abstract history essay

Writing an Abstract for Your Research Paper

Definition and Purpose of Abstracts

An abstract is a short summary of your (published or unpublished) research paper, usually about a paragraph (c. 6-7 sentences, 150-250 words) long. A well-written abstract serves multiple purposes:

• an abstract lets readers get the gist or essence of your paper or article quickly, in order to decide whether to read the full paper;
• an abstract prepares readers to follow the detailed information, analyses, and arguments in your full paper;
• and, later, an abstract helps readers remember key points from your paper.

It’s also worth remembering that search engines and bibliographic databases use abstracts, as well as the title, to identify key terms for indexing your published paper. So what you include in your abstract and in your title are crucial for helping other researchers find your paper or article.

If you are writing an abstract for a course paper, your professor may give you specific guidelines for what to include and how to organize your abstract. Similarly, academic journals often have specific requirements for abstracts. So in addition to following the advice on this page, you should be sure to look for and follow any guidelines from the course or journal you’re writing for.

The Contents of an Abstract

Abstracts contain most of the following kinds of information in brief form. The body of your paper will, of course, develop and explain these ideas much more fully. As you will see in the samples below, the proportion of your abstract that you devote to each kind of information—and the sequence of that information—will vary, depending on the nature and genre of the paper that you are summarizing in your abstract. And in some cases, some of this information is implied, rather than stated explicitly. The Publication Manual of the American Psychological Association , which is widely used in the social sciences, gives specific guidelines for what to include in the abstract for different kinds of papers—for empirical studies, literature reviews or meta-analyses, theoretical papers, methodological papers, and case studies.

Here are the typical kinds of information found in most abstracts:

• the context or background information for your research; the general topic under study; the specific topic of your research
• the central questions or statement of the problem your research addresses
• what’s already known about this question, what previous research has done or shown
• the main reason(s) , the exigency, the rationale , the goals for your research—Why is it important to address these questions? Are you, for example, examining a new topic? Why is that topic worth examining? Are you filling a gap in previous research? Applying new methods to take a fresh look at existing ideas or data? Resolving a dispute within the literature in your field? . . .
• your research and/or analytical methods
• your main findings , results , or arguments
• the significance or implications of your findings or arguments.

Your abstract should be intelligible on its own, without a reader’s having to read your entire paper. And in an abstract, you usually do not cite references—most of your abstract will describe what you have studied in your research and what you have found and what you argue in your paper. In the body of your paper, you will cite the specific literature that informs your research.

When to Write Your Abstract

Although you might be tempted to write your abstract first because it will appear as the very first part of your paper, it’s a good idea to wait to write your abstract until after you’ve drafted your full paper, so that you know what you’re summarizing.

What follows are some sample abstracts in published papers or articles, all written by faculty at UW-Madison who come from a variety of disciplines. We have annotated these samples to help you see the work that these authors are doing within their abstracts.

Choosing Verb Tenses within Your Abstract

The social science sample (Sample 1) below uses the present tense to describe general facts and interpretations that have been and are currently true, including the prevailing explanation for the social phenomenon under study. That abstract also uses the present tense to describe the methods, the findings, the arguments, and the implications of the findings from their new research study. The authors use the past tense to describe previous research.

The humanities sample (Sample 2) below uses the past tense to describe completed events in the past (the texts created in the pulp fiction industry in the 1970s and 80s) and uses the present tense to describe what is happening in those texts, to explain the significance or meaning of those texts, and to describe the arguments presented in the article.

The science samples (Samples 3 and 4) below use the past tense to describe what previous research studies have done and the research the authors have conducted, the methods they have followed, and what they have found. In their rationale or justification for their research (what remains to be done), they use the present tense. They also use the present tense to introduce their study (in Sample 3, “Here we report . . .”) and to explain the significance of their study (In Sample 3, This reprogramming . . . “provides a scalable cell source for. . .”).

Sample Abstract 1

From the social sciences.

Reporting new findings about the reasons for increasing economic homogamy among spouses

Gonalons-Pons, Pilar, and Christine R. Schwartz. “Trends in Economic Homogamy: Changes in Assortative Mating or the Division of Labor in Marriage?” Demography , vol. 54, no. 3, 2017, pp. 985-1005.

Sample Abstract 2

From the humanities.

Analyzing underground pulp fiction publications in Tanzania, this article makes an argument about the cultural significance of those publications

Emily Callaci. “Street Textuality: Socialism, Masculinity, and Urban Belonging in Tanzania’s Pulp Fiction Publishing Industry, 1975-1985.” Comparative Studies in Society and History , vol. 59, no. 1, 2017, pp. 183-210.

Sample Abstract/Summary 3

From the sciences.

Reporting a new method for reprogramming adult mouse fibroblasts into induced cardiac progenitor cells

Lalit, Pratik A., Max R. Salick, Daryl O. Nelson, Jayne M. Squirrell, Christina M. Shafer, Neel G. Patel, Imaan Saeed, Eric G. Schmuck, Yogananda S. Markandeya, Rachel Wong, Martin R. Lea, Kevin W. Eliceiri, Timothy A. Hacker, Wendy C. Crone, Michael Kyba, Daniel J. Garry, Ron Stewart, James A. Thomson, Karen M. Downs, Gary E. Lyons, and Timothy J. Kamp. “Lineage Reprogramming of Fibroblasts into Proliferative Induced Cardiac Progenitor Cells by Defined Factors.” Cell Stem Cell , vol. 18, 2016, pp. 354-367.

Sample Abstract 4, a Structured Abstract

Reporting results about the effectiveness of antibiotic therapy in managing acute bacterial sinusitis, from a rigorously controlled study

Note: This journal requires authors to organize their abstract into four specific sections, with strict word limits. Because the headings for this structured abstract are self-explanatory, we have chosen not to add annotations to this sample abstract.

Wald, Ellen R., David Nash, and Jens Eickhoff. “Effectiveness of Amoxicillin/Clavulanate Potassium in the Treatment of Acute Bacterial Sinusitis in Children.” Pediatrics , vol. 124, no. 1, 2009, pp. 9-15.

“OBJECTIVE: The role of antibiotic therapy in managing acute bacterial sinusitis (ABS) in children is controversial. The purpose of this study was to determine the effectiveness of high-dose amoxicillin/potassium clavulanate in the treatment of children diagnosed with ABS.

METHODS : This was a randomized, double-blind, placebo-controlled study. Children 1 to 10 years of age with a clinical presentation compatible with ABS were eligible for participation. Patients were stratified according to age (<6 or ≥6 years) and clinical severity and randomly assigned to receive either amoxicillin (90 mg/kg) with potassium clavulanate (6.4 mg/kg) or placebo. A symptom survey was performed on days 0, 1, 2, 3, 5, 7, 10, 20, and 30. Patients were examined on day 14. Children’s conditions were rated as cured, improved, or failed according to scoring rules.

RESULTS: Two thousand one hundred thirty-five children with respiratory complaints were screened for enrollment; 139 (6.5%) had ABS. Fifty-eight patients were enrolled, and 56 were randomly assigned. The mean age was 6630 months. Fifty (89%) patients presented with persistent symptoms, and 6 (11%) presented with nonpersistent symptoms. In 24 (43%) children, the illness was classified as mild, whereas in the remaining 32 (57%) children it was severe. Of the 28 children who received the antibiotic, 14 (50%) were cured, 4 (14%) were improved, 4(14%) experienced treatment failure, and 6 (21%) withdrew. Of the 28children who received placebo, 4 (14%) were cured, 5 (18%) improved, and 19 (68%) experienced treatment failure. Children receiving the antibiotic were more likely to be cured (50% vs 14%) and less likely to have treatment failure (14% vs 68%) than children receiving the placebo.

CONCLUSIONS : ABS is a common complication of viral upper respiratory infections. Amoxicillin/potassium clavulanate results in significantly more cures and fewer failures than placebo, according to parental report of time to resolution.” (9)

Some Excellent Advice about Writing Abstracts for Basic Science Research Papers, by Professor Adriano Aguzzi from the Institute of Neuropathology at the University of Zurich:

Academic and Professional Writing

This is an accordion element with a series of buttons that open and close related content panels.

Analysis Papers

Reading Poetry

A Short Guide to Close Reading for Literary Analysis

Using Literary Quotations

Play Reviews

Writing a Rhetorical Précis to Analyze Nonfiction Texts

Incorporating Interview Data

Grant Proposals

Planning and Writing a Grant Proposal: The Basics

Additional Resources for Grants and Proposal Writing

Job Materials and Application Essays

Writing Personal Statements for Ph.D. Programs

• Before you begin: useful tips for writing your essay
• Guided brainstorming exercises
• Get more help with your essay
• Frequently Asked Questions

Resume Writing Tips

CV Writing Tips

Cover Letters

Business Letters

Proposals and Dissertations

Resources for Proposal Writers

Resources for Dissertators

Research Papers

Planning and Writing Research Papers

Quoting and Paraphrasing

Writing Annotated Bibliographies

Creating Poster Presentations

Thank-You Notes

Advice for Students Writing Thank-You Notes to Donors

Reading for a Review

Critical Reviews

Writing a Review of Literature

Scientific Reports

Scientific Report Format

Sample Lab Assignment

Writing for the Web

Writing an Effective Blog Post

Writing for Social Media: A Guide for Academics

Department of History

• Why Study History?
• Undergraduate
• Think and Do
• Full Site Navigation
• Degree Programs
• Highlighted Courses
• Student Resources
• Undergraduate Advisors
• History Club
• Prospective Students
• Public History PhD Students
• Get Involved
• Graduate Resources
• Faculty Publications
• Digital Humanities
• Moise A. Khayrallah Center for Lebanese Diaspora Studies
• Brick By Brick Blog
• History Faculty Interview Series

Tips for Writing Conference Paper Abstracts

So you want to answer the Call for Papers? This is a general guide for crafting stand-out conference paper abstracts. It includes recommendations for the content and presentation of the abstract, as well as examples of the best abstracts submitted to the 2012-2013 abstract selection committee for the ninth annual North Carolina State University graduate student history conference.

Typically, an abstract describes the topic you would like to present at the conference, highlighting your argument, evidence and contribution to the historical literature. It is usually restricted to 250-500 words. The word limit can be challenging: some graduate students do not fret over the short limit and hastily write and submit an abstract at the last minute, which often hurts their chances of being accepted; other students try to condense the Next Great American Novel into 250 words, which can be equally damning. Graduate students who approach the abstract early, plan accordingly, and carefully edit are the ones most often invited to present their research. For those who are intimidated by the project, don’t be – the abstract is a fairly standardized form of writing. Follow the basic guidelines below and avoid common pitfalls and you will greatly improve your abstract.

Diligently follow all abstract style and formatting guidelines. Most CFPs will specify page or word length, and perhaps some layout or style guidelines. Some CFPs, however, will list very specific restrictions, including font, font size, spacing, text justification, margins, how to present quotes, how to present authors and works, whether to include footnotes or not. Make sure that you strictly adhere to all guidelines, including submission instructions. If a CFP does not provide abstract style and formatting guidelines, it is generally appropriate to stay around 250 words – abstract committees read a lot of these things and do not look fondly on comparatively long abstracts. Make sure that you orient your abstract topic to address any specific CFP themes, time periods, methods, and/or buzzwords.

With a 250-500 word limit, write only what is necessary, avoiding wordiness. Use active voice and pay attention to excessive prepositional phrasing.

Plan your abstract carefully before writing it. A good abstract will address the following questions:  What is the historical question or problem? Contextualize your topic. What is your thesis/argument? It should be original. What is your evidence? State forthrightly that you are using primary source material. How does your paper fit into the historiography? What's going on in the field of study and how does your paper contribute to it? Why does it matter? We know the topic is important to you, why should it be important to the abstract selection committee?

You should be as specific as possible, avoiding overly broad or overreaching statements and claims. And that’s it: don’t get sidetracked by writing too much narrative or over explaining. Say what you need to say and nothing more.

Keep your audience in mind. How much background you give on a topic will depend on the conference. Is the conference a general humanities conference, a general graduate student history conference, or something more specific like a 1960s social revolutions conference? Your pitch should be suited to the specificity of the conference: the more specific the topic, the less broad background you need to give and vice versa.

Revise and edit your abstract to ensure that its final presentation is error free. The editing phase is also the best time to see your abstract as a whole and chip away at unnecessary words or phrases. The final draft should be linear and clear and it should read smoothly. If you are tripping over something while reading, the abstract selection committee will as well. Ask another graduate student to read your abstract to ensure its clarity or attend a Graduate Student Writing Group meeting.

Your language should be professional and your style should adhere to academic standards. Contractions may be appealing because of the word limits, but they should be avoided. If citation guidelines are not specifically given, it is appropriate to use the author’s name and title of work (in either italics or quotation marks) within the text rather than use footnotes or in-text citations.

Common Pitfalls to Avoid

Misusing questions.

While one question, if really good, may be posed in your abstract, you should avoid writing more than one (maybe two, if really really good). If you do pose a question or two, make sure that you either answer it or address why the question matters to your conference paper – unless you are posing an obvious rhetorical question, you should never just let a question hang there. Too many questions takes up too much space and leaves less room for you to develop your argument, methods, evidence, historiography, etc. Often times, posing too many questions leaves the abstract committee wondering if you are going to address one or all in your paper and if you even know the answers to them. Remember, you are not expected to have already written your conference paper, but you are expected to have done enough research that you are prepared to write about a specific topic that you can adequately cover in 15-20 minutes. Prove that you have done so.

Extraneous Jargon and Over-the-Top Phrasing

Language that helps you be as specific as possible in presenting your argument is great but don’t get your readers bogged down in jargon. They will be reading a lot of abstracts and will not want to wade through the unnecessary language. Keep it simple.

Repetition of Claims

When students repeat claims, they often don’t realize they are doing so. Sometimes this happens because students are not yet clear on their argument. Think about it some more and then write. Other times, students write carelessly and do not proofread. Make sure each sentence is unique and that it contributes to the flow of your abstract.

Writing too Broadly about a Topic

The abstract committee does not need to be reminded of the grand sweep of history in order to contextualize your topic. Place your topic specifically within the historiography.

The samples below represent the five highest scoring samples submitted to the selection committee for the ninth annual graduate student history conference, 2012-2013. Two of the samples below were subsequently selected for publication in the NC State Graduate Journal of History . Outstanding papers presented at the graduate student history conference are recommended for publication by panel commentators. Papers go through a peer review process before publication.

Sample 1: “Asserting Rights, Reclaiming Space: District of Marshpee v. Phineas Fish, 1833-1843”

From May of 1833 to March of 1834, the Mashpee Wampancag tribe of Cape Cod Massachusetts waged an aggressive campaign to gain political and religious autonomy from the state. In March of 1834, the Massachusetts legislature passed an act disbanding the white guardians appointed to conduct affairs for the Mashpee tribe and incorporated Mashpee as an Indian district. The Mashpee tribe's fight to restore self-government and control over land and resources represents a significant "recover of Native space." Equally significant is what happened once that space was recovered.

