#Professional Academic Essay Writers

[examhelper97]

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[armstrongassignmentshelp]

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[toopersonmiracle]

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[nicole-burke]

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[perpetual-stories]

How to Use Paragraph Transitions to Strengthen Your Writing

A post dedicated to an inbox submission. Here you go!

An important part of essay writing is learning how to effectively employ paragraph transitions—shifting from one paragraph or idea to the next. Learning to effectively use the different types of transitions will help you write more cohesive pieces and improve the clarity of your writing.

What Is a Paragraph Transition?

A paragraph transition is a sentence or unique paragraph that helps the reader move from one paragraph to the next, or from one idea to another. A transition is the first sentence of a new paragraph. Occasionally, the last sentence of the prior paragraph acts as the transition. When a writer wants to transition link two substantial paragraphs, they can use a standalone transitional paragraph.

4 Reasons Paragraph Transitions Are Important

Paragraph transitions serve a variety of purposes, and understanding how they function within the context of a larger piece of writing is essential to clear writing. Usually transitions are full sentences that link paragraphs, but occasionally simple phrases or single words can effectively transition between two shorter paragraphs. Here are a few reasons why paragraph transitions are important and should be included in your writing:

Paragraph transitions link ideas. First and foremost, paragraph transitions serve to link two ideas. A body paragraph is generally devoted to a main idea or concept that fits into the larger piece and explores a facet of the primary thesis statement. A transition sentence links your first paragraph to your second paragraph and so forth.

Paragraph transitions give your writing momentum. Paragraph transitions are incredibly helpful when it comes to building momentum in your writing. Effective transitions propel your essay forward and keep your readers engaged. This is particularly important in academic writing or professional writing that can otherwise feel dry or static.

Paragraph transitions improve readability. Transition words can help your readers track your ideas and understand how they relate to each other. Thoughtful transitions clue readers in to the progression of your ideas and your overall train of thought.

Paragraph transitions set the stage for new ideas. While effective transitions should tie up loose ends for material in the previous paragraph, it’s sometimes more important that they set the stage for the new ideas to come in the next paragraph. A written piece should have forward momentum, and transitions serve to prepare the reader for new information to come.

How to Transition Between Paragraphs in Your Writing

Understanding why we use paragraph transitions in the first place is obviously important, but learning how to effectively employ good transitions in your writing can sometimes come only through practice. That said, here are some tips that can help you get started as you begin to use transitions in your writing.

Outline your piece. Using an outline is vital to improving your writing process and should generally come before you start writing your piece. Outlining is important when you are working on transitional expressions and transition sentences because outlines give you a macro view of your piece as a whole, with signposts indicating the main ideas of each paragraph. Referring back to your outline can help you brainstorm types of transitions that set the stage for what’s to come and help your ideas flow.

Identify the subject of each paragraph. Once you’ve consulted your outline, it’s time to hone in on the main ideas of the paragraphs on either side of your transition. A good transition will have something to say about both the preceding paragraph and the new paragraph.

Track the overall arc of your piece. Transitions link two specific paragraphs, but make sure you have an eye on the overall arc of your essay. If you have a good sense of the bigger picture you can use your transitions to set up information that is still to come, beyond the next paragraph.

Brainstorm good transitional words. Transitional phrases often have similar word choice and style. Linking words and conjunctive adverbs are often used in paragraph transitions because they help establish the relationship between two separate ideas. Words like “therefore,” “nevertheless,” “although,” and “namely” quickly sum up how one idea relates to the next. Effective transition words keep your reader hooked into your piece.

Consider cause and effect. It’s not enough to simply link two subjects; transitional sentences should also effectively demonstrate how these ideas build on each other. This is especially true in academic writing or persuasive essay writing. It’s your job to convince your reader that you have built a coherent argument for your main thesis statement. Transition sentences can help show readers how your ideas build on each other and conceptually link one entire paragraph to the paragraph that follows.

Pay attention to style. The way that you transition between paragraphs and the types of transitions you use will depend on what type of piece you are writing. If you’re writing a high school- or college-level academic essay, you’ll probably want to avoid overly colloquial transitions. If you’re writing a personal essay or lighthearted humor piece, you should choose transitions that complement the voice of the piece.

Review your transition sentences separate from your piece. Once you’ve finished your piece, it’s useful to take a look at all your transitions out of context to make sure that you haven’t overused certain constructions or repeated word choice. Looking at a list of your transitions can also give you a good roadmap for the overall shape of your essay and can help you decide if you’ve built a cohesive piece of writing.

