essay editorial meaning

How To Write An Editorial (7 Easy Steps, Examples, & Guide)

Writing an editorial is one of those things that sounds like it should be pretty straightforward. Easy, even.

But then you sit down to start typing. Your fingers freeze over the keyboard. You gaze into the perfectly blank white space of your computer screen.

Wait , you think. How do I write an editorial ?

Here’s how to write an editorial:

• Choose a newsworthy topic (Something with broad interest)
• Choose a clear purpose (This will guide your entire process)
• Select an editorial type (Opinion, solution, criticism, persuasive, etc)
• Gather research (Facts, quotes, statistics, etc)
• Write the editorial (Using an Editorial Template that includes an introduction, argument, rebuttal, and conclusion)
• Write the headline (Title)
• Edit your editorial (Grammar, facts, spelling, structure, etc)

In this article, we’ll go through each of these steps in detail so that you know exactly how to write an editorial.

What Is an Editorial? (Quick Definition)

Table of Contents

Before we jump into the mechanics of how to write an editorial, it’s helpful to get a good grasp on the definition of editorials.

Here is a simple definition to get us started:

An editorial is a brief essay-style piece of writing from a newspaper, magazine, or other publication. An editorial is generally written by the editorial staff, editors, or writers of a publication.

Of course, there’s a lot more to it than simply dashing out an essay.

There is the purpose, different types of editorials, elements of a good editorial, structure, steps to writing an editorial, and the actual mechanics of writing your editorial.

“In essence, an editorial is an opinionated news story.” – Alan Weintraut

What Is the Purpose of an Editorial?

The purpose of an editorial is to share a perspective, persuade others of your point of view, and possibly propose a solution to a problem.

The most important part is to pick one purpose and stick to it.

Rambling, incoherent editorials won’t do. They won’t get you the results or the response you might want.

When it comes to purpose, you want:

• Singular focus
• Personal connection

The first two probably make sense with no explanation. That last one (personal connection) deserves more attention.

The best editorials arise from personal passions, values, and concerns. You will naturally write with vigor and voice. Your emotion will find its way into your words.

Every bit of this will make your editorials instantly more compelling.

What Are the Different Types of Editorials?

There are two main types of editorials and a number of different subtypes.

One of the first steps in how to write an editorial is choosing the right type for your intended purpose or desired outcome.

The two main types of editorials:

Opinion Editorial

In an opinion editorial, the author shares a personal opinion about a local or national issue.

The issue can be anything from local regulations to national human trafficking.

Typically, the topic of an editorial is related to the topics covered in the publication. Some publications, like newspapers, cover many topics.

Solution Editorial

In a solution editorial, the author offers a solution to a local or national problem.

It’s often recommended for the author of solution editorials to cite credible sources as evidence for the validity of the proposed solution (BTW, research is also important for opinion editorials).

There are also several editorial subtypes based on purpose:

• Explain (you can explain a person, place, or thing)
• Criticism (you can critically examine a person, place, or thing)
• Praise (celebrate a person, place, or thing)
• Defend (you can defend a person, place, or thing)
• Endorsement (support a person, place, or thing)
• Catalyst (for conversation or change)

How To Write an Editorial (7 Easy Steps)

As a reminder, you can write an editorial by following seven simple steps.

• Choose a topic
• Choose a purpose
• Select an editorial type
• Gather research
• Write the editorial
• Write the headline
• Edit your editorial

If you want a short, visual explanation of how to write an editorial, check out this video from a bona fide New York Times Editor:

1) Choose a Newsworthy Topic

How do you choose a topic for your editorial?

You have several options. Your best bet is to go with a topic about which you feel strongly and that has broad appeal.

Consider these questions:

• What makes you angry?
• What makes your blood boil?
• What gets you excited?
• What is wrong with your community or the world?

When you write from a place of passion, you imbue your words with power. That’s how to write an editorial that resonates with readers.

2) Choose a Purpose

The next step for how to write an editorial is to choose your purpose.

What do you want to accomplish with your editorial? What ultimate outcome do you desire? Answering these questions will both focus your editorial and help you select the most effective editorial type.

Remember: a best practice is honing in on one specific purpose.

Your purpose might be:

• To trigger a specific action (such as voting)
• To raise awareness
• To change minds on an issue

3) Select a type

Now it’s time to select the best editorial type for your writing. Your type should align with your purpose.

In fact, your purpose probably tells you exactly what kind of editorial to write.

First, determine which major type of editorial best fits your purpose. You can do this by asking yourself, “Am I giving an opinion or offering a solution?”

Second, select your subtype. Again, look to your purpose. Do you want to explain? Persuade? Endorse? Defend?

Select one subtype and stick to it.

4) Gather Research

Don’t neglect this important step.

The research adds value, trust, credibility, and strength to your argument. Think of research as evidence. What kind of evidence do you need?

You might need:

• Research findings

All of these forms of evidence strengthen your argument.

Shoot for a mix of evidence that combines several different variations. For example, include an example, some statistics, and research findings.

What you want to avoid:

• Quote, quote, quote
• Story, story, story

Pro tip: you can find research articles related to your topic by going to Google Scholar.

For other evidence, try these sources:

• US Census Bureau
• US Government
• National Bureau of Economic Research

You might also want to check with your local librarian and community Chamber of Commerce for local information.

5) Write Your Editorial

Finally, you can start writing your editorial.

Aim to keep your editorial shorter than longer. However, there is no set length for an editorial.

For a more readable editorial, keep your words and sentences short. Use simple, clear language. Avoid slang, acronyms, or industry-specific language.

If you need to use specialized language, explain the words and terms to the reader.

The most common point of view in editorials is first person plural. In this point of view, you use the pronouns “we” and “us.”

When writing your editorial, it’s helpful to follow an Editorial Template. The best templates include all of the essential parts of an editorial.

Here is a basic Editorial template you can follow:

Introduction Response/Reaction Evidence Rebuttal Conclusion

Here is a brief breakdown of each part of an editorial:

Introduction: The introduction is the first part of an editorial. It is where the author introduces the topic that they will be discussing. In an editorial, the author typically responds to a current event or issue.

Response/Reaction: The response/reaction is the part of the editorial where the author gives their opinion on the topic. They state their position and give reasons for why they believe what they do.

Evidence: The evidence is typically a series of facts or examples that support the author’s position. These can be statistics, quotations from experts, or personal experiences.

Rebuttal: The rebuttal is the part of the editorial where the author addresses any arguments or counter-arguments that may be raised against their position. They refute these arguments and offer additional evidence to support their point of view.

Conclusion: The conclusion is the last part of an editorial. It wraps up the author’s argument and provides a final statement on the topic.

6) Write The Headline

Your headline must be catchy, not clickbait. There’s a fine line between the two, and it’s not always a clear line.

Characteristics of a catchy headline:

• Makes the reader curious
• Includes at least one strong emotion
• Clearly reveals the subject of the editorial
• Short and sweet
• Doesn’t overpromise or mislead (no clickbait)

Your headline will either grab a reader’s attention or it will not. I suggest you spend some time thinking about your title. It’s that important. You can also learn how to write headlines from experts.

Use these real editorial headlines as a source of inspiration to come up with your own:

• We Came All This Way to Let Vaccines Go Bad in the Freezer?
• What’s the matter with Kansas?
• War to end all wars
• Still No Exit
• Zimbabwe’s Stolen Election
• Running out of time
• Charter Schools = Choices

Suggested read: How To Write an Autobiography

7) Edit Your Editorial

The final step is to edit and proofread your editorial.

You will want to check your editorial for typos, spelling, grammatical, and punctuation mistakes.

I suggest that you also review your piece for structure, tone, voice, and logical flaws.

Your editorial will be out in the public domain where any troll with a keyboard or smartphone (which, let’s be honest, is everyone) can respond to you.

If you’ve done your job, your editorial will strike a nerve.

You might as well assume that hordes of people might descend on your opinion piece to dissect every detail. So check your sources. Check the accuracy of dates, numbers, and figures in your piece.

Double-check the spelling of names and places. Make sure your links work.

Triple-check everything.

Editorial Structures and Outlines

As you learn how to write an editorial, you have many choices.

One choice is your selection of structure.

There are several editorial structures, outlines, and templates. Choose the one that best fits your topic, purpose, and editorial type.

Every editorial will have a beginning, middle, and end.

Here are a few specific structures you can use:

• Problem, Solution, Call to Action
• Story, Message, Call to Action
• Thesis, Evidence, Recommendation
• Your View, Opposing Views, Conclusion

How Do You Start an Editorial?

A common way to start an editorial is to state your point or perspective.

Here are a few other ways to start your editorial:

• The problem
• Startling statement
• Tell a story
• Your solution

Other than the headline, the beginning of your editorial is what will grab your reader.

If you want to write an editorial that gets read, then you must write a powerful opening.

How Do You End an Editorial?

You can end with a call-to-action, a thoughtful reflection, or a restatement of your message.

Keep in mind that the end of your editorial is what readers will most likely remember.

You want your ending to resonate, to charge your reader with emotion, evidence, and excitement to take action.

After all, you wrote the editorial to change something (minds, policies, approaches, etc.).

In a few sections (see below), you will learn a few simple templates that you can “steal” to help you end your editorial. Of course, you don’t have to use the templates.

They are just suggestions.

Often, the best way to conclude is to restate your main point.

What Makes a Good Editorial?

Even if you learn how to write an editorial, it doesn’t mean the editorial will automatically be good. You may be asking, What makes a good editorial ?

A good editorial is clear, concise, and compelling.

Therefore, the best editorials are thought out with a clear purpose and point of view. What you want to avoid is a rambling, journal-type essay. This will be both confusing and boring to the reader.

That’s the last thing you want.

Here are some other elements of a good editorial:

• Clear and vivid voice
• Interesting point of view
• Gives opposing points of view
• Backed up by credible sources
• Analyzes a situation

“A good editorial is contemporary without being populist.” —Ajai Singh and Shakuntala Singh

How Do You Know If You’ve Written a Good Editorial?

Many people want to know how to tell if they have written a good editorial.

How do you know?

You can tell by the response you get from the readers. A good editorial sparks a community conversation. A good editorial might also result in some type of action based on the solution you propose.

An article by Ajai Singh and Shakuntala Singh in Mens Sana Monograph says this about good editorials:

It tackles recent events and issues, and attempts to formulate viewpoints based on an objective analysis of happenings and conflicting/contrary opinions. Hence a hard-hitting editorial is as legitimate as a balanced equipoise that reconciles apparently conflicting positions and controversial posturings, whether amongst politicians (in news papers), or amongst researchers (in academic journals).

Note that newsworthy events, controversy, and balance matter in editorials.

It’s also a best practice to include contradicting opinions in your piece. This lends credibility and even more balance to your peice.