The topic of this paper addresses an understudied and essential period in the history of the Mashpee Wampanoag tribe. Despite a growing body of literature on the Mashpee, scholars largely neglect the period between 1834 and 1869. This paper looks as the Mashpee tribe's campaign to dismiss Harvard appointed minister Phineas Fish; the fight to regain the parsonage he occupied, its resources, and the community meetinghouse. This paper will argue the tribe asserted its power within the political and physical landscape to reclaim their meetinghouse and the parsonage land. Ultimately, this assertion contributed to shaping, strengthening, and remaking Mashpee community identity. This study examines legislative reports, petitions, letters, and legal documents to construct a narrative of Native agency in the antebellum period. [Note: This is part of my larger thesis project (in progress0 "Mashpee Wampanoag Government Formation and the Evolving Community Identity in the District of Marshpee, 1834-1849."]

Note: This paper, entitled " Testing Rights in Contested Space: The District of Marshpee versus Reverend Phineas Fish, 1833-1839 " was subsequently selected for publication in the NC State Graduate Journal of History .

Sample 2: “Private Paths to Public Places: Local Actors and the Creation of National Parklands in the American South”

This paper explores the connections between private individuals, government entities, and non-governmental organizations in the creation of parklands throughout the American South. While current historiography primarily credits the federal government with the creation of parks and protection of natural wonders, an investigation of parklands in the Southern United States reveals a reoccurring connection between private initiative and park creation. Secondary literature occasionally reflects the importance of local and non-government sources for the preservation of land, yet these works still emphasize the importance of a national bureaucracy setting the tone fore the parks movement. Some works, including Jacoby's Crimes Against Nature examine local actors, but focus on opposition to the imposition of new rules governing land in the face of some outside threat. In spite of scholarly recognition of non-government agencies and local initiative, the importance of local individuals in the creation of parklands remains and understudies aspect of American environmental history. Several examples in the American South raise concerns about the traditional narrative pitting governmental hegemony against local resistance. This paper argues for widespread, sustained interest in both nature preservation and in creating spaces for public recreation at the local level, and finds that the "private path to public parks" merits further investigation.

Note: This paper, entitled " Private Paths to Public Parks in the American South " was subsequently selected for publication in the NC State Graduate Journal of History .

Sample 3: Untitled

Previous generations of English Historians have produced a rich literature about the Levellers and their role in the English Civil Wars (1642-1649), primarily focused on the Putney Debates and their contributions to Anglophone legal and political thought. Typically, their push to extend the franchise and espousal of a theory of popular sovereignty has been central to accounts of Civil War radicalism. Other revisionist accounts depict them as a fragmented sect of millenarian radicals whose religious bent marginalized and possibility that they could make lasting contributions to English politics or society. This paper seeks to locate a Leveller theory of religious toleration, while explaining how their conception of political activity overlapped their religious ideas. Rather than focusing on John Lilburne, often taken as the public face of the Leveller movement, this paper will focus on the equally interesting and far more consistent thinker, William Walwyn. Surveying his personal background, published writings, popular involvement in the Leveller movement, and attacks launched by his critics, I hope to suggest that Walwyn's unique contribution to Anglophone political thought was his defense of religious pluralism in the face of violent sectarians who sought to wield control of the Church of England. Although the Levellers were ultimately suppressed, Walwyn's commitment to a tolerant society and a secular state should not be minimized but rather recognized as part of a larger debate about Church-State relations across early modern Europe. Ultimately this paper aims to contribute to the rich historiography of religious toleration and popular politics more broadly.

Sample 4: “Establishing a National Memory of Citizen Slaughter: A Case Study of the First Memory Site to Mass Murder in United States History - Edmond, Oklahoma, 1986-1989”

Since 1989, memory sites to events of mass murder have not only proliferated rapidly--they have become the normative expectation within American society. For the vast majority of American history, however, events commonly labeled as "mass murder" have resulted in no permanent memory sites and the sites of perpetration themselves have traditionally been either obliterated or rectified so that both the community and the nation could forget the tragedy and move on. This all changed on May 29, 1989 when the community of Edmond, Oklahoma officially dedicated the "Golden Ribbon" memorial to the thirteen people killed in the infamous "post office shooting" of 1986. In this paper I investigate the case of Edmond in order to understand why it became the first memory site of this kind in United States history. I argue that the small town of Edmond's unique political abnormalities on the day of the shooting, coupled with the near total community involvement established ideal conditions for the emergence of this unique type of memory site. I also conduct a historiography of the usage of "the ribbon" in order to illustrate how it has become the symbol of memories of violence and death in American society in the late 20th century. Lastly, I illustrate how the notable lack of communication between people involved in the Edmond and Oklahoma City cases after the 1995 Murrah Federal Building bombing--despite the close geographic and temporal proximity of these cases--illustrates this routinely isolated nature of commemorating mass murder and starkly renders the surprising number of aesthetic similarities that these memory sites share.

Sample 5: “Roman Urns and Sarcophagi: The Quest for Postmortem Identity during the Pax Romana”

"If you want to know who I am, the answer is ash and burnt embers;" thus read an anonymous early Roman's burial inscription. The Romans dealt with death in a variety of ways which incorporated a range of cultural conventions and beliefs--or non-beliefs as in the case of the "ash and embers." By the turn of the first century of this era, the Romans practiced cremation almost exclusively--as the laconic eloquence of the anonymous Roman also succinctly explained. Cremation vanished by the third century, replaced by the practice of the distant past by the fifth century. Burial first began to take hold in the western Roman Empire during the early second century, with the appearance of finely-crafted sarcophagi, but elites from the Roman world did not discuss the practices of cremation and burial in detail. Therefore archaeological evidence, primarily in form of burial vessels such as urns and sarcophagi represented the only place to turn to investigate the transitional to inhumation in the Roman world. This paper analyzed a small corpus of such vessels in order to identify symbolic elements which demarcate individual identities in death, comparing the patterns of these symbols to the fragments of text available relating to death in the Roman world. The analysis concluded that the transition to inhumantion was a movement caused by an increased desire on the part of Romans to preserve identity in death during and following the Pax Romana.

Selection of Papers

In general, the program committee evaluates the abstracts on the following basis:

• Intervention in the Historiography: Does the abstract ask new historical questions? Does the proposal provide new insights on familiar topics?
• Clarity of Presentation: Does the abstract clearly define the topic, scope, and methodologies?
• Argument: Does the abstract clearly lay out the historical argument?
• Style: Is the abstract free of grammatical errors, major spelling mistakes, or other problems that suggest the presenter may not be prepared to deliver a polished paper?

While the co-president of the HGSA organizes and facilitates the abstract selection committee each year and may change the selection process and methods, this rubric still represents a general guide for what a committee looks for when selecting conference participants. Selection is not a science, however: great abstracts are often not accepted because of panel design. It is unlikely, however, that poor abstracts will be selected to fill out panels.

Additional Resources

• Writing Academic Proposals: Conferences, Articles, and Books
• Guidelines for Writing Effective Abstracts for Conference Paper Presentations
• How to Write a Paper or Conference Proposal Abstract

Have a language expert improve your writing

Run a free plagiarism check in 10 minutes, automatically generate references for free.

• Knowledge Base
• Dissertation
• How to Write an Abstract | Steps & Examples

How to Write an Abstract | Steps & Examples

Published on 1 March 2019 by Shona McCombes . Revised on 10 October 2022 by Eoghan Ryan.

An abstract is a short summary of a longer work (such as a dissertation or research paper ). The abstract concisely reports the aims and outcomes of your research, so that readers know exactly what your paper is about.

Although the structure may vary slightly depending on your discipline, your abstract should describe the purpose of your work, the methods you’ve used, and the conclusions you’ve drawn.

One common way to structure your abstract is to use the IMRaD structure. This stands for:

• Introduction

Abstracts are usually around 100–300 words, but there’s often a strict word limit, so make sure to check the relevant requirements.

In a dissertation or thesis , include the abstract on a separate page, after the title page and acknowledgements but before the table of contents .

Instantly correct all language mistakes in your text

Be assured that you'll submit flawless writing. Upload your document to correct all your mistakes.

Table of contents

Abstract example, when to write an abstract, step 1: introduction, step 2: methods, step 3: results, step 4: discussion, tips for writing an abstract, frequently asked questions about abstracts.

Hover over the different parts of the abstract to see how it is constructed.

This paper examines the role of silent movies as a mode of shared experience in the UK during the early twentieth century. At this time, high immigration rates resulted in a significant percentage of non-English-speaking citizens. These immigrants faced numerous economic and social obstacles, including exclusion from public entertainment and modes of discourse (newspapers, theater, radio).

Incorporating evidence from reviews, personal correspondence, and diaries, this study demonstrates that silent films were an affordable and inclusive source of entertainment. It argues for the accessible economic and representational nature of early cinema. These concerns are particularly evident in the low price of admission and in the democratic nature of the actors’ exaggerated gestures, which allowed the plots and action to be easily grasped by a diverse audience despite language barriers.

Keywords: silent movies, immigration, public discourse, entertainment, early cinema, language barriers.

The only proofreading tool specialized in correcting academic writing

The academic proofreading tool has been trained on 1000s of academic texts and by native English editors. Making it the most accurate and reliable proofreading tool for students.

Correct my document today

You will almost always have to include an abstract when:

• Completing a thesis or dissertation
• Submitting a research paper to an academic journal
• Writing a book proposal
• Applying for research grants

It’s easiest to write your abstract last, because it’s a summary of the work you’ve already done. Your abstract should:

• Be a self-contained text, not an excerpt from your paper
• Be fully understandable on its own
• Reflect the structure of your larger work

Start by clearly defining the purpose of your research. What practical or theoretical problem does the research respond to, or what research question did you aim to answer?

You can include some brief context on the social or academic relevance of your topic, but don’t go into detailed background information. If your abstract uses specialised terms that would be unfamiliar to the average academic reader or that have various different meanings, give a concise definition.

After identifying the problem, state the objective of your research. Use verbs like “investigate,” “test,” “analyse,” or “evaluate” to describe exactly what you set out to do.

This part of the abstract can be written in the present or past simple tense  but should never refer to the future, as the research is already complete.

• This study will investigate the relationship between coffee consumption and productivity.
• This study investigates the relationship between coffee consumption and productivity.

Next, indicate the research methods that you used to answer your question. This part should be a straightforward description of what you did in one or two sentences. It is usually written in the past simple tense, as it refers to completed actions.

• Structured interviews will be conducted with 25 participants.
• Structured interviews were conducted with 25 participants.

Don’t evaluate validity or obstacles here — the goal is not to give an account of the methodology’s strengths and weaknesses, but to give the reader a quick insight into the overall approach and procedures you used.

Next, summarise the main research results . This part of the abstract can be in the present or past simple tense.

• Our analysis has shown a strong correlation between coffee consumption and productivity.
• Our analysis shows a strong correlation between coffee consumption and productivity.
• Our analysis showed a strong correlation between coffee consumption and productivity.

Depending on how long and complex your research is, you may not be able to include all results here. Try to highlight only the most important findings that will allow the reader to understand your conclusions.

Finally, you should discuss the main conclusions of your research : what is your answer to the problem or question? The reader should finish with a clear understanding of the central point that your research has proved or argued. Conclusions are usually written in the present simple tense.

• We concluded that coffee consumption increases productivity.
• We conclude that coffee consumption increases productivity.

If there are important limitations to your research (for example, related to your sample size or methods), you should mention them briefly in the abstract. This allows the reader to accurately assess the credibility and generalisability of your research.

If your aim was to solve a practical problem, your discussion might include recommendations for implementation. If relevant, you can briefly make suggestions for further research.

If your paper will be published, you might have to add a list of keywords at the end of the abstract. These keywords should reference the most important elements of the research to help potential readers find your paper during their own literature searches.

Be aware that some publication manuals, such as APA Style , have specific formatting requirements for these keywords.

It can be a real challenge to condense your whole work into just a couple of hundred words, but the abstract will be the first (and sometimes only) part that people read, so it’s important to get it right. These strategies can help you get started.

Read other abstracts

The best way to learn the conventions of writing an abstract in your discipline is to read other people’s. You probably already read lots of journal article abstracts while conducting your literature review —try using them as a framework for structure and style.

You can also find lots of dissertation abstract examples in thesis and dissertation databases .

Reverse outline

Not all abstracts will contain precisely the same elements. For longer works, you can write your abstract through a process of reverse outlining.

For each chapter or section, list keywords and draft one to two sentences that summarise the central point or argument. This will give you a framework of your abstract’s structure. Next, revise the sentences to make connections and show how the argument develops.

Write clearly and concisely

A good abstract is short but impactful, so make sure every word counts. Each sentence should clearly communicate one main point.

To keep your abstract or summary short and clear:

• Avoid passive sentences: Passive constructions are often unnecessarily long. You can easily make them shorter and clearer by using the active voice.
• Avoid long sentences: Substitute longer expressions for concise expressions or single words (e.g., “In order to” for “To”).
• Avoid obscure jargon: The abstract should be understandable to readers who are not familiar with your topic.
• Avoid repetition and filler words: Replace nouns with pronouns when possible and eliminate unnecessary words.
• Avoid detailed descriptions: An abstract is not expected to provide detailed definitions, background information, or discussions of other scholars’ work. Instead, include this information in the body of your thesis or paper.

If you’re struggling to edit down to the required length, you can get help from expert editors with Scribbr’s professional proofreading services .

Check your formatting

If you are writing a thesis or dissertation or submitting to a journal, there are often specific formatting requirements for the abstract—make sure to check the guidelines and format your work correctly. For APA research papers you can follow the APA abstract format .

Checklist: Abstract

The word count is within the required length, or a maximum of one page.

The abstract appears after the title page and acknowledgements and before the table of contents .

I have clearly stated my research problem and objectives.

I have briefly described my methodology .

I have summarized the most important results .

I have stated my main conclusions .

I have mentioned any important limitations and recommendations.

The abstract can be understood by someone without prior knowledge of the topic.

You've written a great abstract! Use the other checklists to continue improving your thesis or dissertation.

An abstract is a concise summary of an academic text (such as a journal article or dissertation ). It serves two main purposes:

• To help potential readers determine the relevance of your paper for their own research.
• To communicate your key findings to those who don’t have time to read the whole paper.

Abstracts are often indexed along with keywords on academic databases, so they make your work more easily findable. Since the abstract is the first thing any reader sees, it’s important that it clearly and accurately summarises the contents of your paper.

An abstract for a thesis or dissertation is usually around 150–300 words. There’s often a strict word limit, so make sure to check your university’s requirements.

The abstract is the very last thing you write. You should only write it after your research is complete, so that you can accurately summarize the entirety of your thesis or paper.

