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free guidance notes on writing skills and English Language, sample pages, How-to guides, and study resources

Proofreading your writing

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how to check your work for publication

Proofreading and making corrections is the very last stage of preparing a document for publication. At this point the main content of what you have written should already be finalised – checked for accuracy of content, grammar, spelling, completeness, and layout.

Proofreading looks at the presentation of the text in great detail – mainly for matters of bibliographic and typographic consistency. You will be checking on features in the document such as the following, checking for regularity and consistency.

  • Capitalization of headings
  • Font size and style
  • Spacing between paragraphs
  • Regularity of indentation
  • Use of italics and bold
  • Page numbering
  • Hierarchy of headings
Word-processors

Word-processors take a lot of the strain out of proofreading. Spell-checking will be easy, and matters such as letter-spacing and line-spacing are automatically regularised.

The basic appearance of writing on the page (or screen) is also controlled automatically.

For instance, text justification can be set as left-aligned or fully-justified. Left-aligned text creates regular spaces between words, but the right-hand edge of the text will be uneven – which is called ‘ragged right’ or ‘unjustified’. Choice of justification will be determined by the document type.

Fully-justified text creates an even left and right-hand margin – but there may be uneven spaces between words. These gaps can cause what are called ‘rivers’ of white space to appear in the text. These are created by irregular spaces between words.

Word-processors can usually give you control of a number of features in a document. These can be set automatically, and therefore eliminated from the number of tasks involved in proofreading.

  • Hyphenation on and off
  • Picture captions
  • Headers and footers
  • Size of titles and sub-titles
  • Treatment of numbers
  • Use of quotation marks
  • Bibliographic citations
  • Punctuation of lists
  • Page numbering
  • Hierarchy of headings
Proofreading example

The following extract contains several elements that require an editorial decision. That is, where choices of house style must be made about the use of capitals, quotations, commas, numbers, and so on. The passage does not contain any mistakes.

In 1539 the monastery was ‘dissolved’, and the Abbot, in distress of mind—recognising that there was no alternative but to co-operate with the King’s officers—blessed the monks (they numbered fifty-seven), prayed with them, and sent them out from the abbey gates to follow their vocation in the world.

There are eight issues here that call for editorial decisions on the styles used in presentation of text.

  1. Dates are shown using numbers [1539]
  2. Quotations are shown using single quote marks [‘dissolved’]
  3. Capitals used for titles of specific office holders [Abbot, King]
  4. No capitals for informal references to institutions [monastery]
  5. Em-dash used for parenthetical remarks [—]
  6. Use of -ise not -ize for endings [recognising]
  7. Numbers up to 100 shown in words [fifty-seven]
  8. Use of the serial comma

These details make all the difference between an amateur attempt at document production, and a successful and professional piece of work.

Inconsistencies in any of these style issues will cause problems for the reader: For instance, Abbot is an official title, whereas abbot is merely a term to describe the type of clergyman.

House style

House style is the term given to a set of conventions for the presentation of printed documents in an organisation.

The conventions might be formalised as a printed style guide [The Economist Style Guide, New Hart’s Rules] or they might be an informal set of guidelines governed by tradition and convenience.

Any company that wishes to appear professional will have its own house style. It can decide on its own protocols, some of which might contravene traditional practices.

The organisation could be any form of business or official body:

  • Publishing company [a newspaper or magazine]
  • Government body [Department of Education]
  • Legal institution [Courts of Justice]
  • Commercial enterprise [IBM, Amazon]

These organisations have a house style so that there will be consistency and uniformity in the way they present themselves visually to the world.

They might wish to specify the size and font style of their titles, headings, and sub-headings. They are likely to specify how graphics are to be displayed, and they might have policies regarding the use of foreign or emotionally loaded terms.

For instance, newspapers have to make policy decisions on how to describe a dictator’s staff – as a ‘government’ or a ‘regime’.

Proofreading method

The first choice you will need to make is between proofreading on screen or on paper. Many people find it easier to spot mistakes if they print out a document and do the editing and proofreading by hand.

The advantages and disadvantages of the two approaches are essentially as follows.

Editing directly on screen has the advantage that you do not have to transfer corrections from paper to screen. The disadvantages are that any changes you make will over-write the original text. It is also harder to see small details on screen than on paper.

It is true that you can save each separate version of an edited text. This means you have a record of your earlier versions. But each new version leads deeper and deeper into a labyrinth of complexities when making comparisons to select the best.

Editing by hand on a printed document has the disadvantage that all corrections will need to be re-typed, The main advantage is that the original text will still be visible if second thoughts arise.

For details of the advantages and disadvantages of the two approaches, see Editing documents on screen and paper.

You might find it difficult to concentrate on all the small details of proofreading. This is because it is very tiring to hold a number of issues in your head at the same time.

If this is the case, try this tip to make things easier. Split the task into a number of separate stages. Proofread for just one feature at a time. Go through the work checking only on your use of capitals in headings; then go back again to check only on your use of italics, and so on. Use the list of features below as a guide.

Abbreviations Full stops
Apostrophes Hyphens
Bold Italics
Brackets Numbers
Capital letters Quotation marks
Colons Semicolons
Commas Spelling
Dates Titles

Further detailed guidelines on

Proofreading Editing your writing

Proofreading marks

There is also an elaborate system of marks used in professional proofreading for correcting the proofs of printed documents. These are for the specialist, and it is unlikely that the average writer would need to use them. But they might be of interest.