Examples of Transitions:

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[transmutationisms]

ok i still haven't seen the video du jour so i'm not casting aspersions on it, specifically, but i must say i am baffled by seeing responses to it on here that seem to be written under the presumption that newspaper journalism is somehow immune to the economic forces that cause digital creators to churn out endless streams of low-effort, plagiarised content. have we not all had the experience of trying to find information about an event and clicking on a few different news stories from 'respectable' outlets, only to discover they're all using the same three quotes and just paraphrasing the copy around it, and then clicking around more and determining that those three quotes all turn out to have been sourced from a local paper that broke the story last week but has a circulation of approximately ten people and was mostly ignored, and meanwhile critical details of the situation have now been distorted or omitted in a game of lazy newsprint telephone?

this is more of what i mean when i say that plagiarism is not a bug of capitalist knowledge production and circulation; it's a feature. newspapers and academic articles and youtube video essays are all products and they all exist to sell themselves. individual writers and journalists and editors may be more or less invested, personally, in what they're making, but regardless they are all subject to the same forces incentivising more content and shittier source attribution: it's good for your bottom line if you can continually present yourself as some brilliant thinker who is coming up with wholly original ideas and bestowing them upon the masses. it is much less beneficial to you, economically, to direct people openly and honestly to others' work by crediting them and presenting your own output as part of a larger collaborative social endeavour.

this sort of knowledge production is therefore prone to plagiarism as an expression of the contradiction between the idealist pretense to knowledge circulation as a beneficent activity of social enlightenment, and the material reality of knowledge circulation as a capitalist activity both productive of and dependent on structures of exploitation and inequality. it's not a problem that's unique to individual bad actors, or to any specific medium or professional credential or lack thereof. let's be serious

#najia said much the same the other day about academia! i just like dk why there is so much energy put into trying to present certain #media forms as uniquely subject to market forces. or well i do know why but lol

[mostlysignssomeportents]

Molly McGhee’s “Jonathan Abernathy You Are Kind”

Jonathan Abernathy You Are Kind is Molly McGhee's debut novel: a dreamlike tale of a public-private partnership that hires the terminally endebted to invade the dreams of white-collar professionals and harvest the anxieties that prevent them from being fully productive members of the American corporate workforce:

https://www.penguinrandomhouse.com/books/734829/jonathan-abernathy-you-are-kind-by-molly-mcghee/

Though this is McGhee's first novel, she's already well known in literary circles. Her career has included stints at McSweeney's, where she worked on my book Information Doesn't Want To Be Free:

https://store.mcsweeneys.net/products/information-doesn-t-want-to-be-free

And then at Tor Books, where she worked on my book Attack Surface:

https://us.macmillan.com/books/9781250757531/attacksurface

But though McGhee is a shrewd and skilled editor, I think of her first and foremost as a writer, thanks to stunning essays like "America's Dead Souls," a 2021 Paris Review piece that described the experience of multigenerational debt in America in incandescent, pitiless prose:

https://www.theparisreview.org/blog/2021/05/17/americas-dead-souls/

McGhee's piece struck at the heart of something profoundly wrong in American society – the dual nature of debt, which represents a source of freedom for the wealthy, and bondage for workers:

https://pluralistic.net/2021/05/19/zombie-debt/#damnation

When billionaire mass-murderers like the Sacklers amass tens of billions of liabilities stemming from their role in deliberately starting the opioid crisis, the courts step in to relieve them of their obligations, allowing them to keep their blood-money:

https://pluralistic.net/2023/08/11/justice-delayed/#justice-redeemed

And when Silicon Valley Bank collapses due to mismanagement by ultra-wealthy financiers, the public purse yawns open and billions flow out to ensure that the wealthiest investors in the country stay whole:

https://pluralistic.net/2023/03/18/2-billion-here-2-billion-there/#socialism-for-the-rich

When predatory payday lenders target working people and force them into bankruptcy with four-digit APRs, the government intervenes…to save the lenders and keep workers on the hook:

https://pluralistic.net/2022/01/29/planned-obsolescence/#academic-fraud

"Debtor vs creditor" is the oldest class division we have. The Bronze Age custom of jubilee – the periodic cancellation of all debts – wasn't some weird peccadillo. It was essential public policy, and without jubilee, the hereditary creditor class became the arbiter of all social priorities, destabilizing great nations and even empires by directing production to suit their parochial needs. Societies that didn't practice jubilee (or halted it) collapsed:

https://pluralistic.net/2022/07/08/jubilant/#construire-des-passerelles

Today's workers are debt burdened at scales and in ways that defy comprehension, the numbers are so brain-breakingly large. Students who take out modest loans and pay them off several times over remain indebted decades later, with outstanding balances that vastly outstrip the principle:

https://pluralistic.net/2020/12/04/kawaski-trawick/#strike-debt

Workers who quit dead-end jobs are billed for five-figure "training repayment" bills that haunt them to the end of days:

https://pluralistic.net/2022/08/04/its-a-trap/#a-little-on-the-nose

Hospitals sue indigent patients at scale, siccing debt-collectors on people who can't pay – and were entitled to free care to begin with:

https://armandalegshow.com/episode/when-hospitals-sue-patients-part-2/

And debt collectors are drawn from the same social ranks as the debtors, barely trained and unsupervised, engaging in lawless, constant harassment of the debtor class:

https://pluralistic.net/2023/08/12/do-not-pay/#fair-debt-collection-practices-act

McGhee's "American Dead Souls" crystallized all of this vast injustice into a single, beautiful essay – and then McGhee crystallized things further by posting a public resignation letter enumerating the poor pay and working conditions in New York publishing, triggering mass, industry-wide resignations by similarly situated junior editorial staff:

https://electricliterature.com/molly-mcghee-jonathan-abernathy-you-are-kind-interview-debut-novel-book-debt/

Thus we arrive at McGhee's debut: a novel written by someone with a track record for gorgeous, brutally insightful prose; incisive analysis of the class war raging in the embers of capitalism's American Dream; and consequential labor organizing against the precarity and exploitation of young workers. As you might expect, it's fantastic.