Avoid citing sources in your abstract . There are two reasons for this:

• The abstract should focus on your original research, not on the work of others.
• The abstract should be self-contained and fully understandable without reference to other sources.

There are some circumstances where you might need to mention other sources in an abstract: for example, if your research responds directly to another study or focuses on the work of a single theorist. In general, though, don’t include citations unless absolutely necessary.

The abstract appears on its own page, after the title page and acknowledgements but before the table of contents .

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the ‘Cite this Scribbr article’ button to automatically add the citation to our free Reference Generator.

McCombes, S. (2022, October 10). How to Write an Abstract | Steps & Examples. Scribbr. Retrieved 21 May 2024, from https://www.scribbr.co.uk/thesis-dissertation/abstract/

Is this article helpful?

Shona McCombes

Other students also liked, how to write a thesis or dissertation introduction, thesis & dissertation acknowledgements | tips & examples, dissertation title page.

When you choose to publish with PLOS, your research makes an impact. Make your work accessible to all, without restrictions, and accelerate scientific discovery with options like preprints and published peer review that make your work more Open.

• PLOS Biology
• PLOS Climate
• PLOS Complex Systems
• PLOS Computational Biology
• PLOS Digital Health
• PLOS Genetics
• PLOS Global Public Health
• PLOS Medicine
• PLOS Mental Health
• PLOS Neglected Tropical Diseases
• PLOS Pathogens
• PLOS Sustainability and Transformation
• PLOS Collections
• How to Write an Abstract

Expedite peer review, increase search-ability, and set the tone for your study

The abstract is your chance to let your readers know what they can expect from your article. Learn how to write a clear, and concise abstract that will keep your audience reading.

How your abstract impacts editorial evaluation and future readership

After the title , the abstract is the second-most-read part of your article. A good abstract can help to expedite peer review and, if your article is accepted for publication, it’s an important tool for readers to find and evaluate your work. Editors use your abstract when they first assess your article. Prospective reviewers see it when they decide whether to accept an invitation to review. Once published, the abstract gets indexed in PubMed and Google Scholar , as well as library systems and other popular databases. Like the title, your abstract influences keyword search results. Readers will use it to decide whether to read the rest of your article. Other researchers will use it to evaluate your work for inclusion in systematic reviews and meta-analysis. It should be a concise standalone piece that accurately represents your research. 

What to include in an abstract

The main challenge you’ll face when writing your abstract is keeping it concise AND fitting in all the information you need. Depending on your subject area the journal may require a structured abstract following specific headings. A structured abstract helps your readers understand your study more easily. If your journal doesn’t require a structured abstract it’s still a good idea to follow a similar format, just present the abstract as one paragraph without headings. 

Background or Introduction – What is currently known? Start with a brief, 2 or 3 sentence, introduction to the research area. 

Objectives or Aims – What is the study and why did you do it? Clearly state the research question you’re trying to answer.

Methods – What did you do? Explain what you did and how you did it. Include important information about your methods, but avoid the low-level specifics. Some disciplines have specific requirements for abstract methods. 

• CONSORT for randomized trials.
• STROBE for observational studies
• PRISMA for systematic reviews and meta-analyses

Results – What did you find? Briefly give the key findings of your study. Include key numeric data (including confidence intervals or p values), where possible.

Conclusions – What did you conclude? Tell the reader why your findings matter, and what this could mean for the ‘bigger picture’ of this area of research. 

Writing tips

The main challenge you may find when writing your abstract is keeping it concise AND convering all the information you need to.

• Keep it concise and to the point. Most journals have a maximum word count, so check guidelines before you write the abstract to save time editing it later.
• Write for your audience. Are they specialists in your specific field? Are they cross-disciplinary? Are they non-specialists? If you’re writing for a general audience, or your research could be of interest to the public keep your language as straightforward as possible. If you’re writing in English, do remember that not all of your readers will necessarily be native English speakers.
• Focus on key results, conclusions and take home messages.
• Write your paper first, then create the abstract as a summary.
• Check the journal requirements before you write your abstract, eg. required subheadings.
• Include keywords or phrases to help readers search for your work in indexing databases like PubMed or Google Scholar.
• Double and triple check your abstract for spelling and grammar errors. These kind of errors can give potential reviewers the impression that your research isn’t sound, and can make it easier to find reviewers who accept the invitation to review your manuscript. Your abstract should be a taste of what is to come in the rest of your article.

Don’t

• Sensationalize your research.
• Speculate about where this research might lead in the future.
• Use abbreviations or acronyms (unless absolutely necessary or unless they’re widely known, eg. DNA).
• Repeat yourself unnecessarily, eg. “Methods: We used X technique. Results: Using X technique, we found…”
• Contradict anything in the rest of your manuscript.
• Include content that isn’t also covered in the main manuscript.
• Include citations or references.

Tip: How to edit your work

Editing is challenging, especially if you are acting as both a writer and an editor. Read our guidelines for advice on how to refine your work, including useful tips for setting your intentions, re-review, and consultation with colleagues.

• How to Write a Great Title
• How to Write Your Methods
• How to Report Statistics
• How to Write Discussions and Conclusions
• How to Edit Your Work

The contents of the Peer Review Center are also available as a live, interactive training session, complete with slides, talking points, and activities. …

The contents of the Writing Center are also available as a live, interactive training session, complete with slides, talking points, and activities. …

There’s a lot to consider when deciding where to submit your work. Learn how to choose a journal that will help your study reach its audience, while reflecting your values as a researcher…

What this handout is about

This handout provides definitions and examples of the two main types of abstracts: descriptive and informative. It also provides guidelines for constructing an abstract and general tips for you to keep in mind when drafting. Finally, it includes a few examples of abstracts broken down into their component parts.

What is an abstract?

An abstract is a self-contained, short, and powerful statement that describes a larger work. Components vary according to discipline. An abstract of a social science or scientific work may contain the scope, purpose, results, and contents of the work. An abstract of a humanities work may contain the thesis, background, and conclusion of the larger work. An abstract is not a review, nor does it evaluate the work being abstracted. While it contains key words found in the larger work, the abstract is an original document rather than an excerpted passage.

Why write an abstract?

You may write an abstract for various reasons. The two most important are selection and indexing. Abstracts allow readers who may be interested in a longer work to quickly decide whether it is worth their time to read it. Also, many online databases use abstracts to index larger works. Therefore, abstracts should contain keywords and phrases that allow for easy searching.

Say you are beginning a research project on how Brazilian newspapers helped Brazil’s ultra-liberal president Luiz Ignácio da Silva wrest power from the traditional, conservative power base. A good first place to start your research is to search Dissertation Abstracts International for all dissertations that deal with the interaction between newspapers and politics. “Newspapers and politics” returned 569 hits. A more selective search of “newspapers and Brazil” returned 22 hits. That is still a fair number of dissertations. Titles can sometimes help winnow the field, but many titles are not very descriptive. For example, one dissertation is titled “Rhetoric and Riot in Rio de Janeiro.” It is unclear from the title what this dissertation has to do with newspapers in Brazil. One option would be to download or order the entire dissertation on the chance that it might speak specifically to the topic. A better option is to read the abstract. In this case, the abstract reveals the main focus of the dissertation:

This dissertation examines the role of newspaper editors in the political turmoil and strife that characterized late First Empire Rio de Janeiro (1827-1831). Newspaper editors and their journals helped change the political culture of late First Empire Rio de Janeiro by involving the people in the discussion of state. This change in political culture is apparent in Emperor Pedro I’s gradual loss of control over the mechanisms of power. As the newspapers became more numerous and powerful, the Emperor lost his legitimacy in the eyes of the people. To explore the role of the newspapers in the political events of the late First Empire, this dissertation analyzes all available newspapers published in Rio de Janeiro from 1827 to 1831. Newspapers and their editors were leading forces in the effort to remove power from the hands of the ruling elite and place it under the control of the people. In the process, newspapers helped change how politics operated in the constitutional monarchy of Brazil.

From this abstract you now know that although the dissertation has nothing to do with modern Brazilian politics, it does cover the role of newspapers in changing traditional mechanisms of power. After reading the abstract, you can make an informed judgment about whether the dissertation would be worthwhile to read.

Besides selection, the other main purpose of the abstract is for indexing. Most article databases in the online catalog of the library enable you to search abstracts. This allows for quick retrieval by users and limits the extraneous items recalled by a “full-text” search. However, for an abstract to be useful in an online retrieval system, it must incorporate the key terms that a potential researcher would use to search. For example, if you search Dissertation Abstracts International using the keywords “France” “revolution” and “politics,” the search engine would search through all the abstracts in the database that included those three words. Without an abstract, the search engine would be forced to search titles, which, as we have seen, may not be fruitful, or else search the full text. It’s likely that a lot more than 60 dissertations have been written with those three words somewhere in the body of the entire work. By incorporating keywords into the abstract, the author emphasizes the central topics of the work and gives prospective readers enough information to make an informed judgment about the applicability of the work.

When do people write abstracts?

• when submitting articles to journals, especially online journals
• when applying for research grants
• when writing a book proposal
• when completing the Ph.D. dissertation or M.A. thesis
• when writing a proposal for a conference paper
• when writing a proposal for a book chapter

Most often, the author of the entire work (or prospective work) writes the abstract. However, there are professional abstracting services that hire writers to draft abstracts of other people’s work. In a work with multiple authors, the first author usually writes the abstract. Undergraduates are sometimes asked to draft abstracts of books/articles for classmates who have not read the larger work.

Types of abstracts

There are two types of abstracts: descriptive and informative. They have different aims, so as a consequence they have different components and styles. There is also a third type called critical, but it is rarely used. If you want to find out more about writing a critique or a review of a work, see the UNC Writing Center handout on writing a literature review . If you are unsure which type of abstract you should write, ask your instructor (if the abstract is for a class) or read other abstracts in your field or in the journal where you are submitting your article.

Descriptive abstracts

A descriptive abstract indicates the type of information found in the work. It makes no judgments about the work, nor does it provide results or conclusions of the research. It does incorporate key words found in the text and may include the purpose, methods, and scope of the research. Essentially, the descriptive abstract describes the work being abstracted. Some people consider it an outline of the work, rather than a summary. Descriptive abstracts are usually very short—100 words or less.

Informative abstracts

The majority of abstracts are informative. While they still do not critique or evaluate a work, they do more than describe it. A good informative abstract acts as a surrogate for the work itself. That is, the writer presents and explains all the main arguments and the important results and evidence in the complete article/paper/book. An informative abstract includes the information that can be found in a descriptive abstract (purpose, methods, scope) but also includes the results and conclusions of the research and the recommendations of the author. The length varies according to discipline, but an informative abstract is rarely more than 10% of the length of the entire work. In the case of a longer work, it may be much less.

Here are examples of a descriptive and an informative abstract of this handout on abstracts . Descriptive abstract:

The two most common abstract types—descriptive and informative—are described and examples of each are provided.

Informative abstract:

Abstracts present the essential elements of a longer work in a short and powerful statement. The purpose of an abstract is to provide prospective readers the opportunity to judge the relevance of the longer work to their projects. Abstracts also include the key terms found in the longer work and the purpose and methods of the research. Authors abstract various longer works, including book proposals, dissertations, and online journal articles. There are two main types of abstracts: descriptive and informative. A descriptive abstract briefly describes the longer work, while an informative abstract presents all the main arguments and important results. This handout provides examples of various types of abstracts and instructions on how to construct one.

Which type should I use?

Your best bet in this case is to ask your instructor or refer to the instructions provided by the publisher. You can also make a guess based on the length allowed; i.e., 100-120 words = descriptive; 250+ words = informative.

How do I write an abstract?

The format of your abstract will depend on the work being abstracted. An abstract of a scientific research paper will contain elements not found in an abstract of a literature article, and vice versa. However, all abstracts share several mandatory components, and there are also some optional parts that you can decide to include or not. When preparing to draft your abstract, keep the following key process elements in mind:

• Reason for writing: What is the importance of the research? Why would a reader be interested in the larger work?
• Problem: What problem does this work attempt to solve? What is the scope of the project? What is the main argument/thesis/claim?
• Methodology: An abstract of a scientific work may include specific models or approaches used in the larger study. Other abstracts may describe the types of evidence used in the research.
• Results: Again, an abstract of a scientific work may include specific data that indicates the results of the project. Other abstracts may discuss the findings in a more general way.
• Implications: What changes should be implemented as a result of the findings of the work? How does this work add to the body of knowledge on the topic?

(This list of elements is adapted with permission from Philip Koopman, “How to Write an Abstract.” )

All abstracts include:

• A full citation of the source, preceding the abstract.
• The most important information first.
• The same type and style of language found in the original, including technical language.
• Key words and phrases that quickly identify the content and focus of the work.
• Clear, concise, and powerful language.

Abstracts may include:

• The thesis of the work, usually in the first sentence.
• Background information that places the work in the larger body of literature.
• The same chronological structure as the original work.

How not to write an abstract:

• Do not refer extensively to other works.
• Do not add information not contained in the original work.
• Do not define terms.

If you are abstracting your own writing

When abstracting your own work, it may be difficult to condense a piece of writing that you have agonized over for weeks (or months, or even years) into a 250-word statement. There are some tricks that you could use to make it easier, however.

Reverse outlining:

This technique is commonly used when you are having trouble organizing your own writing. The process involves writing down the main idea of each paragraph on a separate piece of paper– see our short video . For the purposes of writing an abstract, try grouping the main ideas of each section of the paper into a single sentence. Practice grouping ideas using webbing or color coding .

For a scientific paper, you may have sections titled Purpose, Methods, Results, and Discussion. Each one of these sections will be longer than one paragraph, but each is grouped around a central idea. Use reverse outlining to discover the central idea in each section and then distill these ideas into one statement.

Cut and paste:

To create a first draft of an abstract of your own work, you can read through the entire paper and cut and paste sentences that capture key passages. This technique is useful for social science research with findings that cannot be encapsulated by neat numbers or concrete results. A well-written humanities draft will have a clear and direct thesis statement and informative topic sentences for paragraphs or sections. Isolate these sentences in a separate document and work on revising them into a unified paragraph.

If you are abstracting someone else’s writing

When abstracting something you have not written, you cannot summarize key ideas just by cutting and pasting. Instead, you must determine what a prospective reader would want to know about the work. There are a few techniques that will help you in this process:

Identify key terms:

Search through the entire document for key terms that identify the purpose, scope, and methods of the work. Pay close attention to the Introduction (or Purpose) and the Conclusion (or Discussion). These sections should contain all the main ideas and key terms in the paper. When writing the abstract, be sure to incorporate the key terms.

Highlight key phrases and sentences:

Instead of cutting and pasting the actual words, try highlighting sentences or phrases that appear to be central to the work. Then, in a separate document, rewrite the sentences and phrases in your own words.

Don’t look back:

After reading the entire work, put it aside and write a paragraph about the work without referring to it. In the first draft, you may not remember all the key terms or the results, but you will remember what the main point of the work was. Remember not to include any information you did not get from the work being abstracted.