Editorial Examples & Templates

As you write your own editorial, study the following example templates “stolen” from real editorials.

You can use these templates as “sentence starters” to inspire you to write your own completely original sentences.

Phrases for the beginning:

• It’s been two weeks since…
• Look no further than…
• The country can’t…

Phrases for the middle:

• That’s an astonishing failure
• It should never have come to this
• Other [counties, states, countries, etc.] are…
• Within a few days…
• Not everyone shares my [opinion, pessimism, optimism]
• Officials say…

Phrases for the end:

• Let’s commit to…
• Finally…
• If we can…we will…

Honestly, the best way to learn how to write an editorial is to read and study as many published editorials as possible. The more you study, the better you will understand what works.

Study more editorials at these links:

• New York Times editorials
• USA Today editorials
• The Washington Post

How To Write an Editorial for Students

Writing an editorial for students is virtually the same as writing an editorial at any other time.

However, your teacher or professor might give you specific instructions, guidelines, and restrictions. You’ll want to read all of these thoroughly, get clarity, and follow the “rules” as much as possible.

Writing an editorial is a skill that will come in handy throughout your life. Whether you’re writing a letter to the editor of your local paper or creating a post for your blog, being able to communicate your ideas clearly and persuasively is an important skill. Here are some tips to help you write an effective editorial:

• Know your audience. Who are you writing for? What are their concerns and interests? Keep this in mind as you craft your message.
• Make a clear argument. What is it that you want your readers to know? What do you want them to do? Be sure to state your case clearly and concisely.
• Support your argument with evidence. Use facts, statistics, and expert opinions to make your case.
• Use strong language . Choose words that will resonate with your readers and make them want to take action.
• Be persuasive, not blasting. You want your readers to be convinced by your argument, not turned off by aggressive language. Stay calm and collected as you make your case.

By following these tips, you can write an effective student editorial that will get results.

What Is an Editorial In a Newspaper?

The editorial section of a newspaper is where the publication’s editorial board weighs in on important issues facing the community. This section also includes columns from guest writers and staff members, as well as letters to the editor.

The editorial board is made up of the publication’s top editors, who are responsible for setting the tone and direction of the paper.

In addition to op-eds, the editorial section also features editorials, which are written by the editorial board and represent the official position of the paper on an issue.

While editorial boards may lean one way or another politically, they strive to present both sides of every issue in a fair and unbiased way.

Ultimately, the goal of the editorial section is to promote thoughtful discussion and debate on the topics that matter most to readers.

Tools for Writing an Editorial

If you want some extra help in writing an editorial, try these tools:

Final Thoughts: How To Write an Editorial

Whew , we have covered a lot of ground in this article. I hope that you have gained everything you need to know about how to write an editorial.

There are a lot of details that go into writing a good editorial.

If you get confused or overwhelmed, know that you are not alone. Know that many other writers have been there before, and have struggled with the same challenges.

Mostly, know that you got this .

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National Institute of Health (On Editorials)

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• Writing Tips

How to Write an Editorial

• By  Lynn Godson
• Apr 17, 2024

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Want to learn how to write an editorial? This post covers everything you need to know! We’ll look at what an editorial is, explore the different types of editorial writing, and explain how to write one. Read on to learn more.

What Is an Editorial?

An editorial (often known as an op-ed) is an opinion piece that focuses on a current event, social issue, or other topic of importance. Editorials come in many formats – you might watch them on TV, listen to them on the radio, or read them in digital or print newspapers and magazines. The written editorial is probably the most common editorial format.

Editorials are usually written in the first person and express an individual’s opinion on an issue. Whereas a news report should be objective, an editorial can be very subjective. The author of an editorial will raise awareness of an issue, present an argument, and try to persuade the reader to take action or adopt their way of thinking.

Sometimes a freelance writer will pitch an editorial idea to a newspaper or magazine . Other times, the publication will commission editorial pieces from their in-house writers or guest writers. These might be thought leaders , experts in their field, or even celebrities with something to say.

The language used in editorials is often persuasive and sometimes emotionally evocative. This editorial from the newspaper The Guardian on Putin’s reelection in Russia in March 2024 begins with the sentence, “Under the repressive, paranoid leadership of Vladimir Putin,” which leaves readers in no doubt of the author’s opinion of the Russian president’s regime.

What Are the Different Types of Editorial?

There are four generally accepted types of editorial: interpretive, critical, persuasive, and praising. Let’s take a look at each one in more detail.

1. Interpretive Editorial

This type of editorial interprets or explains a news story to help readers become more familiar with the topic. It raises awareness, gives the background to a story, and positions an event in its wider context. In this example of an interpretative editorial , the author examines and explains the policies and major players in the 2024 European elections.

2. Critical Editorial

Critical editorials share opinions on political policies, institutions, leaders, theater, works of art, and more. As well as highlighting problems, they often suggest solutions.

The language in a critical editorial can feel very personally targeted, whether negatively or positively. For example, reviews of the stage musical Hamilton vary. They include this very positive opinion from The New York Times :

One of its greatest accomplishments is that it leaves no doubt that these scrappy, adrenaline-charged young folks, with their fast way with rhyme that gives order to chaos, have every right to be in charge of the story here.

Meanwhile, over at National Review , their editorial opinion verges on the political and is quite negative:

In short, Hamilton ’s fatal flaw is its focus on emotions rather than substance. In this, it is emblematic of the wider progressive Left.

And a contributor to Metacritic makes this very negative comment , among other unfavorable opinions:

Oversimplification of complex figures. The musical condenses complex historical figures like Hamilton and other Founding Fathers into false caricatures…

3. Persuasive Editorial

This type of editorial attempts to convince readers that the writer’s view is correct, or that they should take action or change their behavior. Like many forms of persuasive writing, persuasive editorials often use the three rhetorical appeals: ethos, pathos, and logos . They appeal to readers’ need for authoritative content, to their sense of logic or reason, and to their emotions.

This editorial on individual responsibility for climate change action comes from a leading environmental campaign group, Greenpeace. It’s full of words and phrases designed to encourage action. The opening line – with emphasis added – says:

The most effective action to take as an individual is to urge leaders in business and government to stop global warming getting worse , as quickly as they possibly can .

It goes on to further persuade by listing reasons why climate change action is important and by providing several calls to action .

4. Praising Editorial

Praising editorials tend to focus on a person or an organization and show appreciation for their work, their positive qualities, or their contribution to society. Or sometimes, all three.

This praising editorial from The Guardian discusses the work done by a group of female researchers who are adding well-researched entries to Wikipedia for notable women who have previously been overlooked. The writer’s admiration is clear from the terms used, such as heroism , challenge , transforming , and phenomenon . 

Here are our top tips to help you write an editorial:

Conduct Thorough Research

Whether you’re deciding on the topic for your editorial or following a commission brief, you should always conduct thorough research. Readers are more likely to engage with your argument if it’s clear that you understand the full context surrounding the topic and aren’t just repeating what has already been said.

There may only be seven plots in English literature (Christopher Booker, The Seven Basic Plots: Why We Tell Stories ), but you’re writing an editorial, not a novel – try to offer new ideas or perspectives! Decide on your unique stance on the topic and then look for credible sources to back up your arguments. And always remember to fact-check . Your reputation as a writer is dependent on creating accurate, reliable content.

Create an Outline

Getting started is often the trickiest part of writing an editorial. Don’t rush straight into writing; start by drafting an outline and note down any initial thoughts you have. This will help you keep your ideas organized and speed up the writing process without sacrificing quality and coherence. Your outline should include:

• An introduction (which summarizes your argument) 
• Your main supporting points
• The main counterarguments
• A conclusion and call to action

And if staring at a blank page or screen is freezing your creative juices, don’t worry. Writer’s block is a normal part of being a writer! Take a look at our helpful tips on overcoming writer’s block .

State Your Argument Clearly

Every editorial should start with a thesis – a statement that summarizes your argument. In journalism, this is known as the lede or lead. Your thesis statement, or lede, should be clear, coherent, and persuasive. The goal is to make sure the reader understands your argument in the first few sentences. Otherwise, they may lose interest and stop reading.

Support Your Argument

Once you’ve determined your thesis, find three or four main points to back up your opinion. Editorials are meant to be persuasive. Take a firm stance and make sure you have plenty of well-researched evidence to support your argument. Use the active voice to ensure your writing is direct and easy to understand.

Address Counterarguments

As you write, bear in mind that some of your readers will disagree with you. And if your subject is controversial, they’ll disagree passionately! Consider the other side of the argument and try to address it within your editorial. You can address counterarguments as you go or dedicate a paragraph to refuting them.

Proofread Your Article

Proofreading involves reading your work thoroughly to catch any typos, grammar mistakes, and punctuation errors that make an otherwise well-crafted piece of writing look unprofessional.

If you proofread your own writing , leave some time between finishing your draft and starting to proofread it. It’s not easy to spot your own mistakes, because your brain knows what it expects to see. When you are proofreading, take some breaks to give your eyes and brain a rest. High-level concentration is tiring and will affect your writing. Major writing software like Microsoft Word usually has built-in spelling and grammar checkers. They can be useful up to a point, but don’t rely on them completely. Nothing can fully replace the human eye for detail!

It’s also a great idea to produce a style sheet if you’re writing independently or learn how to follow the major guides if you have a commission from a media outlet. Style guides are there to help with consistency of spelling, punctuation use, vocabulary choices, tone, and much more.

How Can I Become a Great Freelance Writer?

Practice makes perfect, so make time to keep writing to polish your creative and debating skills. Many people find it helpful to take a course, and we have just the one for you! Our Becoming A Freelance Writer course covers everything you need to know to kick-start a career or to brush up your existing skills. You can even try two lessons at no charge!

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What is an Editorial? Its Purpose and Types

An editorial, often found in newspapers or magazines, serves as a platform for expressing viewpoints and stimulating thought. Fundamentally, it’s an opinion-based commentary to influence public opinion or promote critical thinking.

Table of Contents

Various editorials exist, including ‘explainers’ that provide insight into complex issues, ‘critiques’ that evaluate policies or decisions, and ‘persuasive pieces’ that seek to sway readers toward a specific stance. As a powerful communication tool, editorials significantly impact societal discourse.

Understanding Editorials: An Introduction

Editorials represent a fundamental aspect of print and digital journalism, serving as critical platforms for expressing opinions and influencing public sentiment. So, what is an editorial? In essence, it’s a piece of writing typically appearing in a newspaper or magazine that expresses the views and opinions of the publication or its editorial team.

The Purpose of Editorials

Editorials are essential in shaping discussions around significant social, political, or cultural issues. They present an informed, well-argued perspective intended to prompt reflection, discussion, and, sometimes, action among readers. Moreover, they have the potential to influence policy-makers or the direction of public debate directly.