Jonathan Abernathy is a 25 year old, debt haunted, desperately lonely man. An orphan with a mountain of college debt, Abernathy lives in a terrible basement apartment whose rent is just beyond his means. The only thing that propels him out of bed and into the world are his affirmations:

Jonathan Abernathy you are kind

You are well respected and valued by your community

People, including your family, love you

That these are all easily discerned lies is beside the point. Whatever gets you through the night.

We meet Jonathan as he is applying for a job that he was recruited for in a dream. As instructed in his dream, he presents himself at a shabby strip-mall office where an acerbic functionary behind scratched plexiglass takes his application and informs him that he is up for a gig run jointly by the US State Department and a consortium of large corporate employers. If he is accepted, all of his student debt repayments will be paused and he will no longer face wage garnishment. What's more, he'll be doing the job in his sleep, which means he'll be able to get a day job and pull a double income – what's not to like?

Jonathan's job is to enter the dreams of sleeping middle-management types in America's largest firms – but not just any dreams, their nightmares. Once he has entered their nightmare, Jonathan is charged with identifying the source of their anxiety and summoning a more senior operative who will suck up and whisk away that nagging spectre, thus rendering the worker a more productive component of their corporate structure.

But of course, there's more to it. As Jonathan works through his sleeping hours, he is deprived of his own dreams. Then there's the question of where those captive anxieties are ending up, and how they're being processed, and what new products can be made from refined nightmares. While Jonathan himself is pulling ever so slightly out of his economic quagmire, the people around him are still struggling.

McGhee braids together three strands: the palpable misery of being Jonathan (a proxy for all of us), the rising terror of the true nature of his employment, and beautifully turned absurdist touches that are laugh-aloud funny. This could be a mere novel of ennui and misery but it's not – it's a novel of hilarity and fear and misery, all mixed together in a glorious and terrible concoction that is not like anything else you've ever read.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/01/08/capitalist-surrealism/#productivity-hacks

#pluralistic #books #reviews #science fiction #molly mcghee #debt #graeber #capitalist realism #capitalist surrealism #dreams #gift guide

[racxnteur]

Incomeless; will proofread your fics! (Or anything else.)

I'm not sure how to head this with a snazzy, attention-catching image given I'm not offering an obviously graphic service like art commissions, but let's give it a go...

Hello, I'm your friendly neighborhood disabled unemployed transgender queer on the internet. I have not posted a great amount about the details on this blog for privacy reasons, but I am currently in an untenable familial/financial living situation, which I am actively working to get out of. My primary barrier to disentangling myself from the pertinent parties is a lack of income. I've been unable to pursue traditional means of work due to being multiply disabled (slash chronically ill, slash treatment-resistant, et cetera...), but I do not qualify for SSI or unemployment, so I am stuck trying to find other ways of making money.

This is where you come in... If you'd like to help, you can:

$$ Hire me $$ to proofread your fics, essays, and more!

Click below for info! (I also may add separate posts for diversity reading and/or other writing- and editing-related services.)

For $0.00855/word *OR BEST BID*, I will vet your work of writing before you publish it, checking for mistakes in spelling, capitalization, & punctuation, missed words, inconsistencies of tense, formatting, & POV, and miscellaneous grammatical errors. Never again need you fear posting a finished chapter and discovering a slew of typos after the fact; no matter how sleep-deprived or late at night the state of writing, I will ensure your text is ship-shape. Or, if you happen to be interested in having other types of writing proofread before submission--essays, comics or webtoons, letters, transcripts, compositions of a personal nature, so on--I will happily take these on at a comparable rate.[1]

Qualifications:

Bachelor's degree in English with a minor in writing

Initiate of international collegiate honors society for English scholarship, Sigma Tau Delta

Active member of the International Association of Professional Writers and Editors (IAPWE)

Former lit editor for award-winning university literary arts magazine

Prior employment in tutoring and teaching English, as well as copy-editing and content writing

Nearly 20 years' writing experience

Previous experience as both fic writer and beta

Incisive eye for typo-hunting and tenacious attention to detail (I have high standards and will make those everybody else's problem... now for pay!)

I will read for content of any genre and all ratings, and am broadly[2] open to any subject matter, kinks, et cetera. I'll also post more detailed guidelines (booking process, any exclusions, additional criteria) on a separate, unrebloggable post so that any edits and updates are always current.

Message me via the chat feature on Tumblr, or send me an e-mail (I will post it on my more info post) to request a quote, bid for a slot, or just to see what I can offer for whatever project you have in mind. And please feel encouraged to share or boost this post! I am in urgent need of any income I can get, and every share counts 😭🙌

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Proofreading Full Details · Other Services · Support Me (alternatively, Tip this post!)

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[1] There will be some exclusions to this, such as academic assignments/papers that have style guide requirements; i.e., I will not be your online MLA style checker or anything.

[2] As with anything, there will be sporadic exceptions to this as well, but I will always be up-front about such cases.