Revise, revise, revise

No matter what type of abstract you are writing, or whether you are abstracting your own work or someone else’s, the most important step in writing an abstract is to revise early and often. When revising, delete all extraneous words and incorporate meaningful and powerful words. The idea is to be as clear and complete as possible in the shortest possible amount of space. The Word Count feature of Microsoft Word can help you keep track of how long your abstract is and help you hit your target length.

Example 1: Humanities abstract

Kenneth Tait Andrews, “‘Freedom is a constant struggle’: The dynamics and consequences of the Mississippi Civil Rights Movement, 1960-1984” Ph.D. State University of New York at Stony Brook, 1997 DAI-A 59/02, p. 620, Aug 1998

This dissertation examines the impacts of social movements through a multi-layered study of the Mississippi Civil Rights Movement from its peak in the early 1960s through the early 1980s. By examining this historically important case, I clarify the process by which movements transform social structures and the constraints movements face when they try to do so. The time period studied includes the expansion of voting rights and gains in black political power, the desegregation of public schools and the emergence of white-flight academies, and the rise and fall of federal anti-poverty programs. I use two major research strategies: (1) a quantitative analysis of county-level data and (2) three case studies. Data have been collected from archives, interviews, newspapers, and published reports. This dissertation challenges the argument that movements are inconsequential. Some view federal agencies, courts, political parties, or economic elites as the agents driving institutional change, but typically these groups acted in response to the leverage brought to bear by the civil rights movement. The Mississippi movement attempted to forge independent structures for sustaining challenges to local inequities and injustices. By propelling change in an array of local institutions, movement infrastructures had an enduring legacy in Mississippi.

Now let’s break down this abstract into its component parts to see how the author has distilled his entire dissertation into a ~200 word abstract.

What the dissertation does This dissertation examines the impacts of social movements through a multi-layered study of the Mississippi Civil Rights Movement from its peak in the early 1960s through the early 1980s. By examining this historically important case, I clarify the process by which movements transform social structures and the constraints movements face when they try to do so.

How the dissertation does it The time period studied in this dissertation includes the expansion of voting rights and gains in black political power, the desegregation of public schools and the emergence of white-flight academies, and the rise and fall of federal anti-poverty programs. I use two major research strategies: (1) a quantitative analysis of county-level data and (2) three case studies.

What materials are used Data have been collected from archives, interviews, newspapers, and published reports.

Conclusion This dissertation challenges the argument that movements are inconsequential. Some view federal agencies, courts, political parties, or economic elites as the agents driving institutional change, but typically these groups acted in response to movement demands and the leverage brought to bear by the civil rights movement. The Mississippi movement attempted to forge independent structures for sustaining challenges to local inequities and injustices. By propelling change in an array of local institutions, movement infrastructures had an enduring legacy in Mississippi.

Keywords social movements Civil Rights Movement Mississippi voting rights desegregation

Example 2: Science Abstract

Luis Lehner, “Gravitational radiation from black hole spacetimes” Ph.D. University of Pittsburgh, 1998 DAI-B 59/06, p. 2797, Dec 1998

The problem of detecting gravitational radiation is receiving considerable attention with the construction of new detectors in the United States, Europe, and Japan. The theoretical modeling of the wave forms that would be produced in particular systems will expedite the search for and analysis of detected signals. The characteristic formulation of GR is implemented to obtain an algorithm capable of evolving black holes in 3D asymptotically flat spacetimes. Using compactification techniques, future null infinity is included in the evolved region, which enables the unambiguous calculation of the radiation produced by some compact source. A module to calculate the waveforms is constructed and included in the evolution algorithm. This code is shown to be second-order convergent and to handle highly non-linear spacetimes. In particular, we have shown that the code can handle spacetimes whose radiation is equivalent to a galaxy converting its whole mass into gravitational radiation in one second. We further use the characteristic formulation to treat the region close to the singularity in black hole spacetimes. The code carefully excises a region surrounding the singularity and accurately evolves generic black hole spacetimes with apparently unlimited stability.

This science abstract covers much of the same ground as the humanities one, but it asks slightly different questions.

Why do this study The problem of detecting gravitational radiation is receiving considerable attention with the construction of new detectors in the United States, Europe, and Japan. The theoretical modeling of the wave forms that would be produced in particular systems will expedite the search and analysis of the detected signals.

What the study does The characteristic formulation of GR is implemented to obtain an algorithm capable of evolving black holes in 3D asymptotically flat spacetimes. Using compactification techniques, future null infinity is included in the evolved region, which enables the unambiguous calculation of the radiation produced by some compact source. A module to calculate the waveforms is constructed and included in the evolution algorithm.

Results This code is shown to be second-order convergent and to handle highly non-linear spacetimes. In particular, we have shown that the code can handle spacetimes whose radiation is equivalent to a galaxy converting its whole mass into gravitational radiation in one second. We further use the characteristic formulation to treat the region close to the singularity in black hole spacetimes. The code carefully excises a region surrounding the singularity and accurately evolves generic black hole spacetimes with apparently unlimited stability.

Keywords gravitational radiation (GR) spacetimes black holes

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Belcher, Wendy Laura. 2009. Writing Your Journal Article in Twelve Weeks: A Guide to Academic Publishing Success. Thousand Oaks, CA: Sage Press.

Koopman, Philip. 1997. “How to Write an Abstract.” Carnegie Mellon University. October 1997. http://users.ece.cmu.edu/~koopman/essays/abstract.html .

Lancaster, F.W. 2003. Indexing And Abstracting in Theory and Practice , 3rd ed. London: Facet Publishing.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

Make a Gift

How to Write an Abstract

An abstract of a work, usually of an essay, is a concise summary of its main points. It is meant to concentrate the argument of a work, presenting it as clearly as possible.

The abstract often appears after the title and before the main body of an essay. If you are writing an abstract as part of an assignment, you should check with your instructor about where to place it.

Here are a few guidelines to follow when composing an abstract:

• In general, avoid too much copying and pasting directly from your essay, especially from the first paragraph. An abstract is often presented directly before an essay, and it will often be the first thing readers consult after your title. You wouldn’t repeat your ideas verbatim in the body of your essay, so why would you do that in an abstract? Consider the abstract part of the work itself. 
• Start off strong. An abstract should be a mini essay, so it should begin with a clear statement of your argument. This should be the first sentence or two.
• Abstracts vary in length. But a good rule is to aim for five to seven sentences. The bulk of the abstract will review the evidence for your claim and summarize your findings.
• Avoid complicated syntax. Long sentences and intricate phrasing have their place in essays, but the abstract should be concise. It is not the place for ambitious grammar.
• The last sentence or two should point to any conclusions reached and the direction future research might take. Like the first sentence, the last should be provocative and direct. Leave your readers wanting to read your essay.

In what follows, the authors have written an effective abstract that adheres to the basic principles above:

Literary critics have long imagined that T. S. Eliot’s The Sacred Wood (1920) shaped the canon and methods of countless twentieth-century classrooms. This essay turns instead to the classroom that made The Sacred Wood : the Modern English Literature extension school tutorial that Eliot taught to working-class adults between 1916 and 1919. Contextualizing Eliot’s tutorial within the extension school movement shows how the ethos and practices of the Workers’ Educational Association shaped his teaching. Over the course of three years, Eliot and his students reimagined canonical literature as writing by working poets for working people—a model of literary history that fully informed his canon reformation in The Sacred Wood . This example demonstrates how attention to teaching changes the history of English literary study. It further reveals how all kinds of institutions, not just elite universities, have shaped the discipline’s methods and canons. (Buurma and Heffernan)

This abstract uses the first two sentences to establish the essay’s place in its field of study and to suggest how it intervenes in existing scholarship. The syntax is direct and simple. The third sentence begins to outline how the authors will support their argument. They aim to demonstrate the relevance of Eliot’s teaching to his ideas about literature, and so they move next to discuss some of the details of that teaching. Finally, the abstract concludes by telling us about the consequences of this argument. The conclusion both points to new directions for research and tells us why we should read the essay. 

Buurma, Rachel Sagner, and Laura Heffernan. Abstract of “The Classroom in the Canon: T. S. Eliot’s Modern English Literature Extension Course for Working People and  The Sacred Wood. ”  PMLA , vol. 133, no. 2, Mar. 2018, p. 463.

Estate Best 18 July 2021 AT 05:07 AM

Please how will I write an abstract for my own poem collections?

Your e-mail address will not be published

Marc Simoes 01 April 2022 AT 04:04 PM

I am teaching students how to format and write an abstract, but I find no precise guidelines in the MLA Handbook. Should the first word of the abstract body text begin with the word "Abstract" followed by a period or colon and then the abstract content? Should the word "Abstract" be underlined? Over the years, I was taught both of these ways by different instructors, but I haven't found any definitive instructions, and now my students are asking me the correct format. Please help! Thank you!

Joseph Wallace 12 April 2022 AT 01:04 PM

Although publishers like the MLA will use their own house style guidelines for abstracts in published material, there is no one correct way for students to format their abstracts. Instructors should decide what works best for their classes and assignments.

Lorraine Belo 17 April 2022 AT 10:04 PM

Can you write a brief abstract about your MLA writing

Subrata Biswas 13 July 2023 AT 10:07 AM

Generally, the abstract is written in Italics. Is there any rule as such?

Joseph Wallace 31 July 2023 AT 10:07 AM

Thanks for your question. There is no rule saying that abstracts need to be written in italics. Some publications use italics for abstracts and some do not.

Dhan 07 January 2024 AT 12:01 PM

Should I write key words at the end of the abstract of Phd dissertation?

Join the Conversation

We invite you to comment on this post and exchange ideas with other site visitors. Comments are moderated and subject to terms of service.

If you have a question for the MLA's editors, submit it to Ask the MLA!

Writing a Good History Paper

• Top Ten Reasons for Negative Comments
• Making Sure your Paper has Substance

Common Marginal Remarks on Style, Clarity, Grammar, and Syntax

Word and phrase usage problems, analyzing a historical document, writing a book review, writing a term paper or senior thesis, top ten reasons for negative comments on history papers.

(Drawn from a survey of the History Department ) 10. You engage in cheap, anachronistic moralizing .  9. You are sloppy with the chronology .  8. You quote excessively or improperly .  7. You have written a careless “one-draft wonder.” (See revise and proofread)  6. You are vague or have empty, unsupported generalizations .  5. You write too much in the passive voice.  4. You use inappropriate sources .  3. You use evidence uncritically.  2. You are wordy .  1. You have no clear thesis and little analysis.

Making Sure your History Paper has Substance

Get off to a good start..

Avoid pretentious, vapid beginnings. If you are writing a paper on, say, British responses to the rebellion in India in 1857, don't open with a statement like this: “Throughout human history people in all cultures everywhere in the world have engaged in many and long-running conflicts about numerous aspects of government policy and diplomatic issues, which have much interested historians and generated historical theories in many areas.” This is pure garbage, bores the reader, and is a sure sign that you have nothing substantive to say. Get to the point. Here’s a better start: “The rebellion in 1857 compelled the British to rethink their colonial administration in India.” This sentence tells the reader what your paper is actually about and clears the way for you to state your thesis in the rest of the opening paragraph. For example, you might go on to argue that greater British sensitivity to Indian customs was hypocritical.

State a clear thesis.

Whether you are writing an exam essay or a senior thesis, you need to have a thesis. Don’t just repeat the assignment or start writing down everything that you know about the subject. Ask yourself, “What exactly am I trying to prove?” Your thesis is your take on the subject, your perspective, your explanation—that is, the case that you’re going to argue. “Famine struck Ireland in the 1840s” is a true statement, but it is not a thesis. “The English were responsible for famine in Ireland in the 1840s” is a thesis (whether defensible or not is another matter). A good thesis answers an important research question about how or why something happened. (“Who was responsible for the famine in Ireland in the 1840s?”) Once you have laid out your thesis, don’t forget about it. Develop your thesis logically from paragraph to paragraph. Your reader should always know where your argument has come from, where it is now, and where it is going.

Be sure to analyze.

Students are often puzzled when their professors mark them down for summarizing or merely narrating rather than analyzing. What does it mean to analyze? In the narrow sense, to analyze means to break down into parts and to study the interrelationships of those parts. If you analyze water, you break it down into hydrogen and oxygen. In a broader sense, historical analysis explains the origins and significance of events. Historical analysis digs beneath the surface to see relationships or distinctions that are not immediately obvious. Historical analysis is critical; it evaluates sources, assigns significance to causes, and weighs competing explanations. Don’t push the distinction too far, but you might think of summary and analysis this way: Who, what, when, and where are the stuff of summary; how, why, and to what effect are the stuff of analysis. Many students think that they have to give a long summary (to show the professor that they know the facts) before they get to their analysis. Try instead to begin your analysis as soon as possible, sometimes without any summary at all. The facts will “shine through” a good analysis. You can't do an analysis unless you know the facts, but you can summarize the facts without being able to do an analysis. Summary is easier and less sophisticated than analysis—that’s why summary alone never earns an “A.”

Use evidence critically.

Like good detectives, historians are critical of their sources and cross-check them for reliability. You wouldn't think much of a detective who relied solely on a suspect’s archenemy to check an alibi. Likewise, you wouldn't think much of a historian who relied solely on the French to explain the origins of World War I. Consider the following two statements on the origin of World War I: 1) “For the catastrophe of 1914 the Germans are responsible. Only a professional liar would deny this...” 2) “It is not true that Germany is guilty of having caused this war. Neither the people, the government, nor the Kaiser wanted war....”  They can’t both be right, so you have to do some detective work. As always, the best approach is to ask: Who wrote the source? Why? When? Under what circumstances? For whom? The first statement comes from a book by the French politician Georges Clemenceau, which he wrote in 1929 at the very end of his life. In 1871, Clemenceau had vowed revenge against Germany for its defeat of France in the Franco-Prussian War. As premier of France from 1917 to 1920, he represented France at the Paris Peace Conference in 1919. He was obviously not a disinterested observer. The second statement comes from a manifesto published by ninety-three prominent German intellectuals in the fall of 1914. They were defending Germany against charges of aggression and brutality. They too were obviously not disinterested observers. Now, rarely do you encounter such extreme bias and passionate disagreement, but the principle of criticizing and cross-checking sources always applies. In general, the more sources you can use, and the more varied they are, the more likely you are to make a sound historical judgment, especially when passions and self-interests are engaged. You don’t need to be cynical as a historian (self-interest does not explain everything), but you do need to be critical and skeptical. Competent historians may offer different interpretations of the same evidence or choose to stress different evidence. You will not find a single historical Truth with a capital “T” on any matter of significance. You can, however, learn to discriminate among conflicting interpretations, not all of which are created equal. (See also: Analyzing a Historical Document )

Be precise.