What is an Editorial?

An editorial can be found in almost any publication that includes opinion pieces. Traditionally, they are a staple of newspapers, typically occupying a specific section. However, with the advent of digital media , editorials have expanded beyond the traditional print platforms. Today, they can be found in online news outlets, blogs, and social media platforms where individuals or groups seek to express and disseminate their views.

The Role of Editorials

The significance of editorials can be observed in their role in the broader context of journalism and society. They are not merely opinion statements; they represent the collective voice of a publication, often informed by thorough research and a deep understanding of the subject matter. Editorials make a publication’s identity, values, and stance on various issues apparent.

Informing, Persuading, Entertaining

Furthermore, the purpose of editorials extends beyond expressing an opinion. They also seek to inform readers, presenting facts in a new light or drawing attention to overlooked issues. Editorials often attempt to persuade, presenting arguments that sway the reader’s opinion. Additionally, they can entertain, utilizing humor, satire, or narrative to make their point more compelling.

Stimulating Thoughtful Discourse

Moreover, editorials also stimulate critical thought and discourse. They invite readers to engage with different perspectives, consider new ideas, or reconsider established beliefs. They catalyze discussion and debate, fueling the democratic process by encouraging active engagement with the day’s issues.

Understanding what an editorial is involved more than knowing its definition. One must also comprehend its role, presence across media, and multifaceted purpose in shaping discussions and informing public opinion.

Historical Development of Editorials

The history of editorials is intrinsically tied to the evolution of journalism and the media industry. As the media’s primary vehicle for expressing a collective opinion, editorials have a rich history that reflects the changing face of societies and the various technological shifts that have taken place over centuries.

History of Editorials – Origin

The roots of editorials can be traced back to the 18th century, coinciding with the emergence of the public press. At this time, little pieces were often unsigned and blended seamlessly with news content. These writings, precursors to modern editorials, served to rally public sentiment during significant events like the American and French revolutions.

Editorial’s Evolutionary Leap

The 19th century marked the true birth of the editorial as a distinct journalistic form. Newspapers expanded, and the separation between news and opinions became more pronounced. The concept of an editorial “voice” or “stance” became more critical, with editors and editorial boards leveraging this platform to shape public opinion and influence policy-making.

Broadcasting Editorial Transformation

The 20th century saw significant transformations in the editorial form. The rise of broadcast media introduced new platforms for editorial content. Radio and television editorials brought the genre to broader audiences while demanding new content presentation approaches. The emergence of investigative journalism also influenced editorials, with data-driven arguments becoming more prevalent.

Digital Editorial Revolution

The advent of the internet in the late 20th century, followed by the proliferation of social media in the 21st, has dramatically altered the landscape of editorials. Digital platforms have expanded the reach of editorials, enabling instant global dissemination. Moreover, the interactivity of these platforms has encouraged reader participation, fostering dialogues instead of monologues. Blogging platforms have democratized the editorial space, allowing anyone to voice their opinion and potentially reach large audiences.

In the current media landscape, the essence of the editorial remains a platform for opinion and influence . However, the form and delivery of editorial content continue to evolve, shaped by technological innovation and changing audience expectations. Editorials now incorporate multimedia elements and data visualization, employ SEO techniques, and adapt to shorter attention spans.

The history of editorials, therefore, is more than merely a linear narrative. It’s a dynamic, ongoing story that reflects the changing nature of media, society’s evolving needs, and the persistent human urge to express opinions and influence others.

The Core Purpose of an Editorial

At its core, an editorial is a potent tool for communication and influence, and understanding the purpose of an editorial involves delving into the intricate roles it plays within the media and society.

Purpose of an Editorial

First and foremost, an editorial is a means of expressing an opinion. However, unlike a personal column or a blog post, an editorial represents the collective voice of a newspaper, magazine, or any other media outlet. It’s a platform where a publication communicates its stand on various issues, be they social, political, economic, or cultural. This function can be observed in the editorials of leading newspapers such as The New York Times or The Guardian , known for their thoughtful, well-argued stances on significant global issues.

Secondly, an editorial has a powerful influence on readers’ minds. An editorial can shape public opinion by presenting facts, expert insights, and persuasive arguments. It is not just about stating a viewpoint but backing it up with solid reasoning and compelling narratives. For instance, editorials in The Wall Street Journal have been instrumental in shaping economic policies and financial perspectives due to their meticulous analysis and persuasive narrative.

Furthermore, an essential purpose of an editorial is to stimulate discussion and debate. In doing so, they play a crucial role in fostering democratic values and processes. An editorial doesn’t just express an opinion; it invites readers to consider, respond, and engage in a broader conversation. This purpose is visible in the editorials of The Washington Post, where complex policy matters are presented to readers in a manner that encourages thought and discussion.

Critical Thinking

Lastly, an editorial aims to promote critical thinking. It doesn’t merely present a conclusion; it outlines an argument and invites readers to follow it, assess its validity, and form their own opinion. For example, Scientific American’s editorials, while focused on scientific topics, consistently encourage readers to assess scientific developments and their implications critically.

The purpose of an editorial extends far beyond being a vessel for opinion. It’s an instrument of influence, a catalyst for discussion, a promoter of critical thinking, and a key player in the democratic discourse.

Types of Editorials: The Explainer

Understanding the unique roles different types of editorials play in the journalistic realm allows us to appreciate their distinct nuances and values. Among these, the ‘explainer’ is a prominent form of editorial content that merits specific attention.

What are Editorial Guidelines

Clarifying complex topics.

The explainer editorial is aptly named for its role in elucidating complex topics. It aims to make often intricate or nuanced issues accessible and understandable to the average reader. As such, the focus of explainer editorials is primarily on providing information in a way that guides readers to a detailed understanding of the issue.

Maintaining Editorial Integrity

One important aspect of writing explainer editorials lies in adhering to editorial guidelines. These guidelines ensure that the editorial maintains a clear, consistent voice, accurately presents information, and upholds the highest standards of journalistic integrity. These standards typically involve fact-checking, citation of sources, ensuring balance and fairness, and avoiding plagiarism.

Explainer’s Structured Approach

The structure of an explainer is usually straightforward and organized. It starts with a brief introduction of the topic, followed by a thorough explanation presented in an accessible language. The arguments are carefully structured and backed by credible data and evidence. Finally, the explainer ends with a conclusion summarising the issue and often indicates where the publication stands.

Decoding Complex Subjects

Take, for example, The New York Times ‘The Upshot’ or Vox’s ‘Explainers.’ These segments are dedicated to breaking down complex subjects — political turmoil, climate change, economic phenomena, or complex legal cases. In these pieces, we see the use of infographics, statistics, and expert interviews to clarify topics that might be otherwise impenetrable for most readers.

Leveraging Multimedia Enhancement

Moreover, in the digital age, explainer editorials are frequently accompanied by multimedia content like charts, videos, and interactive graphs to enhance understanding. A case in point would be the comprehensive explainers from BBC News or The Guardian, which often use visuals and interactive elements to convey complexities.

Explainer editorials serve a crucial role in today’s information-dense world. They help demystify complex issues, promoting informed citizenship and understanding. Adhering to stringent editorial guidelines, they ensure the accuracy and reliability of the information, making them a trusted source of knowledge for readers navigating the often complicated landscape of current affairs.

Types of Editorials: The Critique

Critique editorials are a specific genre within the broad umbrella of editorial writing. Characterized by critical evaluation and rigorous analysis, these pieces offer an in-depth look at policies, decisions, events, or public figures, assessing their implications, merits, and shortcomings.

The purpose of critique editorials is twofold. First, they provide readers with insightful evaluation and perspective, making sense of complex or contentious issues. Second, through this critique, they influence public opinion and spark dialogue, driving engagement with the topic.

Example of Editorial

A quintessential example of a critique editorial can be found in the op-ed pages of publications like The New York Times or The Washington Post . For instance, consider an editorial that critiques a new health policy. Such a piece would detail what the policy entails and critically evaluate its potential effects on various stakeholders, consider its feasibility, and compare it to other existing or proposed solutions. It might also question the motives or strategies of the policymakers, contributing to a more thorough understanding and discourse around the issue.

Another instance could be a critique of a significant event, such as a high-profile trial or election. An editorial of this kind might dissect the proceedings, question the outcomes or the processes, and draw attention to broader implications for justice or democracy. The Guardian and The Economist frequently publish such critique editorials, offering readers a nuanced understanding of global events.

Critique editorials require a careful balance between objectivity and subjectivity. While they certainly express the author’s viewpoint or the publication, they must be grounded in facts, fair in their assessment, and compelling in their arguments. This blend of critique and analysis lends these editorials their power and impact.

In shaping public opinion and stimulating debate, critique editorials are pivotal in our media landscape. They inform readers and challenge them to think critically, fostering a more informed and engaged public. As such, the critique editorial is a key example of the power and potential of editorial writing.

Types of Editorials: The Persuasive Piece

The persuasive editorial model holds a special place within the world of journalism due to its objective: to convince readers to embrace a specific stance. More than just sharing an opinion, the aim is to motivate the reader to action or change through a well-reasoned argument and impassioned rhetoric.

Persuasive Editorial Model

In the persuasive editorial model, the structure is paramount. The piece begins by stating the issue and the publication’s stand. It then provides a series of arguments that support this viewpoint, each supported by facts, statistics, or expert testimonies to ensure credibility. A good persuasive editorial often anticipates potential counterarguments and addresses them preemptively, showcasing a comprehensive understanding of the topic. Finally, the piece concludes with a powerful call to action, seeking to rally readers to the advocated cause or viewpoint.

Example of Editorial Model

An excellent example of this editorial model is often found in The Washington Post or The New York Times op-ed pages. For instance, a persuasive editorial may argue for stronger environmental legislation when discussing a hot-button issue like climate change. The piece would lay out compelling evidence of climate change, highlight the inadequacies of current laws, and present the benefits of stricter regulations. It would then call on readers to support this cause by lobbying their representatives or supporting certain organizations.

In the digital age, persuasive editorials have also found a home on online platforms like Medium or The Huffington Post , where writers aim to sway public opinion on various issues. The persuasive power of these editorials is not just in their words but also in the discussions they incite and the actions they inspire among readers.

The persuasive editorial model represents a potent blend of information, persuasion, and activism. These editorials have the potential to inspire change, shape public discourse, and influence policy-making. As such, they exemplify the power of the press as an observer of society and an active participant in shaping its future.

Writing an Editorial: Key Guidelines and Techniques

Writing an effective editorial is an art that requires a balance of passion, precision, and persuasion. Whether you are writing an explainer, a critique, or a persuasive piece, there are key guidelines and techniques to follow that enhance the impact of your editorial. Here’s how to write an editorial that is compelling and influential.