Proofreading marks

© Roy Johnson 2013

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Publish your academic writing

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getting your academic work into print – and on line

If you want to get ahead in the world of colleges and universities, there are no two ways about it – you will have to face the challenges of academic publishing. It might be articles, reports, or the results of a research project. It could be chapters from a thesis, or the whole work itself – re-drafted into book form.

Quite apart from your subject, there are two important things to keep in mind. The first is that your work will be scrutinised not only by the publisher, but by specialist reader(s) who are experts in your subject. They will be looking at the quality of your work in terms of commonly accepted academic standards; and they will checking to see that you have demonstrated that you are up to date with the latest research in your field of study.

If they give your work the thumbs up, the publisher will them be making sure that you have presented your work in compliance with their own house style guides. Publishers are increasingly demanding these days : they use economic arguments to transfer a lot of the work of compositors and editors back onto authors.

Writing for Academic Journals
Rowena Murray is an experienced writer on the subject of academic writing. She is author of How to Write a Thesis and How to Survive Your Viva. What she says in this guide should be encouraging for people in ‘new’ universities, people in disciplines which have only recently been considered academic, and those in professions such as the NHS which are under pressure to become more academic.

She deals with the important issue of getting to know your target publications. There’s really no way round this: you need to know what they’re looking for, and how they want it presented. For those who might not have written a scholarly paper before, she shows you how to analyse one and uncover its basic structure and arguments – with a view of course to constructing your own.

The next part of the book deals with how to find a topic and develop an argument. You can do this by mining your reading notes, expanding a brief presentation, or maybe adapting a chapter from your dissertation or thesis.

There’s also lots of sound advice on planning, outlining, and the art of writing abstracts. She also shows you how to draft your text and create the appropriate style. This is followed by the process of revision and editing,

Although it is aimed at those writing for publication, this book will in fact be useful for anyone who wishes to sharpen their academic writing skills and understand something about the process of preparing a text for its public launching.

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Getting Published
Jerry Wellington starts by looking at the variety of positive reasons why people write and publish – as well as the numerous fears which might prevent others from doing so. He argues largely in favour of publishing in established, printed journals on the grounds that they offer the author more credence and protection. Next comes advice in taking account of the publication in which your writing will appear. You need to take into account its readership, and most crucially the type of article or review and how it will best fit the editor’s requirements.

He then goes through the process of submitting an article for publication – both from the writer’s and publisher’s point of view. Much of this is taken up with the pros and cons of the peer review process. Then comes the case of publishing in book form. After warning quite rightly that you shouldn’t write a word until you have a contract, he then shows you how to prepare a publication proposal in great detail. Finally he looks at future possible trends in publishing – which focus largely on electronic journals and what’s called ‘self-archiving’ – which is covered next.

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Scholarly Journals at the Crossroads
This is a review of the arguments for and against electronic publishing of academic writing – largely the work of Stephen Harnad. His argument is that scholars working in what he calls the ‘esoteric’ fields of narrow specialisms (particularly the sciences) do not need to publish on paper; they merely wish to be read by their peers.

And since they don’t expect to be paid for what they make public, why shouldn’t they put their work straight onto the Net in preprint form. Once their work is on the Web, they can invite comment, make whatever revisions they feel warranted, then archive the finished article in digital form. By following this procedure, peer review is maintained, but the system works more rapidly and less expensively. Most importantly, they can avoid the dinosaur procedures and high costs of traditional print journals. As he puts it himself (in characteristically succinct form):

“What scholars…need is electronic journals that provide (1) rapid, expert peer-review, (2) rapid copy-editing, proofing and publication of accepted articles, (3) rapid, interactive, peer commentary, and (4) a permanent, universally accessible, searchable and retrievable electronic archive.”

The more books one reads on electronic publication, Hypertext, and digital technology, the more one realises how convenient, comfortable, portable, and aesthetically pleasing the printed book remains – produced by what Nicholas Negroponte describes as “squeezing ink onto dead trees”. But this does not invalidate Harnad’s proposal: if a text is urgent, hot, and written for a minority – we’ll read it on-screen, add comments, and send it back within the hour, rather than wait for the Dinosaur Publishing methods (and timescale) of ‘getting it onto paper’.

This is a book for specialists, but it encompasses issues which are part of the profound effect of the forces of digitisation and the Internet. The vested interests of commercial publishers and academic institutions may take some time to shift, but their fault lines are remorselessly exposed here. Harnad’s vision and his debate with contemporaries gives us a view of a world which is breaking apart, in the very process of being overtaken by the forces of New Technology.

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Academic publishing Towards Electronic Journals
Carol Tenopir takes a similar view and considers it more-or-less inevitable that print production costs will push academic writing towards digitised publication. The Web was actually created so that academic researchers could share their findings across the Internet – doing so quickly and free from any commercial restrictions.

If you write a paper on rocket science, you can put the results directly onto a web site and announce the fact to special interest groups. That way, you can invite feedback, critical comment, and peer review – and receive it fairly quickly, instead of having to wait up to two years as you would if the paper was put into the slow-moving production methods of commercial publishers.

Scholarly journals take a long time to produce; they are very expensive; and very few people read them. Why bother then, when the same results can be made available fast, free of charge, and to a much wider audience? How much does it cost? What are the trends in scholarly article authorship and readership? What are the overall implications of electronic journals to publishers, libraries, scientists, and their funders? These are some of the fundamental issues underpinning this book.

The argument on costs is overwhelming. Electronic publishing saves on printing costs, re-printing costs, storage costs, archiving, and inter-library loan costs. And all the other arguments return again and again to the obvious advantages of electronic publication.

