essays .

Wordvice offers a full suite of proofreading and editing services . If you are a student applying to college and are having trouble with the best college admissions essay format, check out our application essay editing services  (including personal statement editing ) and find out  how much online proofreading costs . 

Finally, don’t forget to receive common app essay editing and professional admissions editing for any other admissions documents for college, university, and post-doctoral programs.

What are the best fonts for college essays?

One choice that students will have to make when completing college essays is the font. Now, this may not appear like an important factor, however it can make a substantial difference to the presentation of your essay. Some college essay tasks will have a style guide, whereas others will allow students to choose the font. No matter what subject you are doing the essay for or what year of college you are in, the font should always be taken seriously. In this article, we will show you what are the best fonts for college essays.

Times New Roman

The first font that you should be aware of is Times New Roman. This is the default font for many college essays, and it is also one that is considered the standard in APA, MLA, Chicago, and other referencing styles. This is the most commonly used font, and it is considered fairly formal.

It is a serif typeface font that is hugely popular even outside of academia. It has a fantastic reputation, and it is known as a font that is both professional and easy on the eye. If you are unsure of which font to use, then Times New Roman is always a reliable option. This is true especially if the essay will be printed out, since the font looks excellent on paper.

Another well known font is Arial. In contrast to Times New Roman, it is a sans-serif typeface. This is a clean font that is both professional and neutral. It is easy to read which makes it an appealing font choice for college essays. It is also a font which immediately grabs the attention of the reader which makes it a solid choice if you want to impress your professor.

For a combination of modern and classic, Calibri is the font to choose. Calibri has become the new default font for many word processing software. This is because it looks easy on the eye when it is on a computer. If your essay will be submitted online, then this can be a perfect choice of font. It is a clear font that is both straightforward and easy to read.

Another traditional font that is well worth considering, is Georgia. This is another font that looks fantastic on screen, but not so amazing on paper. This font has a classic feel, and was designed to be used on the screen. You can consider using it to make your essays seem more professional and presentable.

Closing Thoughts

Presentation is just as important as the content. Firstly, it is vital to read the instructions of your college essay. Make sure that you fully understand the requirements, and follow the font guidelines if they are given. If there is a choice to be made, you will have a better idea of the best fonts for college essays. These fonts will allow your work to be easily readable, and they will make the best impression.

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ENG 1002 Writing Resources | R. Rambo Home Page

English Composition 2

The proper format for essays.

Below are guidelines for the formatting of essays based on recommendations from the MLA (the Modern Language Association).

• Fonts : Your essay should be word processed in 12-point Times New Roman fonts.
• Double space : Your entire essay should be double spaced, with no single spacing anywhere and no extra spacing anywhere. There should not be extra spaces between paragraphs.
• Heading : In the upper left corner of the first page of your essay, you should type your name, the instructor's name, your class, and the date, as follows: Your Name Mr. Rambo ENG 1002-100 24 February 2017
• Margins : According to the MLA, your essay should have a one-inch margin on the top, bottom, left, and right. However, for this course, just keep the default margins in Word.
• Page Numbers : Your last name and the page number should appear in the upper right corner of each page of your essay, including the first page, as in Jones 3 . Insert your name and the page number as a "header." Do not type this information where the text of your essay should be.
• Title : Your essay should include a title. The title should be centered and should appear under the heading information on the first page and above the first line of your essay. The title should be in the same fonts as the rest of your essay, with no quotation marks, no underlining, no italics, and no bold.
• Indentation : The first line of each paragraph should be indented. According to the MLA, this indentation should be 1/2 inch or five spaces, but pressing [Tab] once should give you the correct indentation.

Putting all of the above together, you should have a first page that looks like the following:

Copyright Randy Rambo , 2019.

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Professional Typography: The 20 Best Fonts for Professional Documents

• BY Bogdan Sandu
• 29 February 2024

Picture this: You’ve crafted an impeccable proposal, your arguments are watertight, the data’s rock-solid. Then someone says, “I can barely get through this with that font choice.” Heart sinks.

Fonts, they’re silent persuaders; unsung heroes of readability, professionalism, and impact. And yet, they remain an afterthought for many. This changes now.

Selecting  the best fonts for professional documents  is not just about aesthetics; it’s about sending the right message, ensuring clarity, and upholding brand identity in every line you type.

Within this space, we’ll explore the significance of  font pairing ,  line spacing , and  typography , key elements that turn a bland document into a standout one.

By the close of our journey together, you’ll command a robust arsenal of  typefaces  like Times New Roman and Arial, balanced with design finesse.

We’re not just picking fonts; we’re setting the stage for your words to resonate with utmost professionalism. Strength lies in fine details — let’s dive into the world of serifs, sans-serifs, and document formatting finesse.

The Best Fonts for Professional Documents

Top serif fonts, times new roman.

Design Dimensions: Understanding Poster Sizes

The washington capitals logo history, colors, font, and meaning.

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What’s the Best Scholarship Essay Format?