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[femmefatalevibe]

Femme Fatale Guide: How To Master The Written Word & Communicate Like A Queen (Tips For Aspiring Writers)

Communicating your ideas in a clear, comprehensive, and compelling fashion is an essential life skill. Verbal prowess is important. However, mastering the written word is equally (if not often more) powerful. Leveraging this skill is beneficial for everyone who wants to connect with others, cultivate influence, and leave an impact – not only authors, journalists, or copywriters, who require a deep knowledge of this craft by the nature of their work.

Advice like doing your research, editing for proper grammar, and utilizing your thesaurus is tried and true. However, training your brain and reframing how you make logical or textual connections is the ultimate game-changer if you want to leverage words in a way that captivates every audience – from strangers and potential business partners to clients, coworkers, or new friends.

Learning how to think is the first step to elevating your writing – whether it's writing an article, book chapter, essay, or crafting the perfect email, proposal, or message for someone you admire.

As a writer in some capacity – academically or professionally – for the past decade, here are some of the most useful tips I've learned for communicating your ideas and intentions in a clear, compelling way.

Practice your prose until they flow: Embrace wordplay. Explore different variations when editing for syntax.

Create phrases that have you feeling some type of way: Emotional connection to your words is essential to crafting beautiful prose. Place every word, sentence, or turn of a phrase carefully within your copy to arouse a specific emotion.

Seduce The Reader: You need to fall in love with language and the art of allure. Writing is like sex; it requires cultivating a skillset that, with regular practice, titillates the mind and makes the rest of the world stand still, enveloping you in a satisfying cadence.

Engage in Power Play: Write from the purview of the reader. Metatextualize your perspective - write as though you're observing the reader becoming acquainted with the viewpoint of the narrator. This point applies to both fiction and non-fiction writing. In the latter, the narrator acts as the mouthpiece authority.

Read, Study, Steal: The best way to learn how to improve your writing is to read. Study the prose, the syntax, and how the author conveys themes, articulates emotions, and bridges logic gaps. Apply similar frameworks to your prose. Adjust to suit your unique writing style and the subject matter at hand.

Line-Edit For Logic: Ensure that your sentences, scenes, and small takeaways connect and create a logical flow between paragraphs or general ideas.

Get To The Point: Brevity makes your writing more compelling. Cut any unnecessary words. Shorter phrases increase the impact of every word.

Consider your word choice with immense care. Match the intensity to its desired emotional impact or implication. Embrace metaphorical descriptions. Construct a picture of the scene with all the contorting sensations and emotions in the reader's mind. Flex your creative muscles. Remove yourself as the middleman. Encourage them to become the secondary voyeur.

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[burningvelvet]

You have mentioned that you read a lot of academic writing, so I was wondering how you annotate your reading? Or any tips on reading academic writing. Thank you!

Tips on Reading Academic Writing, & My Explanations & Experiences (pure tips are highlighted in bold)

Thank you for the ask! I'm not a professional, but I will share what I've found useful as a student/soon-to-be grad. Besides the few times that my professors have required us submit formally annotated bibliographies, I usually do not take them in any neat, organized way. When I read an academic text, I often underline/highlight if possible (if I have an ebook version or paper version to do so) while focusing on key words/key concepts and inserting any associated words/concepts that come to mind. I also copy/paste (or use iPhone's text scanner in the photo app) specific terms or phrases that I want to remember or that stick out to me. I primarily use my Notes app bc it syncs from my laptop to my phone. If I'm doing a close-reading and wish to take my time, I read over each paragraph (or in rare cases when I really wish to do an even closer reading, each sentence) and I attempt to then summarize it to myself in as few words as possible. This last part appeals to my own personal learning style though, which I'll discuss further on below.*

I scan every text for the most important parts, keeping in mind that each paragraph contains its own sub-topic. A paragraph is like a scene in a film or a play, and each one has its own beginning, middle, and ending. By reading the first or last sentence of a paragraph, you can usually glean what the whole paragraph is about. The first and last sentences of a paragraph are the most important. Likewise, the opening and closing paragraphs of an essay exist to summarize the most important parts of the entire essay. The thesis statement (the main idea of an essay, or the "TLDR summary" to put it into Reddit terms) is usually located at the end of the first paragraph of an essay. Also, this all applies to formal academic writing; not so with casual or creative writing. If I am desperately trying to absorb information and don't have the time/energy to fully study something, what I do is allocate the work's thesis statement, and try to summarize in my own terms the "main point(s)" of the work.

Another invaluable piece of advice is to build your vocabulary and keep vocabulary lists for heavy reading (a list of terms and their definitions). Some academic papers or textbooks will include these in their works. For years, I have kept a sacred list called "Words" which is simply a list of terms that I either struggle to remember or that I've had to look up the definition of. But specific topics get their own vocabulary list, especially if it's something niche or a list of terms only used by a specifer writer or in a specific theory or sub-field. A lot of academics/writers/philosophers invent terms to more easily explain or describe their concepts. Heideigger, considered one of the most interesting but difficult philosophers to understand, is especially difficult with this. It feels like learning a new language sometimes to read his work. But academic reading is often a matter of the writer putting forth new ideas and/or explaining complex things, and so it is often slow, heavy reading, which requires patience.