They point out that readers both inside and outside universities will continue to demand materials in printed form. Which is true. It’s amazing how many people continue to print out documents – for the sake of convenience, and habit. But to quote Nicholas Negroponte again, the future is digital.

This is a study which is aimed at researchers, librarians, publishers, and anyone interested in electronic publication, and they go out of their way to provide hard evidence for decision-makers.

If you are interested in one of the lesser-known but burgeoning forms of electronic publishing – then you should find this a rich source of hard facts for the debate.

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© Roy Johnson 2009

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Publishing on the Internet

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a selection of resources

What if your ambitions are for publishing on the Internet? After all, many writers now launch their work in writers forums, creative writing groups, and even in personal weblogs. The Internet has made it possible to reach a worldwide audience with just a few IT skills – and it’s all for free!

You have the chance to place your work in writers’ groups, you might create your own web site, or you could start blogging. In addition, you could promote your work via a personal website and an email newsletter. Whichever route you choose, you should be aware of the difference between writing for the screen and the printed page.

What follows is guidance and resources covering all these new possibilities. You need to know what is available for writers on the Internet, and where to find it. eBooks and email publishing are a very attractive and cost-effective option you can learn about easily. Blogging is cost-free and currently very hip. And knowing the difference between writing for the screen or for print will show that you know what you are doing.

Publishing on the InternetThe Internet: A Writer’s Guide
The main strength of Jane Dorner’s book is that she is a professional writer who practices what she writes about. She writes for both print and screen, and promotes her work via a personal web site. This book explores both the new opportunities for writers created by the Internet and the practicalities of publishing on your own site.

She touches on writing groups which exist in the form of mailing lists, websites, newsletters, chat groups, and conferences, and she also deals with eBooks plus annotated lists of all the sources a writer could possibly wish for – from libraries to bookshops, dictionaries to writing circles, newspapers to writing style guides, electronic publishers to free Internet service providers.
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Creative Web Writing - book jacketCreative Web Writing
If you are mainly interested in traditional creative writing Jane Dorner has another book which shows you the skills you need if you want to put your writing onto the Internet. She is speaking to those people who have been creating poems and stories in their back rooms and getting nowhere. This guide covers collaborative story-telling, research online, interactivity and flexible text, as well as the nuts and bolts of styling for screen reading. Most importantly, she explains the range of new markets, new technologies, and how to apply them.

Creative genres are covered, including autobiography, poetry, broadcasting, screen-writing and writing for children. She also describes how to look carefully at contracts, how to submit your writing to an electronic publisher, and how to deal with Print on demand (POD) outlets. There’s a very useful survey of the various delivery methods and payments for eBooks. This is one of the most popular methods for aspiring authors to reach new readers. This section will be required reading if you are thinking of venturing into this world.

The central part of the book deals with new forms of writing using Web technologies. This is one field in which she has clearly done her homework. She shows examples of writing in the form of Blogs (Web-logs) email (epistolary) narratives, fictions illuminated by graphics, the weird world of MUDs and MOOs, Flash-animated writing, and phonetic poetry.
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The Internet Writer's HandbookThe Internet Writer’s Handbook
Karen Scott’s book is a detailed guide to publishers of the two formats which are most digital – e-zines and e-books. It’s in the form of an international A-Z of the best websites for writers to target, with full contact details for all websites listed. She offers plenty of detail on how to submit your work , how much publishers will pay, and even how they are most likely to respond. The topics these eBook publishers cover range from poetry and fiction, through non-fiction feature writing, to specialist technical and hobbyist publications.
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return button Publish your writing

© Roy Johnson 2009

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Punctuation – how to use it correctly

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free pages from our English Language software program

Punctuation – definition

punctuation in english Punctuation in English language is used in writing to show the stress, ryhthm, and tone of the spoken word.

redbtn It is also used to clarify the meaning of sentences.

Examples

redbtn There are four common marks of punctuation:

redbtn These represent pauses of increasing length in a sentence.

comma [ , ]     semicolon [ ; ]

colon [ : ]     full stop [ . ]

Use

redbtn The following paragraph uses all the four common marks of punctation.

Punctuation should always be used lightly, even sparingly, and as accurately as possible. You will discover through practice that there are three basic rules: the comma, semicolon, and colon mark increasingly long pauses; full stops are used to separate distinct sentences; and a new paragraph should always
be employed to begin a new topic or point of argument.

redbtn NB! ‘Punctuation’ in speech is produced by tone, rhythm, stress, and intonation.

redbtn The four most common marks of punctuation are dealt with in detail in their own sections:

commas – semicolons – colons – full stops

redbtn The other common marks of punctuation are described below:

brackets – exclamation mark

dash – oblique stroke

hyphen – question mark

redbtn Some miscellaneous remarks on punctuation.

redbtn Brackets (these) are used to insert a remark (like this, for instance) or a qualification of some sort into a sentence.

redbtn Take care! If they are used too frequently they create a choppy, unsettling effect.

redbtn Full details in the section on brackets.

redbtn The dash (—) is used to indicate a sudden change of thought, an additional comment, or a dramatic qualification.

That was the end of the matter — or so we thought.

redbtn Dashes can also be used in pairs to insert a comment or a short list:

Everything — furniture, paintings, and books — survived the fire.

redbtn They should not be used as a substitute for brackets, or mixed with them.

redbtn The dash is not the same thing as the hyphen (which is shorter) but this distinction is rarely made in the UK.

redbtn The exclamation mark (!) indicates surprise, anger, or alarm.