Vague statements and empty generalizations suggest that you haven't put in the time to learn the material. Consider these two sentences: “During the French Revolution, the government was overthrown by the people. The Revolution is important because it shows that people need freedom.” What people? Landless peasants? Urban journeymen? Wealthy lawyers? Which government? When? How? Who exactly needed freedom, and what did they mean by freedom? Here is a more precise statement about the French Revolution: “Threatened by rising prices and food shortages in 1793, the Parisian sans-culottes pressured the Convention to institute price controls.” This statement is more limited than the grandiose generalizations about the Revolution, but unlike them, it can open the door to a real analysis of the Revolution. Be careful when you use grand abstractions like people, society, freedom, and government, especially when you further distance yourself from the concrete by using these words as the apparent antecedents for the pronouns they and it. Always pay attention to cause and effect. Abstractions do not cause or need anything; particular people or particular groups of people cause or need things. Avoid grandiose trans-historical generalizations that you can’t support. When in doubt about the appropriate level of precision or detail, err on the side of adding “too much” precision and detail.

Watch the chronology.

Anchor your thesis in a clear chronological framework and don't jump around confusingly. Take care to avoid both anachronisms and vagueness about dates. If you write, “Napoleon abandoned his Grand Army in Russia and caught the redeye back to Paris,” the problem is obvious. If you write, “Despite the Watergate scandal, Nixon easily won reelection in 1972,” the problem is more subtle, but still serious. (The scandal did not become public until after the election.) If you write, “The revolution in China finally succeeded in the twentieth century,” your professor may suspect that you haven’t studied. Which revolution? When in the twentieth century? Remember that chronology is the backbone of history. What would you think of a biographer who wrote that you graduated from Hamilton in the 1950s?

Cite sources carefully.

Your professor may allow parenthetical citations in a short paper with one or two sources, but you should use footnotes for any research paper in history. Parenthetical citations are unaesthetic; they scar the text and break the flow of reading. Worse still, they are simply inadequate to capture the richness of historical sources. Historians take justifiable pride in the immense variety of their sources. Parenthetical citations such as (Jones 1994) may be fine for most of the social sciences and humanities, where the source base is usually limited to recent books and articles in English. Historians, however, need the flexibility of the full footnote. Try to imagine this typical footnote (pulled at random from a classic work of German history) squeezed into parentheses in the body of the text: DZA Potsdam, RdI, Frieden 5, Erzgebiet von Longwy-Briey, Bd. I, Nr. 19305, gedruckte Denkschrift für OHL und Reichsleitung, Dezember 1917, und in RWA, Frieden Frankreich Nr. 1883. The abbreviations are already in this footnote; its information cannot be further reduced. For footnotes and bibliography, historians usually use Chicago style. (The Chicago Manual of Style. 15th edition. Chicago: University of Chicago Press, 2003.) On the Writing Center’s website you can find a useful summary of Chicago citation style prepared by a former history major, Elizabeth Rabe ’04 ( Footnotes ). RefWorks (on the library’s website) will convert your citations to Chicago style. Don’t hesitate to ask one of the reference librarians for help if you have trouble getting started on RefWorks.

Use primary sources.

Use as many primary sources as possible in your paper. A primary source is one produced by a participant in or witness of the events you are writing about. A primary source allows the historian to see the past through the eyes of direct participants. Some common primary sources are letters, diaries, memoirs, speeches, church records, newspaper articles, and government documents of all kinds. The capacious genre “government records” is probably the single richest trove for the historian and includes everything from criminal court records, to tax lists, to census data, to parliamentary debates, to international treaties—indeed, any records generated by governments. If you’re writing about culture, primary sources may include works of art or literature, as well as philosophical tracts or scientific treatises—anything that comes under the broad rubric of culture. Not all primary sources are written. Buildings, monuments, clothes, home furnishings, photographs, religious relics, musical recordings, or oral reminiscences can all be primary sources if you use them as historical clues. The interests of historians are so broad that virtually anything can be a primary source. (See also: Analyzing a Historical Document )

Use scholarly secondary sources.

A secondary source is one written by a later historian who had no part in what he or she is writing about. (In the rare cases when the historian was a participant in the events, then the work—or at least part of it—is a primary source.) Historians read secondary sources to learn about how scholars have interpreted the past. Just as you must be critical of primary sources, so too you must be critical of secondary sources. You must be especially careful to distinguish between scholarly and non-scholarly secondary sources. Unlike, say, nuclear physics, history attracts many amateurs. Books and articles about war, great individuals, and everyday material life dominate popular history. Some professional historians disparage popular history and may even discourage their colleagues from trying their hand at it. You need not share their snobbishness; some popular history is excellent. But—and this is a big but—as a rule, you should avoid popular works in your research, because they are usually not scholarly. Popular history seeks to inform and entertain a large general audience. In popular history, dramatic storytelling often prevails over analysis, style over substance, simplicity over complexity, and grand generalization over careful qualification. Popular history is usually based largely or exclusively on secondary sources. Strictly speaking, most popular histories might better be called tertiary, not secondary, sources. Scholarly history, in contrast, seeks to discover new knowledge or to reinterpret existing knowledge. Good scholars wish to write clearly and simply, and they may spin a compelling yarn, but they do not shun depth, analysis, complexity, or qualification. Scholarly history draws on as many primary sources as practical. Now, your goal as a student is to come as close as possible to the scholarly ideal, so you need to develop a nose for distinguishing the scholarly from the non-scholarly. Here are a few questions you might ask of your secondary sources (bear in mind that the popular/scholarly distinction is not absolute, and that some scholarly work may be poor scholarship). Who is the author? Most scholarly works are written by professional historians (usually professors) who have advanced training in the area they are writing about. If the author is a journalist or someone with no special historical training, be careful. Who publishes the work? Scholarly books come from university presses and from a handful of commercial presses (for example, Norton, Routledge, Palgrave, Penguin, Rowman & Littlefield, Knopf, and HarperCollins). If it’s an article, where does it appear? Is it in a journal subscribed to by our library, listed on JSTOR , or published by a university press? Is the editorial board staffed by professors? Oddly enough, the word journal in the title is usually a sign that the periodical is scholarly. What do the notes and bibliography look like? If they are thin or nonexistent, be careful. If they are all secondary sources, be careful. If the work is about a non-English-speaking area, and all the sources are in English, then it's almost by definition not scholarly. Can you find reviews of the book in the data base Academic Search Premier? If the book was published within the last few decades, and it’s not in there, that’s a bad sign. With a little practice, you can develop confidence in your judgment—and you’re on your way to being a historian. If you are unsure whether a work qualifies as scholarly, ask your professor. (See also: Writing a Book Review )

Avoid abusing your sources.

Many potentially valuable sources are easy to abuse. Be especially alert for these five abuses: Web abuse. The Web is a wonderful and improving resource for indexes and catalogs. But as a source for primary and secondary material for the historian, the Web is of limited value. Anyone with the right software can post something on the Web without having to get past trained editors, peer reviewers, or librarians. As a result, there is a great deal of garbage on the Web. If you use a primary source from the Web, make sure that a respected intellectual institution stands behind the site. Be especially wary of secondary articles on the Web, unless they appear in electronic versions of established print journals (e.g., The Journal of Asian Studies in JSTOR). Many articles on the Web are little more than third-rate encyclopedia entries. When in doubt, check with your professor. With a few rare exceptions, you will not find scholarly monographs in history (even recent ones) on the Web. You may have heard of Google’s plans to digitize the entire collections of some of the world’s major libraries and to make those collections available on the Web. Don’t hold your breath. Your days at Hamilton will be long over by the time the project is finished. Besides, your training as a historian should give you a healthy skepticism of the giddy claims of technophiles. Most of the time and effort of doing history goes into reading, note-taking, pondering, and writing. Finding a chapter of a book on the Web (as opposed to getting the physical book through interlibrary loan) might be a convenience, but it doesn’t change the basics for the historian. Moreover, there is a subtle, but serious, drawback with digitized old books: They break the historian’s sensual link to the past. And of course, virtually none of the literally trillions of pages of archival material is available on the Web. For the foreseeable future, the library and the archive will remain the natural habitats of the historian. Thesaurus abuse. How tempting it is to ask your computer’s thesaurus to suggest a more erudite-sounding word for the common one that popped into your mind! Resist the temptation. Consider this example (admittedly, a bit heavy-handed, but it drives the point home): You’re writing about the EPA’s programs to clean up impure water supplies. Impure seems too simple and boring a word, so you bring up your thesaurus, which offers you everything from incontinent to meretricious. “How about meretricious water?” you think to yourself. “That will impress the professor.” The problem is that you don’t know exactly what meretricious means, so you don’t realize that meretricious is absurdly inappropriate in this context and makes you look foolish and immature. Use only those words that come to you naturally. Don’t try to write beyond your vocabulary. Don’t try to impress with big words. Use a thesaurus only for those annoying tip-of-the-tongue problems (you know the word and will recognize it instantly when you see it, but at the moment you just can’t think of it).  Quotation book abuse. This is similar to thesaurus abuse. Let’s say you are writing a paper on Alexander Hamilton’s banking policies, and you want to get off to a snappy start that will make you seem effortlessly learned. How about a quotation on money? You click on the index of Bartlett’s Familiar Quotations , and before you know it, you’ve begun your paper with, “As Samuel Butler wrote in Hudibras ,  ‘For what is worth in anything/ But so much money as ’t will bring?’” Face it, you’re faking it. You don’t know who Samuel Butler is, and you’ve certainly never heard of Hudibras , let alone read it. Your professor is not fooled. You sound like an insecure after-dinner speaker. Forget Bartlett’s, unless you're confirming the wording of a quotation that came to you spontaneously and relates to your paper.  Encyclopedia abuse. General encyclopedias like Britannica are useful for checking facts (“Wait a sec, am I right about which countries sent troops to crush the Boxer Rebellion in China? Better check.”). But if you are footnoting encyclopedias in your papers, you are not doing college-level research.

Dictionary Abuse. The dictionary is your friend. Keep it by your side as you write, but do not abuse it by starting papers with a definition. You may be most tempted to start this way when you are writing on a complex, controversial, or elusive subject. (“According to Webster’s Collegiate Dictionary , liberalism is defined as...”). Actually, the dictionary does you little good in such cases and makes you sound like a conscientious but dull high-school student. Save in the rare case that competing dictionary definitions are the subject at hand, keep dictionary quotations out of your paper.

Quote sparingly

Avoid quoting a secondary source and then simply rewording or summarizing the quotation, either above or below the quotation. It is rarely necessary to quote secondary sources at length, unless your essay focuses on a critical analysis of the author’s argument. (See also: Writing a Book Review ) Your professor wants to see your ability to analyze and to understand the secondary sources. Do not quote unless the quotation clarifies or enriches your analysis. When in doubt, do not quote; instead, integrate the author’s argument into your own (though be sure to acknowledge ideas from your sources, even when you are paraphrasing). If you use a lot of quotations from secondary sources, you are probably writing a poor paper. An analysis of a primary source, such as a political tract or philosophical essay, might require lengthy quotations, often in block format. In such cases, you might need to briefly repeat key points or passages as a means to introduce the author’s ideas, but your analysis and interpretation of the text’s meaning should remain the most important aim. (See also: Using primary sources and Use scholarly secondary sources .)

Know your audience

Unless instructed otherwise, you should assume that your audience consists of educated, intelligent, nonspecialists. In fact, your professor will usually be your only reader, but if you write directly to your professor, you may become cryptic or sloppy (oh well, she’ll know what I’m talking about). Explaining your ideas to someone who doesn't know what you mean forces you to be clear and complete. Now, finding the right amount of detail can, admittedly, be tricky (how much do I put in about the Edict of Nantes, the Embargo Act, or President Wilson’s background?). When in doubt, err on the side of putting in extra details. You’ll get some leeway here if you avoid the extremes (my reader’s an ignoramus/my reader knows everything).

Avoid cheap, anachronistic moralizing

Many of the people and institutions of the past appear unenlightened, ignorant, misguided, or bigoted by today’s values. Resist the temptation to condemn or to get self-righteous. (“Martin Luther was blind to the sexism and class prejudice of sixteenth-century German society.”) Like you, people in the past were creatures of their time; like you, they deserve to be judged by the standards of their time. If you judge the past by today’s standards (an error historians call “presentism”), you will never understand why people thought or acted as they did. Yes, Hitler was a bad guy, but he was bad not only by today’s standards, but also by the commonly accepted standards of his own time. Someday you’re going to look pretty foolish and ignorant yourself. (“Early twenty-first century Hamilton students failed to see the shocking inderdosherism [that’s right, you don’t recognize the concept because it doesn’t yet exist] implicit in their career plans.”)

Have a strong conclusion

Obviously, you should not just stop abruptly as though you have run out of time or ideas. Your conclusion should conclude something. If you merely restate briefly what you have said in your paper, you give the impression that you are unsure of the significance of what you have written. A weak conclusion leaves the reader unsatisfied and bewildered, wondering why your paper was worth reading. A strong conclusion adds something to what you said in your introduction. A strong conclusion explains the importance and significance of what you have written. A strong conclusion leaves your reader caring about what you have said and pondering the larger implications of your thesis. Don’t leave your reader asking, “So what?”

Revise and proofread

Your professor can spot a “one-draft wonder,” so don't try to do your paper at the last moment. Leave plenty of time for revising and proofreading. Show your draft to a writing tutor or other good writer. Reading the draft aloud may also help. Of course, everyone makes mistakes, and a few may slip through no matter how meticulous you are. But beware of lots of mistakes. The failure to proofread carefully suggests that you devoted little time and effort to the assignment. Tip: Proofread your text both on the screen and on a printed copy. Your eyes see the two differently. Don’t rely on your spell checker to catch all of your misspellings. (If ewe ken reed this ewe kin sea that a computer wood nut all ways help ewe spill or rite reel good.)

Note: The Writing Center suggests standard abbreviations for noting some of these problems. You should familiarize yourself with those abbreviations, but your professor may not use them.  

Remarks on Style and Clarity

Wordy/verbose/repetitive..

Try your hand at fixing this sentence: “Due to the fact that these aspects of the issue of personal survival have been raised by recently transpired problematic conflicts, it is at the present time paramount that the ultimate psychological end of suicide be contemplated by this individual.” If you get it down to “To be or not to be, that is the question,” you’ve done well. You may not match Shakespeare, but you can learn to cut the fat out of your prose. The chances are that the five pages you’ve written for your history paper do not really contain five pages’ worth of ideas.

Misuse of the passive voice.