My biggest piece of advice is to look up lists of learning styles and try to experiment with each of them until you find which one(s) work best for you. Maybe review your earliest memories from school or past memories where you felt like you were excited to learn. Try to implement these while reading information to see what method is most beneficial & comfortable. Everyone learns differently and no two people are exactly the same. Don't feel bad if methods working for others aren't working for you; this is an opportunity for further exploration.

*My individual learning style is "learning by teaching," which means that in order to retain information, I recapitulate it to myself, or make up imaginary scenarios where I have to teach or explain the information to others, or occasionally I do so in real life by info-dumping the information to interested people (or here on my blog). By explaining a subject, it deepens my own understanding of the subject, because you have to understand something well in order to be able to regurgitate it in your own words. If I get stuck and find myself unable to explain something, then this allows me to see where I'm lacking knowledge, and what I need to review. I recall implementing this learning style in some of my earliest memories. Around ages 3/4, I would pretend to be a teacher in an imaginary classroom while practicing my letters and numbers.

#ask #asks #education #academic reading #academic writing #annotations #notes #literature #english literature #academia #dark academia #tips #academic tips #academic advice #uni life #university #me #my writing #my essays

[mariacallous]

Whether you're a student, a journalist, or a business professional, knowing how to do high-quality research and writing using trustworthy data and sources, without giving in to the temptation of AI or ChatGPT, is a skill worth developing.

As I detail in my book Writing That Gets Noticed, locating credible databases and sources and accurately vetting information can be the difference between turning a story around quickly or getting stuck with outdated information.

For example, several years ago the editor of Parents.com asked for a hot-take reaction to country singer Carrie Underwood saying that, because she was 35, she had missed her chance at having another baby. Since I had written about getting pregnant in my forties, I knew that as long as I updated my facts and figures, and included supportive and relevant peer-reviewed research, I could pull off this story. And I did.

The story ran later that day, and it led to other assignments. Here are some tips I’ve learned that you should consider mastering before you turn to automated tools like generative AI to handle your writing work for you.

Find Statistics From Primary Sources

Identify experts, peer-reviewed research study authors, and sources who can speak with authority—and ideally, offer easily understood sound bites or statistics on the topic of your work. Great sources include professors at major universities and media spokespeople at associations and organizations.

For example, writer and author William Dameron pinned his recent essay in HuffPost Personal around a statistic from the American Heart Association on how LGBTQ people experience higher rates of heart disease based on discrimination. Although he first found the link in a secondary source (an article in The New York Times), he made sure that he checked the primary source: the original study that the American Heart Association gleaned the statistic from. He verified the information, as should any writer, because anytime a statistic is cited in a secondary source, errors can be introduced.

Dive Into Databases

Jen Malia, author of The Infinity Rainbow Club series of children’s books (whom I recently interviewed on my podcast), recently wrote a piece about dinosaur-bone hunting for Business Insider, which she covers in her book Violet and the Jurassic Land Exhibit.

After a visit to the Carnegie Museum of Natural History in Pittsburgh, Pennsylvania, Malia, whose books are set in Philadelphia, found multiple resources online and on the museum site that gave her the history of the Bone Wars, information on the exhibits she saw, and the scientific names of the dinosaurs she was inspired by. She also used the Library of Congress’ website, which offers digital collections and links to the Library of Congress Newspaper Collection.

Malia is a fan of searching for additional resources and citable documents with Google Scholar. “If I find that a secondary source mentions a newspaper article, I’m going to go to the original newspaper article, instead of just stopping there and quoting,” she says.

Your local public library is a great source of free information, journals, and databases (even ones that generally require a subscription and include embargoed research). For example, your search should include everything from health databases (Sage Journals, Scopus, PubMed) to databases for academic sources and journalism (American Periodical Series Online, Statista, Academic Search Premier) and databases for news, trends, market research, and polls (the Harris Poll, Pew Research Center, Newsbank, ProPublica).

Even if you find a study or paper that you can’t access in one of those databases, consider reaching out to the study’s lead author or researcher. In many cases, they’re happy to discuss their work and may even share the study with you directly and offer to talk about their research.

Get a Good Filtering System

For journalist Paulette Perhach’s article on ADHD in The New York Times, she used Epic Research to see “dual team studies.” That's when two independent teams address the same topic or question, and ideally come to the same conclusions. She recommends locating research and experts via key associations for your topic. She also likes searching via Google Scholar but advises filtering it for studies and research in recent years to avoid using old data. She suggests keeping your links and research organized. “Always be ready to be peer-reviewed yourself,” Perhach says.

When you are looking for information for a story or project, you might be inclined to start with a regular Google search. But keep in mind that the internet is full of false information, and websites that look trustworthy can sometimes turn out to be businesses or companies with a vested interest in you taking their word as objective fact without additional scrutiny. Regardless of your writing project, unreliable or biased sources are a great way to torpedo your work—and any hope of future work.

For Accuracy, Go to the Government

Author Bobbi Rebell researched her book Launching Financial Grownups using the IRS’ website. “I might say that you can contribute a certain amount to a 401K, but it might be outdated because those numbers are always changing, and it’s important to be accurate,” she says. “AI and ChatGPT can be great for idea generation,” says Rebell, “but you have to be careful. If you are using an article someone was quoted in, you don’t know if they were misquoted or quoted out of context.”