What a mess!
Get out of this house at once!
The ship is sinking! Jump in the lifeboat!

redbtn Exclamation marks should be used with restraint. The more frequently they occur, the weaker becomes their effect.

redbtn The novelist F. Scott Fitzgerald once remarked that using an exclamation mark was rather like laughing at your own jokes.

redbtn The question mark [?] is used to show that a question has been raised.

redbtn The question mark is always placed at the end of the sentence.

redbtn The following examples are questions:

What are you going to do?
How much is that doggy in the window?
Why is that woman staring at us?

redbtn Since the question mark is placed at the end of a sentence, no full stop is required. [If you look closely, you will see that the question mark (like the exclamation mark) contains its own full stop.]

redbtn The following are not questions.

He wondered what to do next.
She asked herself the same question.
What will happen to them is a mystery.

redbtn The hyphen [ – ] is a short dash used to connect (parts of) words.

redbtn These might be prefixes:

re-enter         co-operate         pre-enrol

redbtn They can be compound adjectives:

multi-storey car park        extra-marital sex

redbtn They can be used when when forming compounds such as

son-in-law        couldn’t-care-less

redbtn The oblique stroke [ / ] is sometimes used to separate items in a list:

oil/water mix Kent/Surrey boundary
italic/Roman type 1972/73

redbtn It should not be used as a substitute for words such as and, plus, and or.

redbtn Try to avoid the either/or construction and such lazy (and ugly) compounds as this:

‘it will help to create an entire social/sexual/ideological system’.

redbtn The oblique stroke might be useful when taking notes, but it should be avoided in formal writing for the sake of elegance.

redbtn Miscellaneous remarks on punctuation.

redbtn Many aspects of punctuation are ultimately a matter of personal preference and literary style.

redbtn The general tendency in most public writing today is to minimise the amount of punctuation used.

redbtn There are also minor differences in practice between the UK and the USA.

redbtn The suggestions made above are based generally on conventions in the UK.

redbtn Double punctuation [“What’s the matter!?”] is rarely used, except in very informal writing such as personal letters or diaries.

redbtn The combination of colon-plus-dash [: — ] is never necessary. Some people use this [it’s called ‘the pointer’] to indicate that a list will follow, but the colon alone should be sufficient.

redbtn The importance of punctuation can be illustrated by comparing the two following letters. In both cases, the text is the same. It’s the punctuation which makes all the difference!

Dear John:

I want a man who knows what love is all about. You are generous, kind, thoughtful. People who are not like you admit to being useless and inferior. You have ruined me for other men. I yearn for you. I have no feelings whatsoever when we’re apart. I can be forever happy — will you let me be yours?

Gloria

Dear John:

I want a man who knows what love is. All about you are generous, kind, thoughtful people, who are not like you. Admit to being useless and inferior. You have ruined me. For other men, I yearn. For you, I have no feelings whatsoever. When we’re apart, I can be forever happy. Will you let me be?

Yours, Gloria

Self-assessment quiz follows >>>

© Roy Johnson 2003

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Punctuation in essays

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sample from HTML program and PDF book

1. Punctuation is used in writing to indicate the natural pauses, stress, and intonation of the spoken word. It is also used to clarify the meaning of a sentence.

2. The most common marks of punctuation are the comma, the semicolon, the colon, and the full stop. These represent pauses of increasing length.

3. If you are in any doubt about punctuation, then use as little of it as possible. Write in short, direct sentences. It is perfectly possible to write clearly and efficiently using only the comma and the full stop.

4. Avoid using abbreviations (i.e., etc., &, e.g.) as well as too frequent use of the dash ( – ) and the exclamation mark (!). These all create the impression of a style which is too casual and chatty.

5. Abbreviations such as e.g. and i.e. are acceptable (and may be desirable) in your notes. However, if you wish to use any of these expressions in the body of your text, they should be written out fully in words – as for example and that is.

6. Short, clear, and simple sentences are usually more effective than those which are long and complex. If you are in any doubt at all, split up any longer sentences into two or three which are shorter. You are more likely to make your meaning clear with shorter rather than longer sentences.

7. What follows is an example of an entire paragraph which has been punctuated using only the comma and the full stop. [The subject is the structure of a paragraph.]

The central thought or main controlling idea of a paragraph is usually conveyed in what is called a topic sentence. This crucial sentence which states, summarises or clearly expresses the main theme, is the keystone of a well-built paragraph. The topic sentence may come anywhere in the paragraph, though most logically and in most cases it is the first sentence. This immediately tells readers what is coming, and leaves them in no doubt about the overall controlling idea. In a very long paragraph, the initial topic sentence may even be restated or given a more significant emphasis in its conclusion.

8. The paragraph which follows demonstrates the correct use of the comma, semicolon, colon, and full stop. These are the most common marks of punctuation.

Punctuation should always be used lightly, even sparingly, and as accurately as possible. You will discover through practice that there are three basic rules: the comma, semicolon, and colon mark increasingly long pauses; full stops are used to separate distinct sentences; and a new paragraph should always be employed to begin a new topic or point of argument.

9. The use of brackets (technical name ‘parentheses’) should be kept to a minimum. They are used to indicate a supplementary remark, an authorial aside, or a qualification of some sort. However, if they are used too frequently they interrupt the flow of the argument and create a choppy, unsettling effect.

10. Square brackets [like these] are used to indicate authorial additions. They indicate your changes to somebody else’s text, or your comments on it. For instance, if you are quoting a text which requires brief explanation, you would insert your own remarks between square brackets.

