Example and rules Editing the Essay, Part One

Example and rules Editing the Essay, Part One

Whoever has gone through the ecstasies and agonies of writing the satisfaction is known by an essay(and often the sadness) of finishing. When you have done all of the work of figuring out what you would like to express, arriving at an arguable and thesis that is interesting analyzing your evidence, organizing your thinking, and contending with counter-arguments, you may feel that you have nothing left to complete but run spell-check, print it out and await your professor’s response. But what spell- check can not discern is what real readers might think or feel if they read your essay: where they might become confused, or annoyed, or bored, or distracted. Anticipating those responses may be the working job of an editor—the job you take on as you edit your very own work.

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

Read your essay aloud .

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

While you read your essay, remember the “The Princess and the Pea,” the story of a princess so sensitive she was bothered by just one pea buried under the pile of mattresses she lay upon. As an www.eliteessaywriters.com/ editor, you need to princess—highly be like the tuned in to anything that seems slightly odd or “off” in your prose. Therefore if something strikes you as problematic, do not gloss on it. Investigate to discover the character associated with problem. It’s likely that, if something bothers you only a little, it shall bother your readers a great deal.

Be sure your entire words are doing important operate in making your argument .

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

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

3. Bear in mind the thought of le mot juste. Always look for the most wonderful words, probably the most precise and language that is specific to say that which you mean. Without needing concrete, clear language, you can’t convey to your readers exactly what you consider a subject; you can easily only speak in generalities, and everybody has already heard those: “The evils of society are a drain on our resources.” Sentences such as this could mean a lot of things that they end up meaning nothing at all to your readers—or meaning something very different from what you intended. 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 should be having problems putting your finger on simply the word that is right consult a thesaurus, but and then remind yourself of one’s options. Never choose words whose connotations or contexts that are usual don’t really understand. Using language you are not really acquainted with may cause more imprecision—and that may 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 this sort to our prose of language. Usually we only find yourself sounding like we are wanting to sound smart—which is a sure sign to our readers that people’re not. Because you think they’ll sound impressive, reconsider if you find yourself inserting words or phrases. If for example the ideas are good, you should not strain for impressive language; if they are not, that language will not help anyway.

Inappropriately elevated language can derive from nouns being used as verbs. Most parts of speech function better—more elegantly—when the roles are played by them they certainly were supposed to play; nouns work nicely as nouns and verbs as verbs. Read the following sentences aloud, and tune in to how pompous they sound.

He exited the area. It is important that proponents and opponents for this bill dialogue about its contents before voting upon it.

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

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

From time to time, though, this might be a rule worth breaking, as with “He muscled his way to the front regarding the relative line.” “Muscled” gives us lots of information that might otherwise take several words or even sentences to state. And given that it’s not awkward to read through, but lively and descriptive, readers will not mind the temporary shift in roles as “muscle” becomes a verb.

5. Be tough on the most sentences that are dazzling. While you revise, you might find that sentences you needed in earlier drafts no longer belong—and these may be the sentences you are most keen on. All of us are guilty when trying to sneak in our favorite sentences where they do not belong, because we cannot bear to cut them. But great writers are ruthless and will throw out brilliant lines if they are no more relevant or necessary. They know that readers will soon be less struck by the brilliance than by the inappropriateness of these sentences and they allow them to go.

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