If you use AI and ChatGPT for sourcing, you not only risk introducing errors, you risk introducing plagiarism—there is a reason OpenAI, the company behind ChatGPT, is being sued for downloading information from all those books.

Historically, the Loudest Isn’t the Best

Audrey Clare Farley, who writes historical nonfiction, has used a plethora of sites for historical research, including Women Also Know History, which allows searches by expertise or area of study, and JSTOR, a digital library database that offers a number of free downloads a month. She also uses Chronicling America, a project from the Library of Congress which gathers old newspapers to show how a historical event was reported, and Newspapers.com (which you can access via free trial but requires a subscription after seven days).

When it comes to finding experts, Farley cautions against choosing the loudest voices on social media platforms. “They might not necessarily be the most authoritative. I vet them by checking if they have a history of publication on the topic, and/or educational credentials.”

When vetting an expert, look for these red flags:

You can’t find their work published or cited anywhere.

They were published in an obscure journal.

Their research is funded by a company, not a university, or they are the spokesperson for the company they are doing research for. (This makes them a public relations vehicle and not an appropriate source for journalism.)

And finally, the best endings for virtually any writing, whether it’s an essay, a research paper, an academic report, or a piece of investigative journalism, circle back to the beginning of the piece, and show your reader the transformation or the journey the piece has presented in perspective.

As always, your goal should be strong writing supported by research that makes an impact without cutting corners. Only then can you explore tools that might make the job a little easier, for instance by generating subheads or discovering a concept you might be missing—because then you'll have the experience and skills to see whether it's harming or helping your work.

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[familyabolisher]

In “Professing Criticism,” Guillory concludes an essay titled “On the Permanent Crisis of Graduate Education” by pointing to the rise of venues that accommodate the kinds of criticism that the university cannot. “These are sites (for the most part) of intellectual exchange on the internet, new versions of ‘little magazines,’ such as n+1, or of journals such as The Point, as well as the now vast proliferation of blogs on cultural matters, some of which host high-level exchanges,” he writes. “Such sites disclose the widespread desire for an engagement with literature and culture that is more serious than the habits of mass consumption and that demands new genres and forms of discourse.” He does not develop the point further. Yet one suspects, given what such magazines and blogs can afford to pay, that any prospective contributor will have to hold a job, or several. Here one catches a sudden glimpse of a future in which the Scholar-Critic kaleidoscopes into many hyphenated identities: the Critic-Copy Editor, the Critic-Community Organizer, the Critic-Assistant, the Critic-Amazon Warehouse Associate-Uber Driver. (I leave to one side the Critic of Independent Means and the Critic Who Married Into Money.)

This new kind of critic may write for one of the magazines that Guillory names. But there’s no reason to restrict ourselves to such venues. It is not unusual to stumble upon an essay on Goodreads or Substack that is just as perceptive as academic or journalistic essays, which, no matter how many rounds of revision they undergo, reflect the déformation professionnelle of their respective spheres. Nor should we limit the domain of criticism to writing. Anyone who has taught students knows that the best critiques are often produced in the classroom, through conversations in which one is trying to demonstrate how a poem or a novel works to many different readers, few of whom aspire to write or to join the professoriat.

Early in “Professing Criticism,” Guillory writes that I. A. Richards regarded criticism “as a practice in which every reader of literature was engaged.” But a different proposition presents itself: If everybody is a critic, then no one is. The idea recalls Guillory’s ending to “Cultural Capital,” in which he walks his reader through a thought experiment that Karl Marx undertook in “The German Ideology.” Under the communist organization of society, Marx speculates, eliminating the division of labor will also eliminate the distinction that accrues to artists—writers, painters, sculptors, composers, actors, critics, and other producers of “unique labors.” The utopian horizon of aesthetic production is the disappearance of the painter, the writer, the actor, the composer, and the critic—or, rather, the disappearance of painting, writing, and so on as autonomous domains. In this world, there would be no professional critics, only people who engage in criticism as one activity among many.

“Cultural producers would still compete to have their products read, studied, looked at, heard, lived in, sung, worn, and would still accumulate cultural capital in the form of ‘prestige’ or fame,” Guillory writes. But it would not matter whether you published criticism in the form of a Goodreads review or a magazine article; whether criticism was transmitted through the written word or the spoken one, in the form of podcasts or public lectures; whether the object of criticism was a novel, a film, a show, a song, a dance, a painting, a dress. All that would matter would be the logic of the critic’s thought, the pleasure of her style, the persuasiveness of her judgments, and the education imparted through her words. The result would be to liberate criticism from the institutions of the materially advantaged, allowing it to overflow into the activities of daily life.

#reading list #find this ironic coming from a piece in the new yorker lmao but 👍🏻👍🏻👍🏻

[olderthannetfic]

Hope is okay to ask for like, tips and such for something.