Write in the active voice. The passive voice encourages vagueness and dullness; it enfeebles verbs; and it conceals agency, which is the very stuff of history. You know all of this almost instinctively. What would you think of a lover who sighed in your ear, “My darling, you are loved by me!”? At its worst, the passive voice—like its kin, bureaucratic language and jargon—is a medium for the dishonesty and evasion of responsibility that pervade contemporary American culture. (“Mistakes were made; I was given false information.” Now notice the difference: “I screwed up; Smith and Jones lied to me; I neglected to check the facts.”) On history papers the passive voice usually signals a less toxic version of the same unwillingness to take charge, to commit yourself, and to say forthrightly what is really going on, and who is doing what to whom. Suppose you write, “In 1935 Ethiopia was invaded.” This sentence is a disaster. Who invaded? Your professor will assume that you don't know. Adding “by Italy” to the end of the sentence helps a bit, but the sentence is still flat and misleading. Italy was an aggressive actor, and your passive construction conceals that salient fact by putting the actor in the syntactically weakest position—at the end of the sentence as the object of a preposition. Notice how you add vigor and clarity to the sentence when you recast it in the active voice: "In 1935 Italy invaded Ethiopia." I n a few cases , you may violate the no-passive-voice rule. The passive voice may be preferable if the agent is either obvious (“Kennedy was elected in 1960”), irrelevant (“Theodore Roosevelt became president when McKinley was assassinated”), or unknown (“King Harold was killed at the Battle of Hastings”). Note that in all three of these sample sentences the passive voice focuses the reader on the receiver of the action rather than on the doer (on Kennedy, not on American voters; on McKinley, not on his assassin; on King Harold, not on the unknown Norman archer). Historians usually wish to focus on the doer, so you should stay with the active voice—unless you can make a compelling case for an exception.

Abuse of the verb to be.

The verb to be is the most common and most important verb in English, but too many verbs to be suck the life out of your prose and lead to wordiness. Enliven your prose with as many action verbs as possible. ( “In Brown v. Board of Education it was the opinion of the Supreme Court that the doctrine of ‘separate but equal’ was in violation of the Fourteenth Amendment.”) Rewrite as “ In Brown v. Board of Education the Supreme Court ruled that the doctrine of ‘separate but equal’ violated the Fourteenth ”

Explain/what’s your point?/unclear/huh?

You may (or may not) know what you’re talking about, but if you see these marginal comments, you have confused your reader. You may have introduced a non sequitur ; gotten off the subject; drifted into abstraction; assumed something that you have not told the reader; failed to explain how the material relates to your argument; garbled your syntax; or simply failed to proofread carefully.  If possible, have a good writer read your paper and point out the muddled parts. Reading your paper aloud may help too.

Paragraph goes nowhere/has no point or unity.

Paragraphs are the building blocks of your paper. If your paragraphs are weak, your paper cannot be strong. Try underlining the topic sentence of every paragraph. If your topic sentences are vague, strength and precision—the hallmarks of good writing—are unlikely to follow. Consider this topic sentence (from a paper on Ivan the Terrible): “From 1538 to 1547, there are many different arguments about the nature of what happened.”  Disaster looms. The reader has no way of knowing when the arguing takes place, who’s arguing, or even what the arguing is about. And how does the “nature of what happened” differ from plain “what happened”? Perhaps the writer means the following: “The childhood of Ivan the Terrible has provoked controversy among scholars of Russian history.” That's hardly deathless prose, but it does orient the reader and make the writer accountable for what follows in the paragraph. Once you have a good topic sentence, make sure that everything in the paragraph supports that sentence, and that cumulatively the support is persuasive. Make sure that each sentence follows logically from the previous one, adding detail in a coherent order. Move, delete, or add material as appropriate. To avoid confusing the reader, limit each paragraph to one central idea. (If you have a series of supporting points starting with first, you must follow with a second, third , etc.) A paragraph that runs more than a printed page is probably too long. Err on the side of shorter paragraphs.

Inappropriate use of first person.

Most historians write in the third person, which focuses the reader on the subject. If you write in the first person singular, you shift the focus to yourself. You give the impression that you want to break in and say, “Enough about the Haitian revolution [or whatever], now let’s talk about me!” Also avoid the first person plural (“We believe...”). It suggests committees, editorial boards, or royalty. None of those should have had a hand in writing your paper. And don’t refer to yourself lamely as “this writer.” Who else could possibly be writing the paper?

Tense inconsistency.

Stay consistently in the past tense when you are writing about what took place in the past. (“Truman’s defeat of Dewey in 1948 caught the pollsters by surprise.”) Note that the context may require a shift into the past perfect. (“The pollsters had not realized [past perfect] that voter opinion had been [past perfect] changing rapidly in the days before the election.”) Unfortunately, the tense problem can get a bit more complicated. Most historians shift into the present tense when describing or commenting on a book, document, or evidence that still exists and is in front of them (or in their mind) as they write.  (“de Beauvoir published [past tense] The Second Sex in 1949. In the book she contends [present tense] that woman....”) If you’re confused, think of it this way: History is about the past, so historians write in the past tense, unless they are discussing effects of the past that still exist and thus are in the present. When in doubt, use the past tense and stay consistent.

Ill-fitted quotation.

This is a common problem, though not noted in stylebooks. When you quote someone, make sure that the quotation fits grammatically into your sentence.  Note carefully the mismatch between the start of the following sentence and the quotation that follows:  “In order to understand the Vikings, writes Marc Bloch, it is necessary, ‘To conceive of the Viking expeditions as religious warfare inspired by the ardour of an implacable pagan fanaticism—an explanation that has sometimes been at least suggested—conflicts too much with what we know of minds disposed to respect magic of every kind.’” At first, the transition into the quotation from Bloch seems fine. The infinitive (to conceive) fits. But then the reader comes to the verb (conflicts) in Bloch’s sentence, and things no longer make sense. The writer is saying, in effect, “it is necessary conflicts.” The wordy lead-in and the complex syntax of the quotation have tripped the writer and confused the reader. If you wish to use the whole sentence, rewrite as “Marc Bloch writes in Feudal Society , ‘To conceive of...’” Better yet, use your own words or only part of the quotation in your sentence. Remember that good writers quote infrequently, but when they do need to quote, they use carefully phrased lead-ins that fit the grammatical construction of the quotation.

Free-floating quotation.

Do not suddenly drop quotations into your prose. (“The spirit of the Progressive era is best understood if one remembers that the United States is ‘the only country in the world that began with perfection and aspired to progress.’”) You have probably chosen the quotation because it is finely wrought and says exactly what you want to say. Fine, but first you inconvenience the reader, who must go to the footnote to learn that the quotation comes from The Age of Reform by historian Richard Hofstadter. And then you puzzle the reader. Did Hofstadter write the line about perfection and progress, or is he quoting someone from the Progressive era? If, as you claim, you are going to help the reader to judge the “spirit of the Progressive era,” you need to clarify. Rewrite as “As historian Richard Hofstadter writes in the Age of Reform , the United States is ‘the only country in the world...’” Now the reader knows immediately that the line is Hofstadter’s.

Who’s speaking here?/your view?

Always be clear about whether you’re giving your opinion or that of the author or historical actor you are discussing. Let’s say that your essay is about Martin Luther’s social views. You write, “The German peasants who revolted in 1525 were brutes and deserved to be crushed mercilessly.” That’s what Luther thought, but do you agree?  You may know, but your reader is not a mind reader. When in doubt, err on the side of being overly clear.

Jargon/pretentious theory.

Historians value plain English. Academic jargon and pretentious theory will make your prose turgid, ridiculous, and downright irritating. Your professor will suspect that you are trying to conceal that you have little to say. Of course, historians can’t get along without some theory; even those who profess to have no theory actually do—it’s called naïve realism. And sometimes you need a technical term, be it ontological argument or ecological fallacy. When you use theory or technical terms, make sure that they are intelligible and do real intellectual lifting.  Please, no sentences like this: “By means of a neo-Althusserian, post-feminist hermeneutics, this essay will de/construct the logo/phallo/centrism imbricated in the marginalizing post-colonial gendered gaze, thereby proliferating the subjectivities that will re/present the de/stabilization of the essentializing habitus of post-Fordist capitalism.”

Informal language/slang.

You don’t need to be stuffy, but stay with formal English prose of the kind that will still be comprehensible to future generations. Columbus did not “push the envelope in the Atlantic.” Henry VIII was not “looking for his inner child when he broke with the Church.” Prime Minister Cavour of Piedmont was not “trying to play in the major leagues diplomatic wise.” Wilson did not “almost veg out” at the end of his second term. President Hindenburg did not appoint Hitler in a “senior moment.” Prime Minister Chamberlain did not tell the Czechs to “chill out” after the Munich Conference, and Gandhi was not an “awesome dude.”

Try to keep your prose fresh. Avoid cliches. When you proofread, watch out for sentences like these: “Voltaire always gave 110 percent and thought outside the box. His bottom line was that as people went forward into the future, they would, at the end of the day, step up to the plate and realize that the Jesuits were conniving perverts.” Ugh. Rewrite as “Voltaire tried to persuade people that the Jesuits were cony, step up to the plate and realize that the Jesuits were conniving perverts.” Ugh. Rewrite as “Voltaire tried to persuade people that the Jesuits were conniving perverts.”

Intensifier abuse/exaggeration.

Avoid inflating your prose with unsustainable claims of size, importance, uniqueness, certainty, or intensity. Such claims mark you as an inexperienced writer trying to impress the reader. Your statement is probably not certain ; your subject probably not unique , the biggest, the best, or the most important. Also, the adverb very will rarely strengthen your sentence. Strike it. (“President Truman was very determined to stop the spread of communism in Greece.”) Rewrite as “President Truman resolved to stop the spread of communism in Greece.”

Mixed image.

Once you have chosen an image, you must stay with language compatible with that image. In the following example, note that the chain, the boiling, and the igniting are all incompatible with the image of the cold, rolling, enlarging snowball: “A snowballing chain of events boiled over, igniting the powder keg of war in 1914.” Well chosen images can enliven your prose, but if you catch yourself mixing images a lot, you're probably trying to write beyond your ability. Pull back. Be more literal.

Clumsy transition.

If your reader feels a jolt or gets disoriented at the beginning of a new paragraph, your paper probably lacks unity. In a good paper, each paragraph is woven seamlessly into the next. If you find yourself beginning your paragraphs with phrases such as “Another aspect of this problem...,” then you are probably “stacking note cards” rather than developing a thesis.

Unnecessary relative clause.

If you don’t need to restrict the meaning of your sentence’s subject, then don’t. (“Napoleon was a man who tried to conquer Europe.”) Here the relative clause adds nothing. Rewrite as “Napoleon tried to conquer Europe.” Unnecessary relative clauses are a classic form of wordiness.

Distancing or demeaning quotation marks.

If you believe that a frequently used word or phrase distorts historical reality, don’t put it in dismissive, sneering quotation marks to make your point (“the communist ‘threat’ to the ‘free’ world during the Cold War”). Many readers find this practice arrogant, obnoxious, and precious, and they may dismiss your arguments out of hand. If you believe that the communist threat was bogus or exaggerated, or that the free world was not really free, then simply explain what you mean.

Remarks on Grammar and Syntax

Ideally, your professor will help you to improve your writing by specifying exactly what is wrong with a particular passage, but  sometimes you may find a simple awk in the margin. This all-purpose negative comment usually suggests that the sentence is clumsy because you have misused words or compounded several errors. Consider this sentence from a book review:

“However, many falsehoods lie in Goldhagen’s claims and these will be explored.”

What is your long-suffering professor to do with this sentence? The however contributes nothing; the phrase falsehoods lie is an unintended pun that distracts the reader; the comma is missing between the independent clauses; the these has no clear antecedent ( falsehoods? claims? ); the second clause is in the passive voice and contributes nothing anyway; the whole sentence is wordy and screams hasty, last-minute composition. In weary frustration, your professor scrawls awk in the margin and moves on. Buried under the twelve-word sentence lies a three-word idea: “Goldhagen often errs.” When you see awk, check for the common errors in this list. If you don’t understand what’s wrong, ask.

Unclear antecedent.

All pronouns must refer clearly to antecedents and must agree with them in number. The reader usually assumes that the antecedent is the immediately preceding noun. Do not confuse the reader by having several possible antecedents. Consider these two sentences:

“Pope Gregory VII forced Emperor Henry IV to wait three days in the snow at Canossa before granting him an audience. It was a symbolic act.”

To what does the it refer? Forcing the Emperor to wait? The waiting itself? The granting of the audience? The audience itself? The whole previous sentence? You are most likely to get into antecedent trouble when you begin a paragraph with this or it , referring vaguely back to the general import of the previous paragraph. When in doubt, take this test: Circle the pronoun and the antecedent and connect the two with a line. Then ask yourself if your reader could instantly make the same diagram without your help. If the line is long, or if the circle around the antecedent is large, encompassing huge gobs of text, then your reader probably will be confused.  Rewrite. Repetition is better than ambiguity and confusion.

Faulty parallelism.

You confuse your reader if you change the grammatical construction from one element to the next in a series. Consider this sentence:

“King Frederick the Great sought to expand Prussia, to rationalize agriculture, and that the state support education.”

The reader expects another infinitive, but instead trips over the that . Rewrite the last clause as “and to promote state-supported education.” Sentences using neither/nor frequently present parallelism problems. Note the two parts of this sentence:

“After 1870 the cavalry charge was neither an effective tactic, nor did armies use it frequently.”

The sentence jars because the neither is followed by a noun, the nor by a verb. Keep the parts parallel.

Rewrite as “After 1870 the cavalry charge was neither effective nor frequently used.”

Sentences with not only/but also are another pitfall for many students. (“Mussolini attacked not only liberalism, but he also advocated militarism.”) Here the reader is set up to expect a noun in the second clause, but stumbles over a verb. Make the parts parallel by putting the verb attacked after the not only .

Misplaced modifier/dangling element.

Do not confuse the reader with a phrase or clause that refers illogically or absurdly to other words in the sentence. (“Summarized on the back cover of the American paperback edition, the publishers claim that...”) The publishers are not summarized on the back cover. (“Upon finishing the book, many questions remain.”) Who finished the book? Questions can’t read. Avoid following an introductory participial clause with the expletives it or there . Expletives are by definition filler words; they can’t be agents. (“Having examined the origins of the Meiji Restoration in Japan, it is apparent that...”) Apparent to whom?  The expletive it didn’t do the examining. (“After going on the Long March, there was greater support for the Communists in China.”) Who went on the Long March? There didn’t go on the Long March. Always pay attention to who’s doing what in your sentences.

Run-on sentence.

Run-on sentences string together improperly joined independent clauses. Consider these three sentences:

“Galileo recanted his teaching that the earth moved privately he maintained his convictions.” “Galileo recanted his teaching that the earth moved, privately he maintained his convictions.” “Galileo recanted his teaching that the earth moved, however, privately he maintained his convictions.”

The first fuses two independent clauses with neither a comma nor a coordinating conjunction; the second uses a comma but omits the coordinating conjunction; and the third also omits the coordinating conjunction (however is not a coordinating conjunction). To solve the problem, separate the two clauses with a comma and the coordinating conjunction but. You could also divide the clauses with a semicolon or make separate sentences. Remember that there are only seven coordinating conjunctions ( and, but, or, nor, for, so, yet ).

Sentence fragment.

