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Example and rules Editing the Essay, Part One

| Geen categorie | 16 augustus 2019

Example and rules Editing the Essay, Part One

Those who have been through the ecstasies and agonies of writing the satisfaction is known by an essay(and often the sadness) of finishing. Once you’ve done all the work of figuring out what you need to state, arriving at an arguable and interesting thesis, analyzing your evidence, organizing your ideas, and contending with counter-arguments, you might believe that you have nothing left to accomplish but run spell-check, print it out and await your professor’s response. Exactly what spell- check can’t discern is what readers that are real think or feel if they read your essay: where they could become confused, or annoyed, or bored, or distracted. Anticipating those responses could be the working job of an editor—the job you take on as you edit your own personal work.

As you proceed, understand that sometimes what may seem like a small problem can mask (be a symptom of) a more substantial one. A poorly-worded phrase—one that seems, say, unclear or vague—may just need some tweaking to correct; nonetheless it may indicate that the thinking hasn’t developed fully yet, you are not exactly sure what you need to state. Your language may be vague or confusing because the basic idea itself is. So learning, as Yeats says, to “cast a eye that is cold on the prose is not just a matter of arranging the finishing touches on the essay. It’s about making your essay better from the inside (clarifying and deepening your opinions and insights) and from the outside (expressing those ideas in powerful, lucid, graceful prose). These five guidelines might help.

Read your essay aloud .

When we labor over sentences, we can sometimes lose sight regarding the larger picture, of how all of the sentences sound once they’re read quickly one following the other, as your readers will read them. Once you read aloud, your ear will pick up some of the problems your eye might miss.

She was bothered by a single pea buried beneath the pile of mattresses she lay upon as you read your essay, remember the “The Princess essay writing service and the Pea,” the story of a princess so sensitive. As an editor, you want to princess—highly be like the alert to anything that seems slightly odd or “off” in your prose. So if something strikes you as problematic, don’t gloss over it. Investigate to uncover the character of the problem. Odds are, if something bothers you only a little, it shall bother your readers a lot.

Make sure all of your words are doing work that is important making your argument .

Are all of one’s phrases and words necessary? Or are they just using up space? Are your sentences tight and sharp, or are they loose and dull? Don’t say in three sentences what you can say in one, plus don’t use 14 words where five will do. You prefer every word in your sentence to incorporate as much meaning and inflection that you can. Yourself what “own personal” adds when you see phrases like “My own personal opinion,” ask. Is not that what “my” means?

Even small, apparently unimportant words like “says” can be worth your attention. Instead of “says,” could you use a expressed word like argues, acknowledges, contends, believes, reveals, suggests, or claims? Words like these not just make your sentences more lively and interesting, they offer useful information: if you inform your readers that someone “acknowledges” something, that deepens their understanding of how or why he or she said that thing; “said” merely reports.

3. Bear in mind the thought of le mot juste. Always try to find the perfect words, probably the most precise and specific language, to express everything you mean. Without needing concrete, clear language, you cannot convey to your readers just what you think about a subject; you can only speak in generalities, and everybody has recently heard those: “The evils of society are a drain on our resources.” Sentences similar to this could mean so many things you intended that they end up meaning nothing at all to your readers—or meaning something very different from what. Be specific: What evils? Which societies? What resources? Your readers are reading your words to see what you think, what you need certainly to say.

If you’re having problems putting your finger on just the word that is right consult a thesaurus, but only to remind yourself of your options. Never choose words whose connotations or usual contexts you don’t really understand. Using language you are not really acquainted with may cause more imprecision—and that will lead your reader to question your authority.

4. Beware of inappropriately elevated language—words and phrases that are stilted, pompous, or jargony. Sometimes, so that you can sound more reliable or authoritative, or higher sophisticated, we puff up our prose with this sort of language. Usually we only wind up sounding like we are attempting to sound smart—which is a sure sign to our readers that we’re not. When you’re inserting words or phrases because you think they will sound impressive, reconsider. In the event your ideas are good, you don’t have to strain for impressive language; if they are not, that language will not help anyway.

Inappropriately language that is elevated be a consequence of nouns getting used as verbs. Most areas of speech function better—more elegantly—when the roles are played by them these people were meant to play; nouns work very well as nouns and verbs as verbs. Read the sentences that are following, and pay attention to how pompous they sound.

He exited the area. It’s important that proponents and opponents of the bill dialogue about its contents before voting upon it.

Exits and dialogues work better as nouns and there are lots of ways of expressing those basic ideas without turning nouns into verbs.

The room was left by him. People should debate the professionals and cons of the bill before voting.

Every now and then, though, that is a rule worth breaking, like in “He muscled his method to the leading regarding the relative line.” “Muscled” gives us lots of information which may otherwise take words that are several even sentences to state. And given that it’s not awkward to see, but lively and descriptive, readers will not mind the temporary shift in roles as “muscle” becomes a verb.

5. Be tough on your own most sentences that are dazzling. You may find that sentences you needed in earlier drafts no longer belong—and these may be the sentences you’re most fond of as you revise. We are all guilty when trying to sneak within our favorite sentences where they don’t belong, because we can’t bear to cut them. But writers that are great ruthless and certainly will get rid of brilliant lines if they are no more relevant or necessary. They know that readers should be less struck by the brilliance than because of the inappropriateness of the sentences and they allow them to go.

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