Thompson’s article then goes on to claim that ‘these dramatic upheavals [in government policy] were heralded by cabinet reshuffles earlier in the year’ (3) and it ends with an analysis of the election results.

11. If a quotation contains a mistake in the original you might wish to indicate that the error is not your own. This too is indicated by the use of square brackets.

The senior government minister who was recently acquitted of kerb-crawling claimed that at long last his ‘trails [sic] and tribulations’ were at an end.

12. Exclamation marks (!) should be used as little as possible in academic essays. They tend to create a slightly juvenile, overexcited tone. In any form of writing, the more frequently they are used the weaker becomes their effect.

13. The question mark (?) too should be used as little as possible. In fact questions should not normally be raised in essays – unless you are going to answer them. Keep in mind that most essays are posed in the form of questions which you should answer.

14. Try to minimise the use of the dash ( – ). These may be used singly to indicate an afterthought, or in pairs to insert an explanatory comment or a short list:

Everything – furniture, paintings, and books – survived the fire that broke out last week.

They should not be used as a substitute for parentheses, or mixed with them.

15. The hyphen ( – ) is a short dash used to connect prefixes to words (multi-storey car park) or when forming compounds such as ‘son-in-law’ or a ‘couldn’t-care-less’ attitude.

16. In general, the oblique stroke (/) should not be used as a substitute for words such as ‘and’, ‘plus’, and ‘or’. Try to avoid the either/or construction and such lazy (and ugly) compounds as ‘an entire social/sexual/ideological system’.

17. Note that the combination of colon-plus-dash [: – ] (which is called ‘the pointer’) is never necessary. Some people use this to indicate that a list will follow, but the colon alone should be sufficient.

18. Too frequent or uncontrolled use of these marks of punctuation tends to create a loose, sloppy style. You should normally keep them strongly in check, otherwise you might produce writing as bad as this:

What then went wrong? – how was the political impetus of the late 60’s/70’s lost that manifested itself so strikingly in the field of film study?

19. Quotations are normally shown in single quote marks – ‘like this’. When quoting speech use double quote marks:

The tutor remarked that “These conventions are designed to give your essays a pleasing and well-designed appearance”.

20. You do not need to put full stops after titles such as Mr, Dr, and Co (unless they occur at the end of a sentence). They are also not required in well-known business and company titles such as BBC and IBM. This is a practice which has now gone out of fashion.

21. Make a clear distinction between marks of punctuation such as the comma and the full stop, otherwise this may appear to produce weak grammar.

22. Many aspects of punctuation are ultimately a matter of personal preference, current fashion, and (in the case of newspapers and commercial publishers) what is known as ‘house style’. There are also minor differences in practice between the UK and the USA. The suggestions made above are based generally on common academic conventions in the UK.

© Roy Johnson 2003

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Questions in essays

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1. Any essay questions you have been asked to answer should be written out – both accurately and in full:

  • on the rough notes for your essay plan
  • on the first and final drafts of the essay itself

2. Doing this will help you to understand its key terms and its instruction terms and to keep the essay topic(s) in mind whilst you are planning and writing the essay.

3. It should also help you to relate each part of your argument to the question whilst you are in the process of writing the essay.

4. Some people find it useful to write out the question on a card. This is then kept propped up before them as a constant reference point and a reminder whilst they are planning and writing the essay.

5. When writing an essay, you should repeatedly refer back to the question and ask yourself – “Is my argument relevant to what has been asked for? Am I answering the question and following its specific instructions?”

6. Essays which do not start with the question written out in full are almost always those which wander off the subject in question. The reason for this seems to be that without the specific topics (and limits) set by questions before them, many students feel free to change the subject or treat it in a different way to that required. Do yourself a favour – always write out the question.

Asking questions

7. When writing an essay, try to avoid presenting your argument in the form of questions or ‘queries to yourself’. This too often has the effect of subtly changing the subject of the essay.

8. Avoid expressions such as – ‘but is this really true?’, ‘can we tolerate this any longer?’, or ‘but what would have happened if Thatcher had not ordered the invasion at that time?’

9. Remember that you have been asked to answer the question or discuss the issue which the essay rubric poses. It is your task to provide a response or an answer. You should be generating an argument which puts forward ideas and observations of your own on the topic(s) in question.

10. If you wish to make the point that something is a problem or that differences of opinion on the subject exist – then just say so. You should also say what those differences are, and go on to relate them to the question.

11. Be prepared to explain the problem or explore these differences of opinion, giving examples and explaining their relevance to the original question.

12. Do not include any observations on how difficult the essay question is to answer. Even if this is true, your task is to provide an answer. Remember that you should not normally include within an essay any comments on how you came to compose it. [The only exception to this is a report in which you have been asked to include such comments.]

13. In almost all cases, the golden rule is as follows:

Do not be tempted to raise questions in essays – unless you are going to answer them.

© Roy Johnson 2003

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Quotations in essays

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1. There are in general two instances when you may wish to use quotations from other writers’ work:

  • Evidence – when quoting from other sources to support your own argument(s)
  • Reference – when a text is itself the subject of your essay and you need to refer to it in your discussion

2. The conventions of accurate quotation and referencing are relatively simple, and they are based on the need for accuracy, consistency, and clarity. There are a number of slightly different systems of notation. The two most widely used are:

  • the traditional combination of numbered quotation, plus an endnote giving the source
  • the Harvard system (described separately)

3. The whole purpose of both systems is that tutors marking your work should be able, if they wish, to check the accuracy of the quotations you use.