Firstly, research is paramount. An editorial is built upon facts, expert opinions, and relevant data. It’s important to understand the topic, including different perspectives and counter-arguments thoroughly. This information forms the backbone of your editorial and lends credibility to your viewpoint.

Introduction

Secondly, crafting an engaging introduction is crucial. The introduction should present the topic and indicate your stance. It should be compelling, making the reader want to continue. A powerful quote, a thought-provoking question, or a striking fact can be effective hooks.

Presentation

Next, present your arguments. Each argument should be distinct and presented in its paragraph for clarity. Start with the most compelling argument, as it sets the tone and draws the reader’s attention. Support each argument with relevant facts or statistics, making sure they directly support your stance. Anticipate potential counter-arguments and address them within your piece. This shows a comprehensive understanding of the issue and helps to persuade readers.

Remember to maintain a consistent tone throughout your editorial. A consistent tone helps carry your voice and perspective effectively, whether formal, conversational, or somewhere between. Use persuasive language, but avoid jargon and overly complex sentences. Your goal is to be understood and to persuade, not to confuse.

Lastly, conclude powerfully. Your conclusion should not merely summarize your arguments but should reinforce your stance and evoke a response from the reader. This could be a call to action, a question that provokes thought, or a powerful statement that leaves a lasting impression.

Keep in mind the editorial should adhere to the ethical guidelines of journalism – accuracy, fairness, and balance. While an editorial is an opinion piece, it should be grounded in truth and respect for diverse viewpoints.

Writing an editorial is an opportunity to influence public opinion and inspire change. With these guidelines and techniques, you can write a compelling editorial that resonates with readers and leaves a lasting impact.

The Impact and Power of Editorials in Society

Editorials influence the media landscape with their potent blend of facts, perspectives, and persuasive argumentation. They contribute substantially to shaping public opinion, steering policy-making, fostering democratic dialogue, and promoting societal advancements. The power of editorials is such that they reflect societal trends and often help shape them.

Democratic Illumination

An integral part of any publication’s editorial calendar , these thoughtfully crafted pieces provide a platform where voices are heard, ideas are exchanged, and critical issues are brought to the forefront. By illuminating complex issues, they contribute to a more informed and engaged citizenry, an essential component of a functioning democracy.

Policy Influence

For instance, editorials critically examining policies can shape public opinion , influencing policy-making. By presenting a reasoned critique of a policy, they can expose its potential flaws or shortcomings, prompting a call for revisions or even leading to a policy’s retraction. On the other hand, editorials that endorse certain policies can help build public support for them, paving the way for their successful implementation.

Discourse Spark

Editorials can also spark public discourse on contentious issues. A nuanced presentation of different perspectives can promote understanding and tolerance among readers with diverse viewpoints. They can provide a platform for voices that may be underrepresented or overlooked, highlighting social injustices or disparities and calling for change.

Societal Advancements

The power of editorials is most apparent in their ability to stimulate societal advancements. Through their critique and persuasion, editorials can rally public support for significant causes – civil rights, environmental protection, or education reform. They can raise awareness of societal issues, bring them to the public’s attention, and inspire collective action.

Digital Expansion

Moreover, the digital revolution has expanded the reach and impact of editorials. They can now reach a global audience in real-time, increasing their potential to influence opinion and instigate change. The interactivity of digital media also allows readers to engage with the content, fostering a two-way dialogue that can enhance understanding and drive collective action.

Editorials, woven into the fabric of the media’s editorial calendar, are not just opinion pieces. They are potent tools for influencing opinion, shaping policy, promoting dialogue, and inspiring societal advancements. The impact and power of editorials are a testament to their vital role in our society.

How has the editorial format evolved historically? 

Editorials have evolved from simple opinion pieces in print newspapers to complex narratives that utilize digital media ‘s interactivity and reach. Technological advancements have significantly influenced how editorials are crafted and disseminated, enabling them to engage readers innovatively.

What is the primary purpose of an editorial? 

The main purpose of an editorial is to present a viewpoint, influence readers’ opinions, stimulate discussion, and promote critical thinking. It also serves as a tool for expressing the collective voice of a publication.

How can I write an effective editorial?

An effective editorial involves thorough research, crafting an engaging introduction, presenting convincing arguments, maintaining a consistent tone, and concluding powerfully. It’s crucial to maintain journalistic integrity by fact-checking and providing balanced viewpoints.

How do editorials impact society? 

Editorials significantly shape public opinion and policy-making, fostering democratic dialogue and promoting societal advancements. By illuminating complex issues and promoting informed discourse, they contribute to a more informed citizenry and can inspire collective action.

What is the structure of a persuasive editorial? 

A persuasive editorial typically starts by stating the issue and the publication’s stance, followed by supporting arguments backed by facts or statistics. It may address potential counterarguments and concludes with a call to action.

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How to Write an Editorial?

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An Editorial is defined as an opinion or a view of a member of the editorial board or any senior or reputed faculty written in a journal or newspaper. The statement reflects the opinion of the journal and is considered to be an option maker. If you have been asked to write an editorial it means that you are an expert on that topic. Editorials are generally solicited.

Editorial writers enter after battle and shoot the wounded Neil Goldschmidt, American Businessman and Politician (1940–…)

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The Journal Editor as Academic Custodian

Preparing the Manuscript

1 what is an editorial, 2 how is the topic for an editorial chosen.

This is decided by the members of the editorial board and is usually related to important work which is about to be published in the journal. If you are invited to write an editorial on a topic of your choosing you should preferably write one on a general or public health problem that might interest a wide readership [ 1 ].

3 What Should be the Contents of an Editorial?

It has been said that ‘Editors, by and large, are reticent people, with a magnified sense of their own importance. Well, this may hurt some, but before they jump at our throats, let us clarify that we belong there as well’. The editorial should not look like an introduction to an original article or a self-glorifying piece of fiction.

Editorial writing has been compared to a double-edged sword, you can be apolitical and pragmatic but at the same time dogmatic in your views. The majority of editorials provide the readers a balanced view of the problems raised in a particular research paper and place them in a wider context. But there is no harm in going to extremes if the data supports your view. However, you should not mock the paper’s authors [ 2 ].

4 What Is the Basic Information Required for Writing an Editorial?

First, read the paper for which the editorial has been asked again and again. Do a literature search and critically analyze the strengths and weaknesses of the study. Read about how and why other authors came to similar or different conclusions. Discuss whether or not the findings are important [ 3 ].

An editorial should be brief, about one to two pages long, but it should be powerful. The language should be a combination of good English and good science. The writing can be ‘embellished by language but not drowned in it’. While a good editorial states a view, it does not force the reader to believe it and gives him the liberty to form his own opinion.

5 What Are the Steps Involved in Writing an Editorial?

Choose a topic intelligently.

Have a catchy title.

Declare your stance early.

Build up your argument with data, statistics and quotes from famous persons.

Provide possible solutions to the problem.

Follow a definite structure consisting of an introduction, a body that contains arguments and an end with a tailpiece of a clear conclusion. It should give the reader a chance to ponder over the questions and concerns raised.

6 What Are the Types of Editorial?

Editorials can be classified into four types. They may:

Explain or interpret : Editors use this type of editorial to explain a new policy, a new norm or a new finding.

Criticize: this type of editorial is used to disapprove of any finding or observation.

Persuade: These encourage the reader to adopt new thoughts or ideas.

Praise: These editorials admire the authors for doing something well.

7 What Is the Purpose of an Editorial?

An editorial is a personal message from the editor to the readers. It may be a commentary on a published article or topic of current interest which has not been covered by the journal. Editorials are also written on new developments in medicine. They may also cover non-scientific topics like health policy, law and medicine, violence against doctors, climate change and its effect on health, re-emerging infectious diseases, public interventions for the control of non -communicable diseases and ongoing epidemics or pandemics [ 4 ].

8 What Are the Instructions for Writing Editorials in Major Journals?

Many editorials written by in-house editors or their teams represent the voice of the journal. A few journals allow outside authors to write editorials. The details for these suggested by some of the leading journals are given in Table 26.1 .

9 What Is a Viewpoint?

A Viewpoint is a short article that focuses on some key issues, cutting-edge technology or burning topics or any new developments in the field of medicine. It can be a ‘personal opinion’ or any piece of information, which gives the author’s perspective on a particular issue, supported by the literature. Viewpoints can also be unencumbered by journal policy. The normal length of viewpoints can flexible. The BMJ, for instance, also allows viewpoints to be written by patients.

Viewpoints may share a few common features with commentaries, perspectives and a focus which is a brief, timely piece of information. It is like a ‘spotlight’ that contains information on research funding, policy issues and regulatory issues whereas a commentary is an in-depth analysis of a current matter which can also include educational policy, law besides any other seminal issue.

10 Conclusions

An editorial is written to provide a crisp, concise overview of an original article. It is generally deemed to be an honour to be asked to write an editorial.

One needs to follow the general instructions for writing editorials for a particular journal.

It should have an objective and the flow of ideas should be clear.

Squires BP. Editorials and platform articles: what editors want from authors and peer reviewers. CMAJ. 1989;141:666–7.

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Article types at The BMJ. Last accessed on 12th July 2020. Available on https://www.bmj.com/about-bmj/resources-authors/article-types

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Samiran Nundy

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Institute for Global Health and Development, The Aga Khan University, South Central Asia, East Africa and United Kingdom, Karachi, Pakistan

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Nundy, S., Kakar, A., Bhutta, Z.A. (2022). How to Write an Editorial?. In: How to Practice Academic Medicine and Publish from Developing Countries?. Springer, Singapore. https://doi.org/10.1007/978-981-16-5248-6_26

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essay , an analytic , interpretative, or critical literary composition usually much shorter and less systematic and formal than a dissertation or thesis and usually dealing with its subject from a limited and often personal point of view.

Some early treatises—such as those of Cicero on the pleasantness of old age or on the art of “divination,” Seneca on anger or clemency , and Plutarch on the passing of oracles—presage to a certain degree the form and tone of the essay, but not until the late 16th century was the flexible and deliberately nonchalant and versatile form of the essay perfected by the French writer Michel de Montaigne . Choosing the name essai to emphasize that his compositions were attempts or endeavours, a groping toward the expression of his personal thoughts and experiences, Montaigne used the essay as a means of self-discovery. His Essais , published in their final form in 1588, are still considered among the finest of their kind. Later writers who most nearly recall the charm of Montaigne include, in England, Robert Burton , though his whimsicality is more erudite , Sir Thomas Browne , and Laurence Sterne , and in France, with more self-consciousness and pose, André Gide and Jean Cocteau .