Write in sentences. A sentence has to have a subject and a predicate. If you string together a lot of words, you may lose control of the syntax and end up with a sentence fragment. Note that the following is not a sentence:

“While in Western Europe railroad building proceeded rapidly in the nineteenth century, and in Russia there was less progress.”

Here you have a long compound introductory clause followed by no subject and no verb, and thus you have a fragment. You may have noticed exceptions to the no-fragments rule. Skilful writers do sometimes intentionally use a fragment to achieve a certain effect. Leave the rule-breaking to the experts.

Confusion of restrictive and nonrestrictive clauses.

Consider these two versions of the same sentence:

1. “World War I, which raged from 1914-1918, killed millions of Europeans.” 2. “World War I that raged from 1914-1918 killed millions of Europeans.”

The first sentence has a nonrestrictive relative clause; the dates are included almost as parenthetical information. But something seems amiss with the second sentence. It has a restrictive relative clause that limits the subject (World War I) to the World War I fought between 1914 and 1918, thus implying that there were other wars called World War I, and that we need to distinguish among them. Both sentences are grammatically correct, but the writer of the second sentence appears foolish.  Note carefully the distinction between that (for use in restrictive clauses, with no comma) and which (for use in nonrestrictive clauses, with a comma).

Confusion about who’s doing what.

Remember—history is about what people do, so you need to be vigilant about agency. Proofread your sentences carefully, asking yourself, “Have I said exactly who is doing or thinking what, or have I inadvertently attributed an action or belief to the wrong person or group?” Unfortunately, there are many ways to go wrong here, but faulty punctuation is among the most common. Here’s a sentence about Frantz Fanon, the great critic of European imperialism. Focus on the punctuation and its effect on agency: “Instead of a hierarchy based on class, Fanon suggests the imperialists establish a hierarchy based on race.” As punctuated, the sentence says something absurd: that Fanon is advising the imperialists about the proper kind of hierarchy to establish in the colonies. Surely, the writer meant to say that, in his analysis of imperialism, Fanon distinguishes between two kinds of hierarchy. A comma after suggests fixes the immediate problem. Now look at the revised sentence. It still needs work. Better diction and syntax would sharpen it.  Fanon does not suggest (with connotations of both hinting and advocating); he states outright. What’s more, the comparison of the two kinds of hierarchy gets blurred by too many intervening words. The key point of the sentence is, in effect, “instead of A, we have B.” Clarity demands that B follow A as closely as possible, and that the two elements be grammatically parallel. But between the elements A and B, the writer inserts Fanon (a proper noun), suggests (a verb), imperialists (a noun), and establish (a verb). Try the sentence this way: “Fanon says that the imperialists establish a hierarchy based on race rather than class.” Now the agency is clear: We know what Fanon does, and we know what the imperialists do. Notice that errors and infelicities have a way of clustering. If you find one problem in a sentence, look for others.

Confusion about the objects of prepositions.

Here’s another one of those common problems that does not receive the attention it merits. Discipline your prepositional phrases; make sure you know where they end. Notice the mess in this sentence: “Hitler accused Jewish people of engaging in incest and stating that Vienna was the ‘personification of incest.’” The reader thinks that both engaging and stating are objects of the preposition of. Yet the writer intends only the first to be the object of the preposition. Hitler is accusing the Jews of engaging , but not of stating ; he is the one doing the stating . Rewrite as “Hitler accused the Jews of incest; he stated that Vienna was the ‘personification of incest.’” Note that the wordiness of the original encouraged the syntactical mess. Simplify. It can’t be said too many times: Always pay attention to who’s doing what in your sentences.

Misuse of the comparative.

There are two common problems here. The first might be called the “floating comparative.” You use the comparative, but you don’t say what you are comparing. (“Lincoln was more upset by the dissolution of the union.”) More upset than by what? More upset than who? The other problem, which is more common and takes many forms, is the unintended (and sometimes comical) comparison of unlike elements. Consider these attempts to compare President Clinton to President George H. W. Bush. Often the trouble starts with a possessive:

“President Clinton’s sexual appetite was more voracious than President Bush.”

You mean to compare appetites, but you've forgotten about your possessive, so you absurdly compare an appetite to a man. Rewrite as “more voracious than President Bush’s.” A variation of this problem is the unintended comparison resulting from the omission of a verb:

“President Clinton liked women more than President Bush.”

Re-write as “more than did President Bush.”

A misplaced modifier may also cause comparison trouble: “Unlike the Bush administration, sexual scandal nearly destroyed the Clinton administration.” Rewrite as  “Unlike the Bush administration, the Clinton administration was nearly destroyed by sexual scandal.” Here the passive voice is better than the misplaced modifier, but you could rewrite as “The Bush administration had been free of sexual scandal, which nearly destroyed the Clinton administration.”

Misuse of apostrophe.

Get control of your apostrophes. Use the apostrophe to form singular or plural possessives (Washington’s soldiers; the colonies’ soldiers) or to form contractions (don’t; it’s). Do not use the apostrophe to form plurals. (“The communists [not communists’] defeated the nationalists [not nationalists’] in China.”)

Comma after although.

This is a new error, probably a carryover from the common conversational habit of pausing dramatically after although . ( “Although , coffee consumption rose in eighteenth-century Europe, tea remained far more popular.”) Delete the comma after although . Remember that although is not a synonym for the word however , so you cannot solve the problem in the sentence by putting a period after Europe . A clause beginning with although cannot stand alone as a sentence.

Comma between subject and verb.

This is a strange new error. (“Hitler and Stalin, agreed to a pact in August 1939.”) Delete the comma after Stalin. Finally, two hints: If your word-processing program underlines something and suggests changes, be careful. When it comes to grammar and syntax, your computer is a moron. Not only does it fail to recognize some gross errors, it also falsely identifies some correct passages as errors. Do not cede control of your writing decisions to your computer. Make the suggested changes only if you are positive that they are correct. If you are having trouble with your writing, try simplifying. Write short sentences and read them aloud to test for clarity. Start with the subject and follow it quickly with an active verb. Limit the number of relative clauses, participial phrases, adjectives, adverbs, and prepositional phrases. You will win no prizes for eloquence, but at least you will be clear. Add complexity only when you have learned to handle it.

An historical/an historian.

The consonant “H” is not silent in historical and historian , so the proper form of the indefinite article is “A.”

Avoid the common solecism of using feel as a synonym for think, believe, say, state, assert, contend, argue, conclude, or write. (“Marx felt that the bourgeoisie exploited the proletariat.” “Emmeline Pankhurst felt that British women should be able to vote.”) The use of feel in these sentences demeans the agents by suggesting undisciplined sentiment rather than carefully formulated conviction. Concentrate on what your historical actors said and did; leave their feelings to speculative chapters of their biographies. As for your own feelings, keep them out of your papers. (“I feel that Lincoln should have freed the slaves earlier.”) Your professor will be delighted that the material engages both your head and your heart, but your feelings cannot be graded. If you believe that Lincoln should have acted earlier, then explain, giving cogent historical reasons.

The fact that.

This is a clumsy, unnecessary construction. ( “The fact that Nixon resigned in disgrace damaged the Republican Party.”) Re-word as “Nixon resigned in disgrace, damaging the Republican Party.” Never use the hideous phrase due to the fact that.

In terms of.

This phrase is filler. Get rid of it. (“Bismarck was a success in terms of uniting Germany.) Rewrite as “Bismarck successfully united Germany.”

Attend carefully to the placement of this limiting word. Note, for example, these three sentences:

“The government only interred Japanese Americans during World War II.” “The government interred only Japanese Americans during World War II.” “The government interred Japanese Americans only during World War II.”

The first limits the action to interring (as opposed to, say, killing); the second limits the group interred (i.e., not Italian Americans); the third limits the time of interring (i.e., not during other wars).

Thus and therefore.

More than likely, you have not earned these words and are implying that you have said more than you actually have. Use them sparingly, only when you are concluding a substantial argument with a significant conclusion.

Misuse of instead.

Instead is an adverb, not a conjunction. Consider this sentence: “Charles Beard argued that the framers of the constitution were not idealists, instead they promoted their economic interests.” Revise as “The framers of the constitution, Charles Beard argued, did not uphold ideals; instead , they promoted their economic interests.” Now the instead appears properly as an adverb. (Note also that the two clauses are now parallel—both contain transitive verbs.)

Essentially and basically.

These are usually either filler words (the written equivalent of “uh” or “um”) or weasel words that merely call attention to your vagueness, lack of conviction, or lazy unwillingness to qualify precisely. (“ Essentially , Churchill believed that Nazi Germany presented a grave danger to Britain.”) Delete essentially and basically unless you are writing about essences or bases.

Both share or both agree.

These are redundant. If two people share or agree , they are both involved by definition. (“Stalin and Mao both agreed that capitalism belonged in the dustbin of history.”) Delete both .

This word means one of a kind. It is an absolute. Something cannot be very unique, more unique, or somewhat unique.

Incredible.

In casual conversation incredible often means extraordinary, astonishing, or impressive (“Yesterday’s storm was incredible.”). To avoid confusion in historical prose, you should stick with the original meaning of incredible : not believable. If you write that “William Jennings Bryan gave incredible speeches,” you’re saying that you don’t believe his speeches, or that his audiences didn’t believe them at the time—in other words, that he appeared to be lying or mistaken. You probably mean that he gave great speeches. If you write that “It’s incredible that Japan attacked Pearl Harbor,” you’re calling into question the very existence of a historical event. You probably mean that the Japanese attack was unwise or reckless. English is rich with adjectives. Finding the best one forces you to think about what you really mean.

As a synonym for subject matter, bone of contention, reservation, or almost anything else vaguely associated with what you are discussing, the word issue has lost its meaning through overuse. (“There were many issues involved with Truman’s decision to use the atomic bomb, and some historians have issues with his decision.”) Stop talking about issues and get to the point.

Beware of the word literally . It’s commonly misused, and you almost never need it in historical prose. Literally means actually, factually, exactly, directly, without metaphor. The careful writer would never say, “Roosevelt literally swamped Landon in the election of 1936.” One imagines Roosevelt (in his wheelchair no less!) dumping the hapless Landon off a pier in the Everglades on election night. The swamping was figurative, strictly a figure of speech. The adverb literally may also cause you trouble by falsely generalizing the coverage of your verb. “London was literally destroyed by the blitz.” This suggests that the whole city was destroyed, when, in fact, only parts were destroyed. Rewrite as “The blitz destroyed parts of London.” Now you’ve qualified properly (and gotten rid of the passive).

When you’re tempted to use this word, resist. Like issue , involve tells the reader too little. (“Erasmus was involved in the Renaissance.”) This statement could mean virtually anything. Delete it and discuss specifically what Erasmus said or did.

This is a fine old word with many precise meanings, but as an overused synonym for feature, side, or part, it is usually a sign of insipid prose (“Another aspect of the issues in this area is the fact that...”). Just get directly to the point.

Most good writers frown on the use of this word as a verb.(“Eisenhower’s military background impacted his foreign policy.”) Affected, influenced, or shaped would be better here. Impacted suggests painfully blocked wisdom teeth or feces. Had an impact is better than impacted , but is still awkward because impact implies a collision.

Here is another beloved but vapid word. (“Many factors led to the Reformation.”) Such a sentence usually opens a vague, boring, weaseling paragraph. If you believe (quite reasonably) that the Reformation had many causes, then start evaluating them.

Meaningful.

Overuse has drained the meaning from meaningful . (“Peter the Great took meaningful steps to westernize Russia.”) Just get to the point.

Interesting.

The adjective interesting is vague, overused, and does not earn its keep. (“Burckhardt had an interesting perspective on the Renaissance.”) This sentence is filler. Delete it and explain and analyze his perspective.

The events that transpired.

Your professor will gag on this one. Events take place or happen by definition, so the relative clause is redundant. Furthermore, most good writers do not accept transpire as a synonym for happen. Again, follow the old rule of thumb: Get right to the point, say what happened, and explain its significance. You don’t need any filler about events and transpiring .

The reason is because.

This phrase is awkward and redundant. Replace it with the reason is, or better still, simply delete it and get right to your reason.

For all intensive purposes.

The phrase is for all intents and purposes , and few good writers use it in formal prose anyway.

Take for granite.

This is an illiteracy. The phrase is “ take for granted .”

Should of/could of.

You mean should have or could have .

Center around.

Good writers frown on this phrase because it’s illogical and jarring. Use center on or center in. Attention to a small detail like this indicates that you’re thinking carefully about what you’re saying, so when the big problems confront you, you’ll be disciplined and ready.

Begs the question.

Recently, many people have started to use this phrase to mean raises, invites, or brings up the question. (“Stalin’s purges beg the question of whether he was paranoid.”) Actually, begging the question is the common logical fallacy of assuming your conclusion as part of your argument. (“In the late nineteenth century, many Americans moved to the cities because of urbanization.”) Note that the use of abstractions (e.g., urbanization) encourages begging the question . Understanding this fallacy is central to your education. The formal Latin term, petitio principii, is too fancy to catch on, so you need to preserve the simple English phrase. If something raises a question, just say so.

Historic/historical confusion.

Everything in the past or relating to the past is historical. Resist the media-driven hype that elevates the ordinary to the historic . (“A three-alarm fire last night destroyed the historic site of the first Portuguese-owned dry cleaners in Cleveland.”) Reserve the word historic for the genuinely important events, persons, or objects of the past. The Norman invasion of England in 1066 was indeed historic . Historically , historians have gathered annually for a historical convention; so far, none of the conventions has been historic .

Affect/effect confusion.

The chances are that the verb you want is affect , which means to have an influence on (“The Iranian hostage crisis affected [not effected] the presidential election of 1980”). Effect as a verb means to bring about or cause to exist ( effect change). Effect as a noun means result or consequence (“The effect of the Iranian hostage crisis on the election...”).

While/whereas confusion.

If you’re stressing contrast, the word you want is whereas . While stresses simultaneity. “Hobbes had a dismal view of human nature, whereas [not while] Rousseau believed that man had a natural sense of pity.”

It’s/its confusion.

This is the classic bonehead error. Note that the spell checker won’t help you. And remember— its’ is not a word at all.

Reign/rein confusion.

A queen reigns during her reign. You rein in a horse with reins.

Their/there/they’re confusion.

You do know the difference. Pay attention.

Everyday/every day confusion.

As an adjective, everyday (one word) means routine. If you wish to say that something happened on every successive day, then you need two words, the adjective every and the noun day . Note the difference in these two sentences: “Kant was famous for going on the same constitutional at the same time every day . For Kant, exercise and thinking were everyday activities.”

Refer/allude confusion.

To allude means to refer to indirectly or to hint at. The word you probably want in historical prose is refer , which means to mention or call direct attention to. “In the first sentence of the ‘Gettysburg Address’ Lincoln refers [not alludes ] to the fathers of the nation [he mentions them directly]; he alludes to the ‘Declaration of Independence’ [the document of four score and seven years earlier that comes to the reader’s mind, but that Lincoln doesn’t directly mention].”