Evidence

4. In a discussion of the development of Marx’s philosophy for example, you might argue that his work was a natural development of his predecessors, supporting your assertion by quoting David McLellan. He points out that

Marx began by paying tribute to the achievements of Feuerbach, particularly in having shown that Hegel’s philosophy was no more than a rationalised theology. (1)

5. A bracketed number is added immediately after the quotation, and the source of your quotation is given as an endnote on a separate sheet at the end of your essay. (You might wish to place the information as a footnote at the bottom of the page, though this system can become rather complicated.)

NOTES
1. David McLellan, The Thought of Karl Marx, London: Macmillan, 1971, p.26.

6. Note that this information is given in the following order, and you should remember to indicate the titles of books by using italics.

Author-Title-Publisher-Date-Page

7. The material you quote is placed between two single quotation marks if it is run in as part of your text:

this is what David McLellan calls a ‘rationalised theology’ (1) in his discussion of the relationship between Marx and Hegel

8. If the length of the quote amounts to more than three lines of your own text however, it should be indented separately, and no quote marks are necessary:

Marx began by paying tribute to the achievements of Feuerbach, particularly in having shown that Hegel’s philosophy was no more than a rationalised theology, and having discovered the true materialist approach by starting from the social relationship of man to man. (1)

9. Your own argument should normally be offered first, and you then reinforce it with quotation from an authoritative source. You are using this secondary evidence from acknowledged specialists to support your own views. Do not offer the quotation first, otherwise what should be your own argument will tend to be come more a ‘commentary’ upon it.

10. The quotations you offer should be as brief as possible to make their point. Don’t be tempted to offer long quotations from other people’s work in the hope that this will act as a substitute for your own argument. Nor should you stitch together a patchwork of quotations from a variety of sources with a few words of your own. This creates the impression that you are relying too heavily on other people’s work.

11. Sometimes in more advanced essays it might be necessary to quote longer passages. You would do this if you were going to analyse the author’s arguments in detail and at quite some length. This should only be done occasionally.

12. Each main point of your argument should be made and discussed in its own separate paragraph. This should not normally need more than one quotation to support it. Too many quotations can create the impression that you are relying too heavily on secondary sources.

Reference

13. When the subject of your essay is the discussion of a text (say, criticism of a novel or an article) you should follow the same system of notation. Directly after the first quotation you should give a full bibliographic description of the text you are discussing.

14. This information could be given within brackets in the body of your essay, but you will be developing good academic habits if you place the information as a note at the end of the essay.

15. If your essay is predominantly concerned with just one text, all subsequent quotations from it may simply be followed by page references. Simply add an explanation to the first endnote, saying – all subsequent page references are to this edition.

16. If you will be quoting from a variety of other sources in the same essay, you should number the quotations and give the sources accurately as a series of endnotes.

17. It is also possible to mix these two forms of referencing, so long as the distinctions are made clear. If your piece of work was a long essay on Bleak House for instance, it would be acceptable to identify all your quotations from the novel with page references. Quotations from other critics or sources would numbered and their sources identified as separate endnotes.

18. There must be grammatical continuity and sense maintained between any quotation and your own argument. To arrange this, it might be necessary to add or delete words from the material quoted, or to change the tense of the original. Whenever you do this, any changes should be very small. They must also be properly acknowledged.

[It was] as if she were truly loved by him, but notwithstanding this impression she regarded the man as no more than a casual acquaintance who occasionally made her laugh (p.7)

19. Square brackets are used to indicate any words which you have added in order to make the quotation fit grammatically or otherwise within your own argument.

20. If you wish to draw attention to a particular word or some part of the quotation, you should provide the emphasis by using italics (or underlining). You should then immediately admit the fact ‘as if she were loved by him’ [p.7 – my emphasis] and then carry on with what you wish to say in the remainder of your argument.

How to shorten a quote

21. In order to shorten a quotation or to remove some part of it which is not relevant to your argument, you may wish to omit a number of words. To denote this omission (which is called an ‘ellipsis’) you should use the convention of the three dots ‘…’ in the space which is left:

He had even a kind of assurance on his face … the assurance of a common man filled with pride. (p.7)

22. This device should not be used to change the sense of the original in any way, or to misrepresent its spirit: such practices are regarded as academically fraudulent.

23. The three dots denoting an ellipsis do not need to be placed at the beginning or the end of your quotation, even if you are quoting a few words from within a sentence.

24. The general convention for indicating quotation is to use single quote marks (‘unmitigated’) and to reserve double quotes marks for indicating speech (“Good gracious!” cried the duchess.)

25. When quoting conversation, follow these rules, but if it makes things easier put the words spoken within double quote marks even if they were in single quote marks in the original:

Kayerts is being even more hypocritical and self-deceiving when he ‘observe[s] with a sigh: “It had to be done”‘ (p.39)

26. If you are quoting more than once from a number of works in an essay, you can avoid confusion and save yourself the trouble of giving a full reference each time. Use either the abbreviations op. cit.. and ibid. or the short title convention.

27. Different subjects have their own conventions in this respect – but the short title system is becoming more widely used and is easier to follow. However, an enormous number of academic books have been produced using the older system, so it is worth understanding how it operates, even if you decide not to use it.

28. Using the system of Latin abbreviations, the first quotation from a text is referenced fully with an endnote. In the case of any references which follow, just give the author’s name followed by op. cit.. (which means ‘in the work already quoted’) and then the page number – as follows:

11. J.D. Bryant, The Origins of Mythology, London: Carfax Press, 1971, p.234.
12. History Today, Vol. XXXIV, No 18, p.123.
13. Bryant, op. cit., p. 387.