At the beginning of the 17th century, social manners, the cultivation of politeness, and the training of an accomplished gentleman became the theme of many essayists. This theme was first exploited by the Italian Baldassare Castiglione in his Il libro del cortegiano (1528; The Book of the Courtier ). The influence of the essay and of genres allied to it, such as maxims, portraits, and sketches, proved second to none in molding the behavior of the cultured classes, first in Italy, then in France, and, through French influence, in most of Europe in the 17th century. Among those who pursued this theme was the 17th-century Spanish Jesuit Baltasar Gracián in his essays on the art of worldly wisdom.

Keener political awareness in the 18th century, the age of Enlightenment , made the essay an all-important vehicle for the criticism of society and religion. Because of its flexibility, its brevity , and its potential both for ambiguity and for allusions to current events and conditions, it was an ideal tool for philosophical reformers. The Federalist Papers in America and the tracts of the French Revolutionaries are among the countless examples of attempts during this period to improve the human condition through the essay.

The genre also became the favoured tool of traditionalists of the 18th and 19th centuries, such as Edmund Burke and Samuel Taylor Coleridge , who looked to the short, provocative essay as the most potent means of educating the masses. Essays such as Paul Elmer More’s long series of Shelburne Essays (published between 1904 and 1935), T.S. Eliot ’s After Strange Gods (1934) and Notes Towards the Definition of Culture (1948), and others that attempted to reinterpret and redefine culture , established the genre as the most fitting to express the genteel tradition at odds with the democracy of the new world.

Whereas in several countries the essay became the chosen vehicle of literary and social criticism, in other countries the genre became semipolitical, earnestly nationalistic, and often polemical, playful, or bitter. Essayists such as Robert Louis Stevenson and Willa Cather wrote with grace on several lighter subjects, and many writers—including Virginia Woolf , Edmund Wilson , and Charles du Bos —mastered the essay as a form of literary criticism .

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[ ed-i- tawr -ee- uh l , - tohr - ]

• an article in a newspaper or other periodical or on a website presenting the opinion of the publisher, writer, or editor .
• a statement broadcast on radio or television that presents the opinion of the owner, manager, or the like, of the program, station, or channel.
• something regarded as resembling such an article or statement, as a lengthy, dogmatic utterance.

editorial policies;

editorial skills.

editorial page;

editorial writer.

an editorial employee; an editorial decision, not an advertising one.

/ ˌɛdɪˈtɔːrɪəl /

• of or relating to editing or editors
• of, relating to, or expressed in an editorial
• of or relating to the content of a publication rather than its commercial aspects
• an article in a newspaper, etc, expressing the opinion of the editor or the publishers
• An article in a newspaper or magazine expressing the opinion of the editor or publisher.

Discover More

Derived forms.

• ˌediˈtorially , adverb
• ˌediˈtorialist , noun

Other Words From

• ed·i·to·ri·al·ist [ ed-i-, tawr, -ee-, uh, -list, -, tohr, - ] , noun
• edi·tori·al·ly adverb
• noned·i·tori·al adjective
• noned·i·tori·al·ly adverb
• preed·i·tori·al adjective
• preed·i·tori·al·ly adverb
• pseudo·edi·tori·al adjective
• pseudo·edi·tori·al·ly adverb

Word History and Origins

Origin of editorial 1

Example Sentences

TechCrunch Include aims to promote diversity by applying resources uniquely available to TechCrunch, including our editorial and events platforms, and by exemplifying the diversity mission in TechCrunch’s own staffing and culture.

In past, these editorial pushes have made a real impact in not only driving people to the polls — but also in driving engagement with the brand.

One agency executive said that it is technically possible to control creative separation through server-side ad insertion, a programmatic ad technology that stitches ads and editorial content, such as a show, together on the fly.

Advertisers’ brand suitability concerns are not limited to the editorial content against which their ads appear.

Condé Nast Traveler, for example, will launch an editorial program next month called The New Standard, which seeks to recognize the improvements and changes that hotels and other businesses have made to make customers feel safe.

Editorial and political cartoon pages from throughout the world almost unanimously came to the same conclusion.

Elle magazine shot an editorial in September, one picture revealing a teacup pig sitting pretty by a mini Tyler Alexandra bag.

Control Room Sook Shoot Out -- some editorial changes and some VFX muzzle flashes.

Tank Battle Jeep Guard Crush -- some editorial changes and the removal of all blood when the guards are crushed by the tank.

The IFC ended this ban last week and released a plan that the editorial board of the school newspaper has given a mixed review.

"That is the heart of the matter as it stands," said Lowell, pointing out the editorial to his chief clerk.

He once sent an editorial-room into roars of merriment by offering to review a book upon the feeding of infants.

He haunted editorial-rooms until his presence became a burden, and he brought new agonies and humiliations upon himself.

The worst that could be said of Brodrick was that he would have liked to have it; but, under his editorial surface, he was clean.

But the first paragraph Richardson has contrived to suit his editorial fiction.

Related Words

What is an Essay?

10 May, 2020

11 minutes read

Author:  Tomas White

Well, beyond a jumble of words usually around 2,000 words or so - what is an essay, exactly? Whether you’re taking English, sociology, history, biology, art, or a speech class, it’s likely you’ll have to write an essay or two. So how is an essay different than a research paper or a review? Let’s find out!

Defining the Term – What is an Essay?

The essay is a written piece that is designed to present an idea, propose an argument, express the emotion or initiate debate. It is a tool that is used to present writer’s ideas in a non-fictional way. Multiple applications of this type of writing go way beyond, providing political manifestos and art criticism as well as personal observations and reflections of the author.

An essay can be as short as 500 words, it can also be 5000 words or more.  However, most essays fall somewhere around 1000 to 3000 words ; this word range provides the writer enough space to thoroughly develop an argument and work to convince the reader of the author’s perspective regarding a particular issue.  The topics of essays are boundless: they can range from the best form of government to the benefits of eating peppermint leaves daily. As a professional provider of custom writing, our service has helped thousands of customers to turn in essays in various forms and disciplines.

Origins of the Essay

Over the course of more than six centuries essays were used to question assumptions, argue trivial opinions and to initiate global discussions. Let’s have a closer look into historical progress and various applications of this literary phenomenon to find out exactly what it is.

Today’s modern word “essay” can trace its roots back to the French “essayer” which translates closely to mean “to attempt” .  This is an apt name for this writing form because the essay’s ultimate purpose is to attempt to convince the audience of something.  An essay’s topic can range broadly and include everything from the best of Shakespeare’s plays to the joys of April.

The essay comes in many shapes and sizes; it can focus on a personal experience or a purely academic exploration of a topic.  Essays are classified as a subjective writing form because while they include expository elements, they can rely on personal narratives to support the writer’s viewpoint.  The essay genre includes a diverse array of academic writings ranging from literary criticism to meditations on the natural world.  Most typically, the essay exists as a shorter writing form; essays are rarely the length of a novel.  However, several historic examples, such as John Locke’s seminal work “An Essay Concerning Human Understanding” just shows that a well-organized essay can be as long as a novel.

The Essay in Literature

The essay enjoys a long and renowned history in literature.  They first began gaining in popularity in the early 16 th century, and their popularity has continued today both with original writers and ghost writers.  Many readers prefer this short form in which the writer seems to speak directly to the reader, presenting a particular claim and working to defend it through a variety of means.  Not sure if you’ve ever read a great essay? You wouldn’t believe how many pieces of literature are actually nothing less than essays, or evolved into more complex structures from the essay. Check out this list of literary favorites:

• The Book of My Lives by Aleksandar Hemon
• Notes of a Native Son by James Baldwin
• Against Interpretation by Susan Sontag
• High-Tide in Tucson: Essays from Now and Never by Barbara Kingsolver
• Slouching Toward Bethlehem by Joan Didion
• Naked by David Sedaris
• Walden; or, Life in the Woods by Henry David Thoreau

Pretty much as long as writers have had something to say, they’ve created essays to communicate their viewpoint on pretty much any topic you can think of!

The Essay in Academics

Not only are students required to read a variety of essays during their academic education, but they will likely be required to write several different kinds of essays throughout their scholastic career.  Don’t love to write?  Then consider working with a ghost essay writer !  While all essays require an introduction, body paragraphs in support of the argumentative thesis statement, and a conclusion, academic essays can take several different formats in the way they approach a topic.  Common essays required in high school, college, and post-graduate classes include:

Five paragraph essay

This is the most common type of a formal essay. The type of paper that students are usually exposed to when they first hear about the concept of the essay itself. It follows easy outline structure – an opening introduction paragraph; three body paragraphs to expand the thesis; and conclusion to sum it up.

Argumentative essay

These essays are commonly assigned to explore a controversial issue.  The goal is to identify the major positions on either side and work to support the side the writer agrees with while refuting the opposing side’s potential arguments.

Compare and Contrast essay

This essay compares two items, such as two poems, and works to identify similarities and differences, discussing the strength and weaknesses of each.  This essay can focus on more than just two items, however.  The point of this essay is to reveal new connections the reader may not have considered previously.

Definition essay

This essay has a sole purpose – defining a term or a concept in as much detail as possible. Sounds pretty simple, right? Well, not quite. The most important part of the process is picking up the word. Before zooming it up under the microscope, make sure to choose something roomy so you can define it under multiple angles. The definition essay outline will reflect those angles and scopes.

Descriptive essay

Perhaps the most fun to write, this essay focuses on describing its subject using all five of the senses.  The writer aims to fully describe the topic; for example, a descriptive essay could aim to describe the ocean to someone who’s never seen it or the job of a teacher.  Descriptive essays rely heavily on detail and the paragraphs can be organized by sense.

Illustration essay

The purpose of this essay is to describe an idea, occasion or a concept with the help of clear and vocal examples. “Illustration” itself is handled in the body paragraphs section. Each of the statements, presented in the essay needs to be supported with several examples. Illustration essay helps the author to connect with his audience by breaking the barriers with real-life examples – clear and indisputable.

Informative Essay

Being one the basic essay types, the informative essay is as easy as it sounds from a technical standpoint. High school is where students usually encounter with informative essay first time. The purpose of this paper is to describe an idea, concept or any other abstract subject with the help of proper research and a generous amount of storytelling.

Narrative essay

This type of essay focuses on describing a certain event or experience, most often chronologically.  It could be a historic event or an ordinary day or month in a regular person’s life. Narrative essay proclaims a free approach to writing it, therefore it does not always require conventional attributes, like the outline. The narrative itself typically unfolds through a personal lens, and is thus considered to be a subjective form of writing.

Persuasive essay

The purpose of the persuasive essay is to provide the audience with a 360-view on the concept idea or certain topic – to persuade the reader to adopt a certain viewpoint. The viewpoints can range widely from why visiting the dentist is important to why dogs make the best pets to why blue is the best color.  Strong, persuasive language is a defining characteristic of this essay type.