Maria Geiger is Director of Content at Scholarships360. She is a former online educational technology instructor and adjunct writing instructor. In addition to education reform, Maria’s interests include viewpoint diversity, blended/flipped learning, digital communication, and integrating media/web tools into the curriculum to better facilitate student engagement. Maria earned both a B.A. and an M.A. in English Literature from Monmouth University, an M. Ed. in Education from Monmouth University, and a Virtual Online Teaching Certificate (VOLT) from the University of Pennsylvania.

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Many scholarships require students to write an essay as part of their application. These writing and essay scholarships want to learn about your experiences, interests, or background as a student through your essay. But once you have finished writing, you may wonder: What is the best way to format my scholarship essay?

Should you include a title? What about spacing, page numbers, or citations? These are important questions and should be essential parts of your editing and revising process. Keep on reading to make sure that your essay is formatted properly!

Don’t miss: Scholarships360’s free scholarship search tool

Getting started with essay formatting

The first rule of the scholarship essay format is following all of the rules that the scholarship application states. Whether that is spacing, citations, or font size, you should always follow the directions. There isn’t a faster way to get a scholarship committee member to say “nah” than ignoring the directions.

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Essay titles.

Should you begin your essay with a title? In my experience reading essays of all types, a title is very optional. If it is an especially clever or necessary title, then sure, go for it!

Otherwise, I would recommend saving your valuable word count and put it towards the actual essay. If you write your essay and are feeling stuck on a title, let it go and don’t worry about it. Prepare for your scholarship writing endeavors  by reading our short essay guides for 250 word essays , as well as 500 word essays !

Related: How to write an essay about yourself

Font size & style

The MLA recommends using size 12 font, and that’s what we’d recommend using. As far as the style of the font, you should stick to something that is legible and easy to read. Times New Roman or Arial are both going to be good bets. The scholarship essay is not the best place to get creative with a funky, hard-to-read font.

Should I single or double space the essay?

We know that most of your essays for school are probably double spaced. This is usually a good call for scholarship essays as well, because it makes the essay easier to read. In addition to spacing, you want to make sure that your scholarship essay is broken down into paragraphs and is not one single block of text.

Are page numbers required?

On many school papers, you may have to put a page number on each page. This is not necessary for your scholarship essays unless it is a clearly stated requirement.

Does proper scholarship essay formatting require citations?

If you are citing other sources, it is a good idea to use citations. It does not matter whether you are using MLA, Chicago, or some other type of citation (unless it is specifically required). Instead, it is important to simply be consistent in how you cite your sources. Most essays probably will not require outside sources or research, but if you are applying to certain research-based or STEM scholarships you may want to brush up on your citations.

Do’s and don’ts for scholarship essay formatting 

Final thoughts.

Writing can be a very stressful process for students, both in the scholarship process and the college admissions process. One of the best things that you can do is give yourself plenty of time to write and refine your essays. Ideally, you will also have a trusted outside reader serve as an editor for all of your essays.

The major rules of scholarship essay formatting are to follow the application instructions and make sure that your formatting is not distracting. Ultimately, you will want to ensure that the essay reader can easily and clearly read your essay and not distract them with sloppy or unconventional formatting.

Additional resources for writing essays

Here at Scholarships360, we have nearly every resource to help you write your best scholarship essay and to help you through the college admission process. Learn how to write winning scholarship essays , including how to start a scholarship essay and how to end a scholarship essay as well! Maybe you are writing a “Why this college” essay ? We can help with that too! Also, be sure to check out our individualized supplemental essay guides for schools that require them.

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Key Takeaways

• First and foremost, always carefully read the instructions of what format is required 
• Unless otherwise specified, double space your essay and break it down into easily digestible paragraphs
• If not stated, use easy to read fonts like Times New Roman or Ariel
• Never use information without citing, and if you do need to cite, be consistent with citation style (such as MLA, APA, Chicago, etc.)
• Always. always double check that your essay is not only formatted correctly, but thoroughly proofread for grammar and spelling

Frequently asked questions about scholarship essay formatting  

Should a scholarship essay be double spaced, what citation style should i use in a scholarship essay, is it better to include a scholarship essay title, what font is good for a scholarship essay, scholarships360 recommended.

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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.

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Guest Essay

Harvard Should Say Less. Maybe All Schools Should.

By Noah Feldman and Alison Simmons

Dr. Feldman is a law professor and Dr. Simmons is a professor of philosophy, both at Harvard.

Last fall, Harvard University’s leadership found itself at the center of a highly public, highly charged fight about taking an official institutional position in connection with the Oct. 7 Hamas attack on Israel and the war in Gaza.

First, critics denounced the school for being too slow to issue a statement on the matter. Then, after a statement was released by Harvard’s president, Claudine Gay, and 17 other senior Harvard officials, some critics attacked it for being insufficiently forceful in condemning the Hamas attack, while others criticized it for being insufficiently forceful in condemning Israel’s retaliation.