I want to write again, because I'm entering the stressed and depressed state of mind where I can't do shit for my own mental health. In vacations I was fine, I wrote 7 fics in a row, it wasn't a problem. But now University consumes everything of me (again and again), my mind just shuts down and I'm incapable of doing anything but boring and loooooooong obligatory readings and essays (and sometimes I can't do that at all) and when I have free time I just... go to YouTube, see videos I'm barely interested in and scroll and scroll and scroll until is night and time to sleep to go to the academic suffering again because my mind just screams "I'M EXHAUSTED NOT WANNA DO SHIT".

Has anyone tips for overcoming this? (Just one thing: my cellphone is all I have to do jobs, write, listen to music, read (physical books are expensive), etc. The "just don't use your cellphone" tip is not an option for me sadly.) I don't how to even search what the fuck is wrong with me in Google to see if there's tips there in the wildness (I'm guessing there must be a term lol).

--

You're overwhelmed and stressed. "How do I do more creative writing?" is the wrong question here. You may or may not be able to get back to where you can do that at the same time as school.

"How do I manage this stress and get my brain back?" is more the thing you should be pursuing.

During the pandemic, people have talked a lot about anhedonia and about how amorphous long-term stress takes up all your extra mental processes till the unconscious churning of ideas your brain normally does that helps you come up with creative ideas is instead all taken up with this overhead of worry. Many professional writers have found themselves unable to write. Granted, yours is a school-triggered problem, but I think it's the same basic deal.

Time management and sleep patterns are something to look at, but the biggest thing is probably finding a way to completely turn off your brain and decompress... that is not mindlessly scrolling through social media. That doesn't fully shut you down and reboot you. It takes up time while maintaining low-grade anxiety, whether about the world or about feeling like you haven't scrolled far enough to be caught up. Things that make you experience FOMO or feel behind are especially to be avoided. Things that are relaxing and that give you a sense of finishing a task and doing a good job should be sought out.

Basically, your brain wants a cookie, but nothing about school is giving it a cookie, and because you're so stressed, nothing else is either. You seek out short things that don't require attention in the quest for some little hit of happy brain chemicals, but these aren't satisfying and further sap your energy.

It's a common problem for neurodivergent people, for people with depression, and for basically everyone in the pandemic or other long-term shitty situations.

Look up terms like 'executive function' for the part about getting stuck in one task and being unable to switch to something else.

Look up terms like 'anhedonia' for more on the depression-y symptoms, and combine with 'pandemic' for copious self help articles.

Here's one for example.

Self help on "mindfulness" and tips on how to meditate may also be relevant.

--

For me personally, physical exercise, being outside where there are trees and plants, eating fresh vegetables, spending time offline with friends, and hobbies or even chores that are physical things with a success/finishing condition (doing the dishes, knitting, repairing my own clothes) are the biggest help.

If you don't have physical books, then you don't. But getting off the cell phone is still key. TBH, even if you had paper books, Things That Are Not Books are often key.

I don't particularly want to get off the couch and go take a walk, but my ability to write or even read is often better after I do so.

[thoughtportal]

The True Origins of the Phrase ‘Bleeding-Heart Liberal’

Westbrook Pegler was extremely good at calling people names. Particularly politicians. In his syndicated newspaper column, he called Franklin D. Roosevelt “Moosejaw” and “momma’s boy.” Truman was “a thin-lipped hater.”

Pegler was a bit of hater himself. He didn’t like the labor movement, Communists, fascists, Jews, and perhaps most of all, liberals. In one 1938 column, he coined a term for liberals that would eventually come to define conservative scorn for the left. Pegler was the first writer to refer to liberals as “bleeding hearts.” The context for this then-novel insult? A bill before Congress that aimed to curb lynching.

https://www.atlasobscura.com/articles/origin-bleeding-heart-liberal

Before the 20th century, the phrase “bleeding heart” was popular in the religious-tinged oratory of 19th century America. Throughout the 1860s, it comes up often in poetry, essays, and political speeches, as an expression of empathy and emotion. “I come to you with a bleeding heart, honest and sincere motives, desiring to give you some plain thoughts,” said one politician in an 1862 speech. The phrase comes from the religious image of Christ’s wounded heart, which symbolizes his compassion and love. It was a common enough phrase that London has a “Bleeding Heart Yard” (featured prominently in the Dickens novel Little Dorrit) which is named after a long-gone sign, once displayed at a local pub, that showed the Sacred Heart.

By the 1930s, though, the phrase had fallen out of common use and Pegler, who one politician called a “soul-sick, mud-wallowing gutter scum columnist,” recruited it into a new context, as a political insult. He was a master of this art. As a contemporary of his wrote in an academic article on political name-calling, “Pegler has coined, or given prominence to, a fair share of unfair words.” (Pegler also called the AFL a “swollen national racket,” economics “a side-show science,” and Harold Ickes, who ran the Public Works Administration, “Donald Duck.”)

Pegler first used “bleeding heart” in a column castigating liberals in Washington for their focus on “a bill to provide penalties for lynchings.” Pegler wasn’t for lynchings, per se, but he argued that they were no longer a problem the federal government should solve: there had only been eight lynchings in 1937, he wrote, and “it is obvious that the evil is being cured by local processes.” The bill, he thought, was being “used as a political bait in crowded northern Negro centers.” And here was his conclusion, emphasis ours:

“I question the humanitarianism of any professional or semi-pro bleeding heart who clamors that not a single person must be allowed to hunger but would stall the entire legislative program in a fight to ham through a law intended, at the most optimistic figure, to save fourteen lives a year.”