29. If the very next quotation is again from the same work, the abbreviation ibid.. (which means ‘in the same place’) is followed by a page reference. You do not need to give the author’s name. The sequence just given would therefore be extended:

11. J.D. Bryant, The Origins of Mythology, London: Carfax Press, 1971, p.234.
12. History Today, Vol. XXXIV, No 18, p.123.
13. Bryant, op. cit., p. 387.
14. ibid., p. 388.

30. The short title system is particularly useful for longer essays which might deal with a number of texts or different books by the same author. Second and third year undergraduate studies often require a lengthy piece of work such as this. The principle is the same one of giving full bibliographical details in the first reference. Subsequent quotations are given a reference which is composed of the author’s surname, a shortened form of the book title, and the page number. The examples shown above would therefore appear as follows:

11. J.D. Bryant, The Origins of Mythology, London: Carfax Press, 1971, p.234.
12. History Today, Vol. XXXIV, No 18, p.123.
13. Bryant, Mythology, p. 387.

31. The conventions of quoting from poetry and plays are exactly the same, but for the convenience of the reader, line numbers are given.

32. There are a number of widespread misunderstandings about the use of quotation and systems of referencing. It is worth taking the trouble to follow the conventions outlined above (or use the Harvard system). Once you have brought simplicity and clarity to the presentation of your quotations it will help to improve the appearance and credibility of your work.

What to avoid

  • You should not put page references in margins: they are placed immediately after the quotation, within your text.
  • You should not locate references as part of your own argument with expression such as ‘and we see this on page 27 where he collapses slowly … then later in the paragraph where he recovers’.
  • Ellipses are shown by three dots only [ … ] not a random number scattered across the page.
  • References and note numbers should form part of the text of your argument. They should not be added to the essay at a later stage and written into the margins or squeezed above the text as superscripts.

33. You should avoid using too many quotations and references to secondary material. In some subjects this can sometimes be required (as in a ‘review of the literature’) but in most it is not. Packing your essay with references to other people’s ideas creates the impression that you are unable to create an argument of your own. Remember that your own evidence or points should come first. Quotation should normally be offered after you have established your own argument.

34. Some people use quotations as a means of starting an introduction or rounding off the conclusion to an essay. This can give your work a touch of sparkle if the quote is well chosen. However, you should minimize the use of this strategy in the body of the essay itself. Paragraphs which begin with a quotation can weaken your argument – for two reasons.

  • First, you are not leading with your own ideas in the form of a topic sentence directly related to the question.
  • Second, the substance of your argument in what follows might give the impression of being a commentary on the secondary source quoted, rather than an answer to the original question.

© Roy Johnson 2003

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Re-writing essays

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1. Re-writing is an important part of producing successful essays and term papers. Your first draft is a temporary document which can be altered. Treat it as a rough version of your essay upon which the final version will be constructed. Don’t think it’s the best you can produce, just because it might have cost a lot of effort.

2. Most successful authors make several drafts of their work. They edit and re-write what they produce, correct mistakes, and make additions and deletions. Good writing is often the result of extensive re-writing before the final draft. Don’t imagine that you should be able to write perfectly well at your first attempt.

3. Get used to the idea of re-working your ideas and your expression. Don’t feel guilty about correcting and revising several times over.

4. A word-processor is ideally suited to working with multiple drafts. This can be done in two ways. You can choose to keep polishing and refining the same basic document, saving it to incorporate each set of changes. Alternatively, you can create and save separate drafts. These may then be compared and mixed until you have produced something to your satisfaction.

5. If necessary, you may also wish to read the work out loud to check for weak grammar. However, keep in mind that a conversational tone and style is best avoided in formal essays.

6. When producing successive drafts of your work, keep in mind the following suggestions.

Checklist for re-writing

  • Simplify any awkward grammar
  • Split up sentences which go on too long
  • Re-order paragraphs to improve your argument
  • Eliminate repetitions
  • Correct errors of spelling or punctuation
  • Create smooth transitions between paragraphs
  • Add any important ideas you have missed out
  • Delete anything which is not strictly relevant

© Roy Johnson 2003

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Received pronunciation – what it means

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Received pronunciation – definition

received pronunciation Received Pronunciation [or RP] refers to the accent used by such people as the Royal Family, BBC newsreaders, and members of the upper class.

redbtn It refers entirely to accent and not to content.

redbtn RP is a speech style which is based on social class and not on geographical region.

Examples

redbtn Some characteristic features of pronunciation in RP are as follows:

The long vowel in words such as ‘bath’, ‘path’, ‘ask’

Diphthongs in words such as ‘so’, ‘go’, ‘no’, ‘flow’

Use

redbtn Less than six per cent of the population of the UK speaks RP.

redbtn Although this speech style still carries notions of prestige, regional varieties of English are acquiring status equal to RP.

redbtn NB! Remember, RP is not the same thing as Standard English.

redbtn Received pronunciation (RP) is an accent of English which is based on social class rather than on region. Its origins are rooted in notions of prestige and status and impulses of exclusivity.

redbtn However, RP was itself once a regional variety of English. It originated in the East Midlands among the merchants who migrated towards London and the source of trade and wealth.

redbtn RP is therefore not the native London accent (as many people imagine). It is one which acquired strong connotations of prestige, because of its close connections with wealth and power.