The Essay in Art

Several other artistic mediums have adopted the essay as a means of communicating with their audience.  In the visual arts, such as painting or sculpting, the rough sketches of the final product are sometimes deemed essays.  Likewise, directors may opt to create a film essay which is similar to a documentary in that it offers a personal reflection on a relevant issue.  Finally, photographers often create photographic essays in which they use a series of photographs to tell a story, similar to a narrative or a descriptive essay.

Drawing the line – question answered

“What is an Essay?” is quite a polarizing question. On one hand, it can easily be answered in a couple of words. On the other, it is surely the most profound and self-established type of content there ever was. Going back through the history of the last five-six centuries helps us understand where did it come from and how it is being applied ever since.

If you must write an essay, follow these five important steps to works towards earning the “A” you want:

• Understand and review the kind of essay you must write
• Brainstorm your argument
• Find research from reliable sources to support your perspective
• Cite all sources parenthetically within the paper and on the Works Cited page
• Follow all grammatical rules

Generally speaking, when you must write any type of essay, start sooner rather than later!  Don’t procrastinate – give yourself time to develop your perspective and work on crafting a unique and original approach to the topic.  Remember: it’s always a good idea to have another set of eyes (or three) look over your essay before handing in the final draft to your teacher or professor.  Don’t trust your fellow classmates?  Consider hiring an editor or a ghostwriter to help out!

If you are still unsure on whether you can cope with your task – you are in the right place to get help. HandMadeWriting is the perfect answer to the question “Who can write my essay?”

A life lesson in Romeo and Juliet taught by death

Due to human nature, we draw conclusions only when life gives us a lesson since the experience of others is not so effective and powerful. Therefore, when analyzing and sorting out common problems we face, we may trace a parallel with well-known book characters or real historical figures. Moreover, we often compare our situations with […]

Ethical Research Paper Topics

Writing a research paper on ethics is not an easy task, especially if you do not possess excellent writing skills and do not like to contemplate controversial questions. But an ethics course is obligatory in all higher education institutions, and students have to look for a way out and be creative. When you find an […]

Art Research Paper Topics

Students obtaining degrees in fine art and art & design programs most commonly need to write a paper on art topics. However, this subject is becoming more popular in educational institutions for expanding students’ horizons. Thus, both groups of receivers of education: those who are into arts and those who only get acquainted with art […]

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Definition of essay

 (Entry 1 of 2)

Definition of essay  (Entry 2 of 2)

transitive verb

• composition

attempt , try , endeavor , essay , strive mean to make an effort to accomplish an end.

attempt stresses the initiation or beginning of an effort.

try is often close to attempt but may stress effort or experiment made in the hope of testing or proving something.

endeavor heightens the implications of exertion and difficulty.

essay implies difficulty but also suggests tentative trying or experimenting.

strive implies great exertion against great difficulty and specifically suggests persistent effort.

Examples of essay in a Sentence

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'essay.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Word History

Middle French essai , ultimately from Late Latin exagium act of weighing, from Latin ex- + agere to drive — more at agent

14th century, in the meaning defined at sense 4

14th century, in the meaning defined at sense 2

Phrases Containing essay

• essay question
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To 'Essay' or 'Assay'?

You'll know the difference if you give it the old college essay

Dictionary Entries Near essay

Cite this entry.

“Essay.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/essay. Accessed 9 Jun. 2024.

Kids Definition

Kids definition of essay.

Kids Definition of essay  (Entry 2 of 2)

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What an Essay Is and How to Write One

• M.Ed., Education Administration, University of Georgia
• B.A., History, Armstrong State University

Essays are brief, non-fiction compositions that describe, clarify, argue, or analyze a subject. Students might encounter essay assignments in any school subject and at any level of school, from a personal experience "vacation" essay in middle school to a complex analysis of a scientific process in graduate school. Components of an essay include an introduction , thesis statement , body, and conclusion.

Writing an Introduction

The beginning of an essay can seem daunting. Sometimes, writers can start their essay in the middle or at the end, rather than at the beginning, and work backward. The process depends on each individual and takes practice to figure out what works best for them. Regardless of where students start, it is recommended that the introduction begins with an attention grabber or an example that hooks the reader in within the very first sentence.

The introduction should accomplish a few written sentences that leads the reader into the main point or argument of the essay, also known as a thesis statement. Typically, the thesis statement is the very last sentence of an introduction, but this is not a rule set in stone, despite it wrapping things up nicely. Before moving on from the introduction, readers should have a good idea of what is to follow in the essay, and they should not be confused as to what the essay is about. Finally, the length of an introduction varies and can be anywhere from one to several paragraphs depending on the size of the essay as a whole.

Creating a Thesis Statement

A thesis statement is a sentence that states the main idea of the essay. The function of a thesis statement is to help manage the ideas within the essay. Different from a mere topic, the thesis statement is an argument, option, or judgment that the author of the essay makes about the topic of the essay.

A good thesis statement combines several ideas into just one or two sentences. It also includes the topic of the essay and makes clear what the author's position is in regard to the topic. Typically found at the beginning of a paper, the thesis statement is often placed in the introduction, toward the end of the first paragraph or so.

Developing a thesis statement means deciding on the point of view within the topic, and stating this argument clearly becomes part of the sentence which forms it. Writing a strong thesis statement should summarize the topic and bring clarity to the reader.

For informative essays, an informative thesis should be declared. In an argumentative or narrative essay, a persuasive thesis, or opinion, should be determined. For instance, the difference looks like this:

• Informative Thesis Example:  To create a great essay, the writer must form a solid introduction, thesis statement, body, and conclusion.
• Persuasive Thesis Example:  Essays surrounded around opinions and arguments are so much more fun than informative essays because they are more dynamic, fluid, and teach you a lot about the author.

Developing Body Paragraphs

The body paragraphs of an essay include a group of sentences that relate to a specific topic or idea around the main point of the essay. It is important to write and organize two to three full body paragraphs to properly develop it.

Before writing, authors may choose to outline the two to three main arguments that will support their thesis statement. For each of those main ideas, there will be supporting points to drive them home. Elaborating on the ideas and supporting specific points will develop a full body paragraph. A good paragraph describes the main point, is full of meaning, and has crystal clear sentences that avoid universal statements.

Ending an Essay With a Conclusion

A conclusion is an end or finish of an essay. Often, the conclusion includes a judgment or decision that is reached through the reasoning described throughout the essay. The conclusion is an opportunity to wrap up the essay by reviewing the main points discussed that drives home the point or argument stated in the thesis statement.

The conclusion may also include a takeaway for the reader, such as a question or thought to take with them after reading. A good conclusion may also invoke a vivid image, include a quotation, or have a call to action for readers.

• 100 Persuasive Essay Topics
• Examples of Great Introductory Paragraphs
• How To Write an Essay
• The Ultimate Guide to the 5-Paragraph Essay
• An Introduction to Academic Writing
• Definition and Examples of Body Paragraphs in Composition
• How to Structure an Essay
• How to Help Your 4th Grader Write a Biography
• What Is Expository Writing?
• Write an Attention-Grabbing Opening Sentence for an Essay
• Definition and Examples of Analysis in Composition
• How to Write a Solid Thesis Statement
• Unity in Composition
• How to Write a Good Thesis Statement
• 6 Steps to Writing the Perfect Personal Essay
• An Essay Revision Checklist

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Sofia Barnett

ChatGPT Is Making Universities Rethink Plagiarism

In late December of his sophomore year, Rutgers University student Kai Cobbs came to a conclusion he never thought possible:  Artificial intelligence might just be dumber than humans. 

After listening to his peers rave about the generative AI tool  ChatGPT , Cobbs decided to toy around with the chatbot while writing an essay on the history of capitalism. Best known for its ability to generate long-form written content in response to user input prompts, Cobbs expected the tool to produce a nuanced and thoughtful response to his specific research directions. Instead, his screen produced a generic, poorly written paper he’d never dare to claim as his own. 

“The quality of writing was appalling. The phrasing was awkward and it lacked complexity,” Cobbs says. “I just logically can’t imagine a student using writing that was generated through ChatGPT for a paper or anything when the content is just plain bad.” 

Not everyone shares Cobbs’ disdain. Ever since OpenAI launched the chatbot in November,  educators have been struggling with how to handle a new wave of student work produced with the help of artificial intelligence. While some public school systems, like New York City’s, have banned the use of ChatGPT on school devices and networks to curb cheating, universities have been reluctant to follow suit. In higher education, the introduction of generative AI has raised thorny questions about the definition of plagiarism and academic integrity on campuses where new digital research tools come into play all the time. 

Make no mistake, the birth of ChatGPT does not mark the emergence of concerns relating to the improper use of the internet in academia. When  Wikipedia launched in 2001 , universities nationwide were  scrambling to decipher their own research philosophies and understandings of honest academic work, expanding policy boundaries to match pace with technological innovation. Now, the stakes are a little more complex, as schools figure out how to treat bot-produced work rather than weird attributional logistics. The world of higher education is playing a familiar game of catch-up, adjusting their rules, expectations, and perceptions as other professions adjust, too. The only difference now is that the internet can think for itself. 

According to ChatGPT, the definition of plagiarism is the act of using someone else’s work or ideas without giving proper credit to the original author. But when the work is generated by some thing rather than some one , this definition is tricky to apply. As Emily Hipchen, a board member of Brown University’s Academic Code Committee, puts it, the use of generative AI by students leads to a critical point of contention. “If [plagiarism] is stealing from a person,” she says, “then I don’t know that we have a person who is being stolen from.”

Hipchen is not alone in her speculation. Alice Dailey, chair of the Academic Integrity Program at Villanova University, is also grappling with the idea of classifying an algorithm as a person, specifically if the algorithm involves text generation.

By Matt Burgess

By Sachi Mulkey

By Andy Greenberg

By Matthew Gault

Dailey believes that eventually professors and students are going to need to understand that digital tools that generate text, rather than just collect facts, are going to need to fall under the umbrella of things that can be plagiarized from. 

Although Dailey acknowledges that this technological growth incites new concerns in the world of academia, she doesn’t find it to be a realm entirely unexplored. “I think we’ve been in a version of this territory for a while already,” Dailey says. “Students who commit plagiarism often borrow material from a ‘somewhere’—a website, for example, that doesn’t have clear authorial attribution. I suspect the definition of plagiarism will expand to include things that produce.” 

Eventually, Dailey believes, a student who uses text from ChatGPT will be seen as no different than one that copies and pastes chunks of text from Wikipedia without attribution. 

Students’ views on ChatGPT are another issue entirely. There are those, like Cobbs, who can’t imagine putting their name on anything bot-generated, but there are others who see it as just another tool, like spellcheck or even a calculator. For Brown University sophomore Jacob Gelman, ChatGPT exists merely as a convenient research assistant and nothing more.