Pegler was apparently pleased enough with this use of “bleeding heart” that he kept it up. He later wrote of “professional bleeding hearts” who advocated for “collective medicine” after a woman couldn’t find a doctor to help her through labor, and lobbed the insult of “bleeding heart Bourn” at a rival, left-leaning columnist. By 1940, he had condensed the phrase down to “bleeding-heart humanitarians” and “bleeding-heart liberals.”

Pegler’s usage did not immediately catch on, though. (Perhaps that’s because he went on to become so right-wing that he was asked to leave the John Birch Society.) If the New York Times’ archives is any indication, through the ‘40s and ‘50s, “bleeding heart” was most often used to refer to the flower Lamprocapnos spectabilis, which grows rows of pretty pink blossoms, and occasionally sports.

Westbrook Pegler was extremely good at calling people names. Particularly politicians. In his syndicated newspaper column, he called Franklin D. Roosevelt “Moosejaw” and “momma’s boy.” Truman was “a thin-lipped hater.”

Pegler was a bit of hater himself. He didn’t like the labor movement, Communists, fascists, Jews, and perhaps most of all, liberals. In one 1938 column, he coined a term for liberals that would eventually come to define conservative scorn for the left. Pegler was the first writer to refer to liberals as “bleeding hearts.” The context for this then-novel insult? A bill before Congress that aimed to curb lynching.

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Before the 20th century, the phrase “bleeding heart” was popular in the religious-tinged oratory of 19th century America. Throughout the 1860s, it comes up often in poetry, essays, and political speeches, as an expression of empathy and emotion. “I come to you with a bleeding heart, honest and sincere motives, desiring to give you some plain thoughts,” said one politician in an 1862 speech. The phrase comes from the religious image of Christ’s wounded heart, which symbolizes his compassion and love. It was a common enough phrase that London has a “Bleeding Heart Yard” (featured prominently in the Dickens novel Little Dorrit) which is named after a long-gone sign, once displayed at a local pub, that showed the Sacred Heart.

By the 1930s, though, the phrase had fallen out of common use and Pegler, who one politician called a “soul-sick, mud-wallowing gutter scum columnist,” recruited it into a new context, as a political insult. He was a master of this art. As a contemporary of his wrote in an academic article on political name-calling, “Pegler has coined, or given prominence to, a fair share of unfair words.” (Pegler also called the AFL a “swollen national racket,” economics “a side-show science,” and Harold Ickes, who ran the Public Works Administration, “Donald Duck.”)

Pegler first used “bleeding heart” in a column castigating liberals in Washington for their focus on “a bill to provide penalties for lynchings.” Pegler wasn’t for lynchings, per se, but he argued that they were no longer a problem the federal government should solve: there had only been eight lynchings in 1937, he wrote, and “it is obvious that the evil is being cured by local processes.” The bill, he thought, was being “used as a political bait in crowded northern Negro centers.” And here was his conclusion, emphasis ours:

“I question the humanitarianism of any professional or semi-pro bleeding heart who clamors that not a single person must be allowed to hunger but would stall the entire legislative program in a fight to ham through a law intended, at the most optimistic figure, to save fourteen lives a year.”

Pegler was apparently pleased enough with this use of “bleeding heart” that he kept it up. He later wrote of “professional bleeding hearts” who advocated for “collective medicine” after a woman couldn’t find a doctor to help her through labor, and lobbed the insult of “bleeding heart Bourn” at a rival, left-leaning columnist. By 1940, he had condensed the phrase down to “bleeding-heart humanitarians” and “bleeding-heart liberals.”

Pegler’s usage did not immediately catch on, though. (Perhaps that’s because he went on to become so right-wing that he was asked to leave the John Birch Society.) If the New York Times’ archives is any indication, through the ‘40s and ‘50s, “bleeding heart” was most often used to refer to the flower Lamprocapnos spectabilis, which grows rows of pretty pink blossoms, and occasionally sports.

“Bleeding heart” was revived in a political context in 1954, by another infamous right-winger, Joe McCarthy, who called Edward R. Murrow one of the “extreme Left Wing bleeding-heart elements of television and radio.” It wasn’t until the 1960s that it really started to come into common use, though. In 1963, the satirical columnist Russell Baker put it on a list of political insults: “If one is called a ‘phoney,’ about the only thing he can do is come back with some epithet like, ‘anti-intellectual’ or ‘bleeding-heart liberal’…or ‘you must be one of those peace nuts.’” By the end of the decade, Ronald Reagan, then newly elected governor of California, had picked it up as a way to describe his political trajectory. “I was quite the bleeding-heart liberal once,” he told Newsweek. By 1970, he was known as a “former ‘bleeding heart’ Democrat.”

After that, the phrase was fully ensconced in political short-hand and quickly claimed by liberals as a positive trait.  “You are called a bleeding heart liberal because you have a heart for the poor,” one told the Times. “Count me with the bleeding heart liberals,” an NAACP lawyer wrote in a letter to the editor.

#tiktok #article #word history #words #word #1930s #american history #american racism #reagan was a terrible president

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