redbtn The Cockney accent is the indigenous speech style of the London area. The two styles have existed alongside each other for hundreds of years.

redbtn Because many RP speakers happen to work in the capital city, the accent is falsely perceived as being regional and as belonging to London. On the contrary, RP speakers are scattered throughout the country and throughout the world. For instance, it is quite common for upper class people in Scotland to speak RP – without any trace of a Scottish accent.

redbtn The expansion of the mass broadcast media (radio and television) has meant that a huge variety of speech styles are heard by listeners and viewers every day. It seems as though this is gradually eroding the idea that RP is somehow superior to all other English accents.

redbtn RP is an approximate description of speech style, rather than being an exact specification. This applies to the classification of other accents too. Because speech varies subtly between individuals and between groups and areas, a broad description is all that can be achieved.

redbtn RP itself has changed slightly even over the past fifty years or so. This can be observed by watching films made during the nineteen-thirties and forties. The most obvious development has been the vowel sound in words such as ‘Harry’ which has become much more open. This feature is now used in parodies of that period.

redbtn Even the Queen, as head of state, speaks with a different accent than she had fifty years ago. In 1952 she would have been heard referring to thet men in the bleck het. Now it would be that man in the black hat. Similarly, she would have spoken of hame rather than home. In the 1950s she would have been lorst, but by the 1970s lost.

redbtn Many regional speakers feel embarrassed by their accents. It seems that much social pressure is felt generally because of the long-standing prestige given to RP. Certainly to linguists, RP is only one of many accents, although its special identity as a class accent is interesting.

redbtn Attitudes to RP. The new National Curriculum requires school students to be competent in using Standard English. Many teachers (and parents) wrongly take this to refer to accent. What it actually requires pupils to understand is the use of standard grammatical constructions, together with a comprehensive standard vocabulary.

redbtn There are a number of possible options available regarding one’s own attitude to speech-style:

  • be comfortable with a regional accent
  • be uncomfortable with a regional accent
  • change a regional accent in favour of RP
  • adapt speech-style to the social context

Self-assessment quiz follows >>>

© Roy Johnson 2003

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References in essays

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1. Most tutors will normally be satisfied with references which are given in the standard form suggested here:

Author, Title, Publisher, Date, Page

J. Brown, Applied Physics, Routledge, 1986, p.89.

2. Remember that these bibliographic details are given so that the source of the information could be traced. If your information is from an electronic source you should consult these pages for details of presentation.

3. If your subject-discipline requires you to use the Harvard system of referencing, this information is given with the date of publication following the author’s name:

Author, Date, Title, Publisher, Page

Brown, J. (1986) Applied Physics, Routledge, p.89.

4. There are a number of subtle refinements to this basic system which may be of interest to those students moving on to more advanced study. The suggestions that follow refer to the UK conventions. They are based on Judith Butcher’s classic study of bibliographic presentation, Copy Editing: the Cambridge Handbook for Editors, Authors and Publishers, 3rd edition, Cambridge University Press, 1992.

American users may wish to consult Kate L. Turabian’s A Manual for Writers of Term Papers, These, and Dissertations, Sixth edition, University of Chicago Press.

5. Always quote the sub-title to a work if it is necessary to explain the main title:

Alan Harvey, Writing in Numbers: Dickens and Serial Fiction, Cambridge University Press, 1987, p.25.

6. The title of another work included in any title should be shown in single quotation marks:

R.W.M. Stapford, The Textual History of ‘King Henry IV’, London: Scholar Press, 1980, p.40.

7. The name of an editor is placed after the author and title:

Fanny Burney, Camilla: or A Picture of Youth, ed. Edgar J. Broom and Liam S. Trentham, London: Oxford University Press, 1972, p. 112.

8. If there is no author, the editor or compiler will precede the title:

J. Melford Britain (ed.), Religious Drama 2: Twenty-one Medieval Mystery and Morality Plays, New York: Meridan, 1958, p.12.

9. Edition and volume numbers are given following the title:

John A. Smith, The Growth of the Cotton Trade in Lancashire, 3rd edn, 4 vols., London: Textile Press, 1987-8, vol. 3, p.2.

10. The name of translators should be placed after the title:

Lara-Vinca Masini, Art Nouveau, tr. Lucy Fairbrook, London: Thames and Hudson, 1984, p.45.

11. The name of someone revising a work should be placed after the edition number:

H.W. Fowler, A Dictionary of Modern English Usage, 2nd edn, revised by Sir Ernest Gowers, Oxford: Clarendon Press, 1965.

12. In references to articles or chapters within books, the author and article title are given first:

R.S. Craft, ‘Monastic sites’ in D. Masters (ed), The Archeology of Anglo-Saxon England, London: Routledge, 1962, pp.101-52.

13. References to articles within journals are shown in the same way:

Moreton Winslow, ”Craft against Vice’: morality play elements in Measure for Measure’, Shakespeare Studies, 14 (1981), pp.229-48.

14. References to editions of ‘standard’ texts are given in the normal manner, but if the emphasis of the book is on the editor’s work it is better to give that name first:

J.W.Smithson (ed), John Locke, An Essay concerning Human
Understanding, London: Macmillan, 1983, p.45.

15. The presentation of items in bibliographic references may vary according to the conventions of the subject discipline. You should be prepared to follow the order which is common in the subject you are studying. Details of references to electronic sources are given here in a separate section.

16. In scholarly texts and in library records, the author’s surname will often be given first, and there is an increasing tendency to follow this with the date of publication, as in the Harvard and the short title referencing system.

© Roy Johnson 2003

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