“Calling the use of ChatGPT to pull reliable sources from the internet ‘cheating’ is absurd. It’s like saying using the internet to conduct research is unethical,” Gelman says. “To me, ChatGPT is the research equivalent of [typing assistant] Grammarly. I use it out of practicality and that’s really all.” Cobbs expressed similar sentiment, comparing the AI bot to “an online encyclopedia.”

But while students like Gelman use the bot to speed up research, others take advantage of the high-capacity prompt input feature to generate completed works for submission. It might seem obvious what qualifies as cheating here, but different schools across the country offer contrasting takes.

According to Carlee Warfield, chair of Bryn Mawr College’s Student Honor Board, the school considers any use of these AI platforms as plagiarism. The tool’s popularization just calls for greater focus in evaluating the intent behind students’ violations. Warfield explains that students who turn in essays entirely produced by AI are categorically different from those who borrow from online tools without knowledge of standard citations. Because the ChatGPT phenomenon is still new, students’ confusion surrounding the ethics is understandable. And it's unclear what policies will remain in place once the dust settles—at any school.

In the midst of fundamental change in both the academic and technological spheres, universities are forced to reconsider their definitions of academic integrity to reasonably reflect the circumstances of society. The only problem is, society shows no stagnance. 

“Villanova’s current academic integrity code will be updated to include language that prohibits the use of these tools to generate text that then students represent as text they generated independently,” Dailey explained. “But I think it’s an evolving thing. And what it can do and what we will then need in order to keep an eye on will also be kind of a moving target.”

In addition to increasingly complex questions about whether ChatGPT is a research tool or a plagiarism engine, there’s also the possibility that it can be  used for learning. In other educational settings, teachers see it as a way to show students the shortcomings of AI. Some instructors are already  modifying how they teach by giving students assignments bots couldn’t complete, like those that require personal details or anecdotes. There’s also the matter of detecting AI use in students’ work, which is a  burgeoning cottage industry all its own. 

Ultimately, Dailey says, schools may need rules that reflect a range of variables.

“My guess is that there will be the development of some broad blanket policies that essentially say, unless you have permission from a professor to use AI tools, using them will be considered a violation of the academic integrity code,” Dailey says. “That then gives faculty broad latitude to use it in their teaching or in their assignments, as long as they are stipulating explicitly that they are allowing it.”

As for ChatGTP, the program agrees. “Advances in fields such as artificial intelligence are expected to drive significant innovation in the coming years,” it says, when asked how schools can combat academic dishonesty. “Schools should constantly review and update their academic honor codes as technology evolves to ensure they are addressing the current ways in which technology is being used in academic settings.”

But, a bot would say that. 

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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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• How to write an argumentative essay | Examples & tips

How to Write an Argumentative Essay | Examples & Tips

Published on July 24, 2020 by Jack Caulfield . Revised on July 23, 2023.

An argumentative essay expresses an extended argument for a particular thesis statement . The author takes a clearly defined stance on their subject and builds up an evidence-based case for it.

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Table of contents

When do you write an argumentative essay, approaches to argumentative essays, introducing your argument, the body: developing your argument, concluding your argument, other interesting articles, frequently asked questions about argumentative essays.

You might be assigned an argumentative essay as a writing exercise in high school or in a composition class. The prompt will often ask you to argue for one of two positions, and may include terms like “argue” or “argument.” It will frequently take the form of a question.

The prompt may also be more open-ended in terms of the possible arguments you could make.

Argumentative writing at college level

At university, the vast majority of essays or papers you write will involve some form of argumentation. For example, both rhetorical analysis and literary analysis essays involve making arguments about texts.

In this context, you won’t necessarily be told to write an argumentative essay—but making an evidence-based argument is an essential goal of most academic writing, and this should be your default approach unless you’re told otherwise.

Examples of argumentative essay prompts

At a university level, all the prompts below imply an argumentative essay as the appropriate response.

Your research should lead you to develop a specific position on the topic. The essay then argues for that position and aims to convince the reader by presenting your evidence, evaluation and analysis.

• Don’t just list all the effects you can think of.
• Do develop a focused argument about the overall effect and why it matters, backed up by evidence from sources.
• Don’t just provide a selection of data on the measures’ effectiveness.
• Do build up your own argument about which kinds of measures have been most or least effective, and why.
• Don’t just analyze a random selection of doppelgänger characters.
• Do form an argument about specific texts, comparing and contrasting how they express their thematic concerns through doppelgänger characters.

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An argumentative essay should be objective in its approach; your arguments should rely on logic and evidence, not on exaggeration or appeals to emotion.

There are many possible approaches to argumentative essays, but there are two common models that can help you start outlining your arguments: The Toulmin model and the Rogerian model.

Toulmin arguments

The Toulmin model consists of four steps, which may be repeated as many times as necessary for the argument:

• Make a claim
• Provide the grounds (evidence) for the claim
• Explain the warrant (how the grounds support the claim)
• Discuss possible rebuttals to the claim, identifying the limits of the argument and showing that you have considered alternative perspectives

The Toulmin model is a common approach in academic essays. You don’t have to use these specific terms (grounds, warrants, rebuttals), but establishing a clear connection between your claims and the evidence supporting them is crucial in an argumentative essay.

Say you’re making an argument about the effectiveness of workplace anti-discrimination measures. You might:

• Claim that unconscious bias training does not have the desired results, and resources would be better spent on other approaches
• Cite data to support your claim
• Explain how the data indicates that the method is ineffective
• Anticipate objections to your claim based on other data, indicating whether these objections are valid, and if not, why not.

Rogerian arguments

The Rogerian model also consists of four steps you might repeat throughout your essay:

• Discuss what the opposing position gets right and why people might hold this position
• Highlight the problems with this position
• Present your own position , showing how it addresses these problems
• Suggest a possible compromise —what elements of your position would proponents of the opposing position benefit from adopting?

This model builds up a clear picture of both sides of an argument and seeks a compromise. It is particularly useful when people tend to disagree strongly on the issue discussed, allowing you to approach opposing arguments in good faith.

Say you want to argue that the internet has had a positive impact on education. You might:

• Acknowledge that students rely too much on websites like Wikipedia
• Argue that teachers view Wikipedia as more unreliable than it really is
• Suggest that Wikipedia’s system of citations can actually teach students about referencing
• Suggest critical engagement with Wikipedia as a possible assignment for teachers who are skeptical of its usefulness.

You don’t necessarily have to pick one of these models—you may even use elements of both in different parts of your essay—but it’s worth considering them if you struggle to structure your arguments.

Regardless of which approach you take, your essay should always be structured using an introduction , a body , and a conclusion .

Like other academic essays, an argumentative essay begins with an introduction . The introduction serves to capture the reader’s interest, provide background information, present your thesis statement , and (in longer essays) to summarize the structure of the body.

Hover over different parts of the example below to see how a typical introduction works.

The spread of the internet has had a world-changing effect, not least on the world of education. The use of the internet in academic contexts is on the rise, and its role in learning is hotly debated. For many teachers who did not grow up with this technology, its effects seem alarming and potentially harmful. This concern, while understandable, is misguided. The negatives of internet use are outweighed by its critical benefits for students and educators—as a uniquely comprehensive and accessible information source; a means of exposure to and engagement with different perspectives; and a highly flexible learning environment.

The body of an argumentative essay is where you develop your arguments in detail. Here you’ll present evidence, analysis, and reasoning to convince the reader that your thesis statement is true.

In the standard five-paragraph format for short essays, the body takes up three of your five paragraphs. In longer essays, it will be more paragraphs, and might be divided into sections with headings.

Each paragraph covers its own topic, introduced with a topic sentence . Each of these topics must contribute to your overall argument; don’t include irrelevant information.

This example paragraph takes a Rogerian approach: It first acknowledges the merits of the opposing position and then highlights problems with that position.

Hover over different parts of the example to see how a body paragraph is constructed.

A common frustration for teachers is students’ use of Wikipedia as a source in their writing. Its prevalence among students is not exaggerated; a survey found that the vast majority of the students surveyed used Wikipedia (Head & Eisenberg, 2010). An article in The Guardian stresses a common objection to its use: “a reliance on Wikipedia can discourage students from engaging with genuine academic writing” (Coomer, 2013). Teachers are clearly not mistaken in viewing Wikipedia usage as ubiquitous among their students; but the claim that it discourages engagement with academic sources requires further investigation. This point is treated as self-evident by many teachers, but Wikipedia itself explicitly encourages students to look into other sources. Its articles often provide references to academic publications and include warning notes where citations are missing; the site’s own guidelines for research make clear that it should be used as a starting point, emphasizing that users should always “read the references and check whether they really do support what the article says” (“Wikipedia:Researching with Wikipedia,” 2020). Indeed, for many students, Wikipedia is their first encounter with the concepts of citation and referencing. The use of Wikipedia therefore has a positive side that merits deeper consideration than it often receives.

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An argumentative essay ends with a conclusion that summarizes and reflects on the arguments made in the body.

No new arguments or evidence appear here, but in longer essays you may discuss the strengths and weaknesses of your argument and suggest topics for future research. In all conclusions, you should stress the relevance and importance of your argument.

Hover over the following example to see the typical elements of a conclusion.

The internet has had a major positive impact on the world of education; occasional pitfalls aside, its value is evident in numerous applications. The future of teaching lies in the possibilities the internet opens up for communication, research, and interactivity. As the popularity of distance learning shows, students value the flexibility and accessibility offered by digital education, and educators should fully embrace these advantages. The internet’s dangers, real and imaginary, have been documented exhaustively by skeptics, but the internet is here to stay; it is time to focus seriously on its potential for good.

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

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

College essays

• Choosing Essay Topic
• Write a College Essay
• Write a Diversity Essay
• College Essay Format & Structure
• Comparing and Contrasting in an Essay

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An argumentative essay tends to be a longer essay involving independent research, and aims to make an original argument about a topic. Its thesis statement makes a contentious claim that must be supported in an objective, evidence-based way.

An expository essay also aims to be objective, but it doesn’t have to make an original argument. Rather, it aims to explain something (e.g., a process or idea) in a clear, concise way. Expository essays are often shorter assignments and rely less on research.

At college level, you must properly cite your sources in all essays , research papers , and other academic texts (except exams and in-class exercises).

Add a citation whenever you quote , paraphrase , or summarize information or ideas from a source. You should also give full source details in a bibliography or reference list at the end of your text.

The exact format of your citations depends on which citation style you are instructed to use. The most common styles are APA , MLA , and Chicago .

The majority of the essays written at university are some sort of argumentative essay . Unless otherwise specified, you can assume that the goal of any essay you’re asked to write is argumentative: To convince the reader of your position using evidence and reasoning.

In composition classes you might be given assignments that specifically test your ability to write an argumentative essay. Look out for prompts including instructions like “argue,” “assess,” or “discuss” to see if this is the goal.