One of the many sources of confusion at the time was that Harvard, like many other universities, did not have a formal policy on when and whether to issue official statements. In the absence of a policy, Harvard not only had to figure out what to say or not say; it also had to deal with the perception that not issuing a statement, or not issuing one fast enough, would in effect be a statement, too.

Fortunately, Harvard now does have official guidance for a policy on university statements, in the form of a report issued on Tuesday by a faculty working group on which we served together as chairs, and endorsed by the president, provost and deans. The report recommends a policy based on both principle and pragmatism, one that we hope can enable Harvard — and any other school that might consider adopting a similar policy — to flourish in our highly polarized political era.

In brief, the report says that university leaders can and should speak out publicly to promote and protect the core function of the university, which is to create an environment suitable for pursuing truth through research, scholarship and teaching. If, for example, Donald Trump presses forward with his announced plan to take “billions and billions of dollars” from large university endowments to create an “American Academy” — a free, online school that would provide an “alternative” to current institutions — Harvard’s leadership can and should express its objections to this terrible idea.

It makes sense for university leaders to speak out on matters concerning the core function of the institution: That is their area of expertise as presidents, provosts and deans. But they should not, the report says, take official stands on other matters. They should not, for instance, issue statements of solidarity with Ukraine after Russia’s invasion, no matter how morally attractive or even correct that sentiment might be.

In addition, the report says, university leaders should make it clear to the public that when students and faculty members exercise their academic freedom to speak, they aren’t speaking on behalf of the university as a whole. The president doesn’t have to repeat this point with regard to every utterance made by the thousands of members of the university. But the university should clarify repeatedly, for as long as it takes to establish the point, that only its leadership can speak officially on its behalf.

This policy might remind some readers of the Kalven Report , a prominent statement of the value of academic “institutional neutrality” issued in 1967 by a University of Chicago committee chaired by the First Amendment scholar Harry Kalven Jr. But while our policy has some important things in common with the Kalven Report, which insisted that the university remain silently neutral on political and social issues, ours rests on different principles and has some different implications.

The principle behind our policy isn’t neutrality. Rather, our policy commits the university to an important set of values that drive the intellectual pursuit of truth: open inquiry, reasoned debate, divergent viewpoints and expertise. An institution committed to these values isn’t neutral, and shouldn’t be. It has to fight for its values, particularly when they are under attack, as they are now. Speaking publicly is one of the tools a university can use in that fight.

Take the use of affirmative action to achieve diversity in higher education admissions. Harvard argued in defense of this idea in the Supreme Court on several occasions — starting in 1978, when the court’s controlling opinion allowing diversity in admissions relied extensively on a brief that Harvard filed, through 2023, when the court rejected the use of race in diversity-based admissions. Harvard’s advocacy all along was far from neutral and would arguably have violated the Kalven principles. On our principles, however, Harvard was justified in speaking out forcefully in support of the method it long used to admit students, because admissions is a core function of the university.

We recognize that some observers, on both the left and the right, may interpret the timing of our report as an attempt to support some point of view they don’t like. That said, our recommended policy is designed not as a response to immediate events but as a response to the changed reality in which the university operates: a world of social media and polarized politics. Both put intense pressure on universities. Both cry out for a policy where before, none was demanded.

On social media, it can sometimes appear that anyone with a claim to Harvard affiliation speaks for the institution, even as we in the university know otherwise. We’re not naïve enough to think that just announcing a policy will change what the internet thinks. It will take repetition, emphasis and consistency to make the policy widely understood.

In an age of polarized politics, we also need a policy that will spare university leaders from having to spend all their time deciding which global and national events deserve statements and which statements from the university community merit official repudiation. On many, maybe most, important issues, no official statement made by the university could satisfy the many different constituencies on campus.

In formulating its recommendation, our faculty working group struggled with some challenges that don’t have great solutions. For example, we didn’t address, much less solve, the hard problem of when the university should or shouldn’t divest its endowment funds from a given portfolio. The Kalven Report claimed that a decision to divest is a statement in itself and so the university shouldn’t do it. In contrast, we saw divestment as an action rather than a statement the university makes. We therefore treated it as outside our mandate, even though symbolic meaning can be attached to it, just as it can to other actions (including investing in the first place). Our report encourages the university to explain its actions and decisions on investment and divestment — much as Harvard’s President Larry Bacow did in 2021 when the university decided to reduce its investments in fossil fuels, and much as President Derek Bok did when the university didn’t divest from South Africa in the 1980s — but that’s all.

Our committee members represented a wide range of academic specialties and points of view. We disagreed, and still disagree, about a lot. At a university, that’s both normal and highly desirable. Ultimately, a university is a community unified by a commitment to trying to get it right, not by a single answer to what is right in every case. Where we converged was on the belief that the university must protect and defend its critically important role and that it undermines its core function if it speaks officially on matters outside it.

Noah Feldman ( @NoahRFeldman ) is a law professor and Alison Simmons is a professor of philosophy, both at Harvard.

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

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