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Aaron Bushnell’s Act of Political Despair

By Masha Gessen

On Sunday afternoon, Aaron Bushnell, wearing a mustard-colored sweater under his combat fatigues, walked up to the Israeli Embassy in Washington, D.C. As he approached the building, he filmed himself saying, “I am an active-duty member of the United States Air Force, and I will no longer be complicit in genocide. I’m about to engage in an extreme act of protest, but, compared to what people have been experiencing in Palestine at the hands of their colonizers, it’s not extreme at all. This is what our ruling class has decided will be normal.” He set his phone down, propping it up to continue filming, poured a flammable liquid from a water bottle over his head, then put on his camouflage hat and used a lighter to set himself on fire. He died in the hospital from his injuries later that day. He was twenty-five years old.

If you are having thoughts of suicide, call or text 988 or chat at 988Lifeline.org .

Self-immolation is not a new form of political protest, but it is by no means a common one. Dozens of Buddhist monks have committed self-immolation, to protest the suppression of Buddhist leaders in Vietnam in the middle of the last century and, more recently, to draw attention to Chinese rule over Tibet, and the exile of the Dalai Lama . In the nineteen-sixties, dozens of people in the United States and Asia died after setting themselves on fire to protest the war in Vietnam. Then the practice spread to the Soviet bloc. It began when hope died. In 1968, students in Warsaw and Prague protested, much like students elsewhere in the West that year. In Czechoslovakia, the leadership of the Communist Party instituted liberal reforms, relaxing censorship and promising to build a “socialism with a human face.” It was known as the Prague Spring. But, in August, Warsaw Pact troops, commanded by Moscow, entered Czechoslovakia. The country’s leadership was placed under arrest and airlifted to Moscow. The Prague Spring was crushed . In September, Ryszard Siwiec, a fifty-nine-year-old Polish war veteran, set himself on fire during a harvest festival, insuring that his protest against his country’s complicity in the invasion was witnessed by thousands of people. A more widely remembered act of self-immolation was committed several months later by a twenty-year-old Czech student named Jan Palach, who ran down a street in Prague after setting himself on fire.

Under conditions of democracy, people act politically because they think that their actions can lead to change. They cannot effect change alone, and change is never immediate, but their experience tells them that change is possible and that it is brought about by the actions of citizens. When people do not believe that change is possible, most do not act. Authoritarian regimes rely on a passive citizenry. Totalitarian regimes mobilize their subjects to imitate political action, but in a way that never brings about change. The vast majority comply. But a small minority can’t stand it. Dissidents are people who would rather pay the psychic cost of becoming outcasts because what Václav Havel called “living within the lie” is even worse. Within this minority, there seems to be an even smaller group of people who find their individual helplessness so unbearable that they are willing to do something as desperate as self-immolate. Jan Palach’s protest suicide was followed by several more in Czechoslovakia, then in Lithuania and Ukraine. In the past few years, self-immolation has reëmerged as a form of protest in Putin’s Russia.

What does it mean for an American to self-immolate? Since the Vietnam War, Americans have died by this form of suicide to draw attention to climate change, as the lawyer and conservationist David Buckel did, in Brooklyn in 2018, and the climate activist Wynn Bruce did, on Earth Day, 2022, on the steps of the Supreme Court . Like all of us, these men lived in a world that knows about the catastrophic threat of climate change, pays lip service to the need to protect the human population of the planet, yet fails to act. “Many who drive their own lives to help others often realize that they do not change what causes the need for their help,” Buckel wrote in an e-mail that he sent to several media outlets before setting himself on fire in Prospect Park. Buckel had been a lifelong activist, a lawyer who had helped to advance L.G.B.T. rights. But, on the issue of climate, despite being surrounded with like-minded people and being able to act with them, he felt helpless.

We know very little about Aaron Bushnell. His Facebook page shows that he had been following the war in Gaza and admired Rashida Tlaib, a Democratic congresswoman from Michigan, who is Palestinian American. We know that Bushnell belonged to a generation of Americans—adults under the age of thirty—who express more sympathy with Palestinians than with Israelis in the current conflict. Perhaps, like Buckel, he was surrounded by people who thought as he did yet was constantly reminded of his helplessness. He probably watched as, in November, twenty-two Democrats joined House Republicans in censuring Tlaib for alleged antisemitic remarks, though Tlaib herself, who has family in the occupied West Bank, had taken pains to stress that her issues are with Israel’s government, not its people. He had been watching a Presidential race between two elderly men who seem to differ little on what for Bushnell was the most pressing issue in the world today: the slaughter of Palestinians in Gaza. What did it matter that Bushnell had the right to vote if he had no real choice? That he was a member of the military surely made matters worse. His final message on Facebook read, “Many of us like to ask ourselves, ‘What would I do if I was alive during slavery? Or the Jim Crow South? Or apartheid? What would I do if my country was committing genocide?’ The answer is, you’re doing it. Right now.” (The message, which contained a link to the page on Twitch where Bushnell was planning to live-stream his final act of protest, is no longer visible.)

Bushnell wrote a will in which he left his savings to the Palestine Children’s Relief Fund. Perhaps he had watched the hearing of a case in federal court in California, brought by Defense for Children International-Palestine in an attempt to stop the Biden Administration from continuing to aid the Israeli attacks on Gaza . Perhaps he saw the U.S. government argue that there is no legal pathway for citizens to stop the government from providing military aid, even if it can be shown that the aid is used to genocidal ends. A few days later, the judge in the case, Jeffrey White, said that the legal system could indeed do nothing. “This Court implores Defendants to examine the results of their unflagging support of the military siege against the Palestinians in Gaza,” he wrote in his decision. Even the federal judge felt helpless.

Maybe Bushnell watched or read about the proceedings of South Africa’s case against Israel in the International Court of Justice. Perhaps he listened to the litany of atrocities that grew familiar as fast as it became outdated: the exact thousands of women and children killed, the precise majority of Gazans who are experiencing extreme hunger. That court ordered Israel to take immediate measures to protect Palestinian civilians. Israel has ignored the ruling, and the United States has vetoed resolutions calling for a ceasefire and argued, in another I.C.J. case, that the court should not order Israel to end its occupation of the West Bank and Gaza. This was a government that Bushnell had sworn to protect with his life, subverting mechanisms created to enforce international law, including law—such as the Genocide Convention—that the United States had played a key role in drafting.

We know that Bushnell planned his self-immolation carefully. He made final arrangements. He contacted the media. On the day of the action, he carried himself with purpose. His movements appeared rehearsed. Perhaps he dreamed that his protest would awaken a country that had descended into a moral stupor. Like Jan Palach, who ran down a street, and Ryszard Siwiec, who set himself aflame at a dance, Bushnell wanted us to see him burn.

In 2013, the Dalai Lama, long under pressure to call for an end to the practice of self-immolation, called it a form of nonviolence. Nonviolence should not be confused with passivity: as a form of protest, nonviolence is a practice that exposes violence. The philosopher Judith Butler has argued that nonviolence cannot be undertaken by a person acting alone. That would be true for nonviolence as a political act—an act aimed at effecting change, an act founded in hope. Self-immolation is a nonviolent act of despair. ♦

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By Susan B. Glasser

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2023-24 Guidance for Artificial Intelligence Tools and Other Services

Ap african american studies policy.

Generative AI tools must be used ethically, responsibly, and intentionally to support student learning, not to bypass it. Accordingly, the AP African American Studies Individual Student Project must be the student’s own work. While students are permitted to use generative AI tools consistent with this policy, their use is optional and not mandatory.  

Students can use generative AI tools as optional aids for exploration of potential topics of inquiry, initial searches for sources of information, confirming their understanding of a complex text, or checking their writing for grammar and tone. However, students must read primary and secondary sources directly, perform their own analysis and synthesis of evidence, and make their own choices on how to communicate effectively in their presentations. It remains the student’s responsibility to engage deeply with credible, valid sources and integrate diverse perspectives when working on the project.  

AP Art and Design Policy

The use of artificial intelligence tools by AP Art and Design students is categorically prohibited at any stage of the creative process. 

AP Capstone Policy

Generative AI tools must be used ethically, responsibly, and intentionally to support student learning, not to bypass it. Accordingly, all performance tasks submitted in AP Seminar and AP Research must be the student’s own work. While students are permitted to use generative AI tools consistent with this policy, their use is optional and not mandatory. 

Students can use generative AI tools as optional aids for exploration of potential topics of inquiry, initial searches for sources of information, confirming their understanding of a complex text, or checking their writing for grammar and tone. However, students must read primary and secondary sources directly, perform their own analysis and synthesis of evidence, and make their own choices on how to communicate effectively both in their writing and presentations. It remains the student’s responsibility to engage deeply with credible, valid sources and integrate diverse perspectives when working on the performance tasks. Students must complete interim “checkpoints” with their teacher to demonstrate genuine engagement with the tasks.   

Required Checkpoints and Attestations   for AP Capstone

To ensure students are not using generative AI to bypass work, students must complete interim checkpoints with their teacher to demonstrate genuine engagement with the tasks. AP Seminar and AP Research students will need to complete the relevant checkpoints successfully to receive a score for their performance tasks. Teachers must attest, to the best of their knowledge, that students completed the checkpoints authentically. Failure to complete the checkpoints will result in a score of 0 on the associated task.  

In AP Seminar, teachers assess the authenticity of student work based on checkpoints that take the form of short conversations with students during which students make their thinking and decision-making visible (similar to an oral defense). These checkpoints should occur during the sources and research phase (IRR and IWA), and argument outline phase (IWA only). A final validation checkpoint (IRR and IWA) requires teachers to confirm the student’s final submission is, to the best of their knowledge, authentic student work. 

In AP Research, students must complete checkpoints in the form of in-progress meetings and work in the Process and Reflection Portfolio (PREP). No further checkpoints will be required. 

College Board reserves the right to investigate submissions where there is evidence of the inappropriate use of generative AI as an academic integrity violation and request from students copies of their interim work for review.  

Please see the AP Seminar and AP Research course and exam descriptions (CEDs) for the current policy on AI and other tools along with guidance on administering mandatory checkpoints.

AP Computer Science Principles Policy

AP Computer Science Principles students are permitted to utilize generative AI tools as supplementary resources for understanding coding principles, assisting in code development, and debugging. This responsible use aligns with current guidelines for peer collaboration on developing code.    

Students should be aware that generative AI tools can produce incomplete code, code that creates or introduces biases, code with errors, inefficiencies in how the code executes, or code complexities that make it difficult to understand and therefore explain the code. It is the student’s responsibility to review and understand any code co-written with AI tools, ensuring its functionality. Additionally, students must be prepared to explain their code in detail, as required on the end-of-course exam.