Novel/book confusion.

Novel is not a synonym for book. A novel is a long work of fiction in prose. A historical monograph is not a novel —unless the historian is making everything up.

Than/then confusion.

This is an appalling new error. If you are making a comparison, you use the conjunction than . (“President Kennedy’s health was worse than [not then ] the public realized.”)

Lead/led confusion.

The past tense of the verb to lead is led (not lead ). “Sherman led [not lead ] a march to the sea.”

Lose/loose confusion.

The opposite of win is lose , not loose . “Supporters of the Equal Rights Amendment suspected that they would lose [not loose ] the battle to amend the constitution.”

However/but confusion.

However may not substitute for the coordinating conjunction but. (“Mussolini began his career as a socialist, but [not however ] he later abandoned socialism for fascism.”) The word however has many proper uses; however , [note the semicolon and comma] graceful writers use it sparingly.

Cite/site/sight confusion.

You cited a source for your paper; ancient Britons sited Stonehenge on a plain; Columbus’s lookout sighted land.

Conscience/conscious confusion.

When you wake up in the morning you are conscious , though your conscience may bother you if you’ve neglected to write your history paper.

Tenet/tenant confusion.

Your religion, ideology, or worldview all have tenets —propositions you hold or believe in. Tenants rent from landlords.

All are not/not all are confusion.

If you write, “ All the colonists did not want to break with Britain in 1776,” the chances are you really mean, “ Not all the colonists wanted to break with Britain in 1776.” The first sentence is a clumsy way of saying that no colonists wanted to break with Britain (and is clearly false). The second sentence says that some colonists did not want to break with Britain (and is clearly true, though you should go on to be more precise).

Nineteenth-century/nineteenth century confusion.

Historians talk a lot about centuries, so you need to know when to hyphenate them. Follow the standard rule: If you combine two words to form a compound adjective, use a hyphen, unless the first word ends in ly. (“ Nineteenth-century [hyphenated] steamships cut the travel time across the Atlantic.”) Leave out the hyphen if you’re just using the ordinal number to modify the noun century. (“In the nineteenth century [no hyphen] steamships cut the travel time across the Atlantic.”) By the way, while you have centuries in mind, don’t forget that the nineteenth century is the 1800s, not the 1900s. The same rule for hyphenating applies to middle-class and middle class —a group that historians like to talk about.

Bourgeois/bourgeoisie confusion.

Bourgeois is usually an adjective, meaning characteristic of the middle class and its values or habits. Occasionally, bourgeois is a noun, meaning a single member of the middle class. Bourgeoisie is a noun, meaning the middle class collectively. (“Marx believed that the bourgeoisie oppressed the proletariat; he argued that bourgeois values like freedom and individualism were hypocritical.”)

Your professor may ask you to analyze a primary document. Here are some questions you might ask of your document. You will note a common theme—read critically with sensitivity to the context. This list is not a suggested outline for a paper; the wording of the assignment and the nature of the document itself should determine your organization and which of the questions are most relevant. Of course, you can ask these same questions of any document you encounter in your research.

• What exactly is the document (e.g., diary, king’s decree, opera score, bureaucratic memorandum, parliamentary minutes, newspaper article, peace treaty)?
• Are you dealing with the original or with a copy? If it is a copy, how remote is it from the original (e.g., photocopy of the original, reformatted version in a book, translation)? How might deviations from the original affect your interpretation?
• What is the date of the document?
• Is there any reason to believe that the document is not genuine or not exactly what it appears to be?
• Who is the author, and what stake does the author have in the matters discussed? If the document is unsigned, what can you infer about the author or authors?
• What sort of biases or blind spots might the author have? For example, is an educated bureaucrat writing with third-hand knowledge of rural hunger riots?
• Where, why, and under what circumstances did the author write the document?
• How might the circumstances (e.g., fear of censorship, the desire to curry favor or evade blame) have influenced the content, style, or tone of the document?
• Has the document been published? If so, did the author intend it to be published?
• If the document was not published, how has it been preserved? In a public archive? In a private collection? Can you learn anything from the way it has been preserved? For example, has it been treated as important or as a minor scrap of paper?
• Does the document have a boilerplate format or style, suggesting that it is a routine sample of a standardized genre, or does it appear out of the ordinary, even unique?
• Who is the intended audience for the document?
• What exactly does the document say? Does it imply something different?
• If the document represents more than one viewpoint, have you carefully distinguished between the author’s viewpoint and those viewpoints the author presents only to criticize or refute?
• In what ways are you, the historian, reading the document differently than its intended audience would have read it (assuming that future historians were not the intended audience)?
• What does the document leave out that you might have expected it to discuss?
• What does the document assume that the reader already knows about the subject (e.g., personal conflicts among the Bolsheviks in 1910, the details of tax farming in eighteenth-century Normandy, secret negotiations to end the Vietnam war)?
• What additional information might help you better interpret the document?
• Do you know (or are you able to infer) the effects or influences, if any, of the document?
• What does the document tell you about the period you are studying?
• If your document is part of an edited collection, why do you suppose the editor chose it? How might the editing have changed the way you perceive the document? For example, have parts been omitted? Has it been translated? (If so, when, by whom, and in what style?) Has the editor placed the document in a suggestive context among other documents, or in some other way led you to a particular interpretation?

Your professor may ask you to write a book review, probably of a scholarly historical monograph. Here are some questions you might ask of the book. Remember that a good review is critical, but critical does not necessarily mean negative. This list is not meant to be exhaustive, nor is it a suggested outline. Of course, you can ask these same questions of any secondary historical work, even if you’re not writing a review.

• Who is the author, and what are his or her qualifications? Has the author written other books on the subject?
• When was the book written, and how does it fit into the scholarly debate on the subject? For example, is Smith writing to refute that idiot Jones; to qualify the work of the competent but unimaginative Johnson; or to add humbly to the evidence presented by the redoubtable Brown’s classic study? Be sure not to confuse the author’s argument with those arguments he or she presents only to criticize later.
• What is the book’s basic argument? (Getting this right is the foundation of your review.)
• What is the author’s method? For example, does the author rely strictly on narrative and anecdotes, or is the book analytical in some way?
• What kinds of evidence does the author use? For example, what is the balance of primary and secondary sources? Has the author done archival work? Is the source base substantial, or does it look thin? Is the author up-to-date in the scholarly literature?
• How skillfully and imaginatively has the author used the evidence?
• Does the author actually use all of the material in the bibliography, or is some of it there for display?
• What sorts of explicit or implicit ideological or methodological assumptions does the author bring to the study? For example, does he or she profess bland objectivity? A Whig view of history? Marxism?
• How persuasive is the author’s argument?
• Is the argument new, or is it old wine in new bottles?
• Is the argument important, with wide-ranging implications, or is it narrow and trivial?
• Is the book well organized and skillfully written?
• What is your overall critical assessment of the book?
• What is the general significance, if any, of the book? (Make sure that you are judging the book that the author actually wrote, not complaining that the author should have written a different book.)

Here are some tips for those long, intimidating term papers or senior theses:

• Start early. If you don’t, none of these tips will matter. Big trouble is looming if you don’t have a specific topic by the end of the first week. You should be delving into the sources during the second week.
• Keep in mind all of the dos and don’ts in this booklet.
• Work closely with your professor to assure that your topic is neither too broad nor too narrow.
• Set up a schedule with your professor and check his or her policy about reading rough drafts or parts of rough drafts. Then keep your professor informed about what you’re doing. You don’t want any unpleasant surprises. You certainly don’t want to hear, “I haven’t seen you for weeks, and it sounds like you’re way off base. How can you possibly get this done with only two weeks left in the semester?”
• Make an appointment with Kristin Strohmeyer, the history reference librarian in Burke Library. She will help you to find and use the appropriate catalogs and indexes.
• Use your imagination in compiling a bibliography. Think of all of the possible key words and subjects that may lead you to material. If you find something really good, check the subjects under which it is cataloged. Comb the notes and bibliographies of books and articles you’ve already found.
• Much of what you need will not be in our library, so get to know the friendly folks in the Interlibrary Loan department.
• Start early. This can’t be said too often.
• Use as many primary sources as you can.
• Jot down your ideas as they come to you. You may not remember them later.
• Take careful notes on your reading. Label your notes completely and precisely. Distinguish meticulously and systematically between what you are directly quoting and what you are summarizing in your own words. Unintended plagiarism is still plagiarism. Stay clean as a hound’s tooth. Write down not just the page of the quotation or idea, but also the whole run of pages where the matter is discussed. Reread all of your notes periodically to make sure that you still understand them and are compiling what you will need to write your paper. Err on the side of writing down more than you think you will need. Copious, precise notes won’t come back to haunt you; skimpy, vague notes will. Just accept that there is something anal about good note-taking.
• If you take notes directly into your computer, they will be easy to index and pull up, but there are a couple of downsides. You will not be able to see all of them simultaneously, as you can note cards laid out on a big table. What you gain in ease of access may come at the price of losing the big picture. Also, if your notes are in your computer, you may be tempted to save time and thought by pasting many of them directly into your paper. Note cards encourage you to rethink and to rework your ideas into a unified whole.
• Don’t start to write until you have a good outline.
• Make sure that your paper has a thesis. (See the entry State a clear thesis. )
• Check and recheck your facts.
• Footnote properly. (See the entry Cite sources carefully .)
• Save plenty of time to proofread.
• Start early.

Top Ten Signs that you may be Writing a Weak History Paper

10. You’re overjoyed to find that you can fill the required pages by widening all margins.

9. You haven’t mentioned any facts or cited any sources for several paragraphs.

8. You find yourself using the phrase “throughout history mankind has...”

7. You just pasted in another 100 words of quotations.

6. You haven’t a clue about the content of your next paragraph.

5. You’re constantly clicking on The Britannica, Webster’s, and Bartlett’s.

4. Your writing tutor sneaks another look at her watch as she reminds you for the third time to clarify your thesis.

3. Your main historical actors are this, it, they, the people, and society, and they are all involved with factors, aspects, impacts, and issues.

2. You just realize that you don’t understand the assignment, but it’s 3:00 A.M, the paper is due at 9:00, and you don’t dare call your professor.

1. You’re relieved that the paper counts for only 20 percent of the course grade.

Final Advice

You guessed it — start early.

Studying History at Hamilton

Students will learn to use interdisciplinary methods from the humanities and social sciences to probe the sources of the past for answers to present questions. They will learn to draw comparisons and connections among diverse societies across a range of historical eras. They will further learn to convey their findings through writing that is clearly structured, precise, and persuasive.

Tutor Appointments

Peer tutor and consultant appointments are managed through TracCloud (login required). Find resources and more information about the ALEX centers using the following links.

Office / Department Name

Nesbitt-Johnston Writing Center

Contact Name

Jennifer Ambrose

Writing Center Director

Help us provide an accessible education, offer innovative resources and programs, and foster intellectual exploration.

Site Search

Academic & Employability Skills

Subscribe to academic & employability skills.

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 412 other subscribers.

Email Address

Writing an abstract - a six point checklist (with samples)

Posted in: abstract , dissertations

The abstract is a vital part of any research paper. It is the shop front for your work, and the first stop for your reader. It should provide a clear and succinct summary of your study, and encourage your readers to read more. An effective abstract, therefore should answer the following questions:

• Why did you do this study or project?
• What did you do and how?
• What did you find?
• What do your findings mean?

So here's our run down of the key elements of a well-written abstract.

• Size - A succinct and well written abstract should be between approximately 100- 250 words.
• Background - An effective abstract usually includes some scene-setting information which might include what is already known about the subject, related to the paper in question (a few short sentences).
• Purpose  - The abstract should also set out the purpose of your research, in other words, what is not known about the subject and hence what the study intended to examine (or what the paper seeks to present).
• Methods - The methods section should contain enough information to enable the reader to understand what was done, and how. It should include brief details of the research design, sample size, duration of study, and so on.
• Results - The results section is the most important part of the abstract. This is because readers who skim an abstract do so to learn about the findings of the study. The results section should therefore contain as much detail about the findings as the journal word count permits.
• Conclusion - This section should contain the most important take-home message of the study, expressed in a few precisely worded sentences. Usually, the finding highlighted here relates to the primary outcomes of the study. However, other important or unexpected findings should also be mentioned. It is also customary, but not essential, to express an opinion about the theoretical or practical implications of the findings, or the importance of their findings for the field. Thus, the conclusions may contain three elements:
• The primary take-home message.
• Any additional findings of importance.
• Implications for future studies.

Example Abstract 2: Engineering Development and validation of a three-dimensional finite element model of the pelvic bone.

Abstract from: Dalstra, M., Huiskes, R. and Van Erning, L., 1995. Development and validation of a three-dimensional finite element model of the pelvic bone. Journal of biomechanical engineering, 117(3), pp.272-278.

And finally...  A word on abstract types and styles

Abstract types can differ according to subject discipline. You need to determine therefore which type of abstract you should include with your paper. Here are two of the most common types with examples.

Informative Abstract

The majority of abstracts are informative. While they still do not critique or evaluate a work, they do more than describe it. A good informative abstract acts as a surrogate for the work itself. That is, the researcher presents and explains all the main arguments and the important results and evidence in the paper. An informative abstract includes the information that can be found in a descriptive abstract [purpose, methods, scope] but it also includes the results and conclusions of the research and the recommendations of the author. The length varies according to discipline, but an informative abstract is usually no more than 300 words in length.

Descriptive Abstract A descriptive abstract indicates the type of information found in the work. It makes no judgements about the work, nor does it provide results or conclusions of the research. It does incorporate key words found in the text and may include the purpose, methods, and scope of the research. Essentially, the descriptive abstract only describes the work being summarised. Some researchers consider it an outline of the work, rather than a summary. Descriptive abstracts are usually very short, 100 words or less.

Adapted from Andrade C. How to write a good abstract for a scientific paper or conference presentation. Indian J Psychiatry. 2011 Apr;53(2):172-5. doi: 10.4103/0019-5545.82558. PMID: 21772657; PMCID: PMC3136027 .

Share this:

• Click to print (Opens in new window)
• Click to email a link to a friend (Opens in new window)
• Click to share on WhatsApp (Opens in new window)
• Click to share on LinkedIn (Opens in new window)
• Click to share on Twitter (Opens in new window)
• Click to share on Facebook (Opens in new window)

Click here to cancel reply.

• Email * (we won't publish this)

Write a response

Navigating the dissertation process: my tips for final years

Imagine for a moment... After months of hard work and research on a topic you're passionate about, the time has finally come to click the 'Submit' button on your dissertation. You've just completed your longest project to date as part...

8 ways to beat procrastination

Whether you’re writing an assignment or revising for exams, getting started can be hard. Fortunately, there’s lots you can do to turn procrastination into action.

My takeaways on how to write a scientific report

If you’re in your dissertation writing stage or your course includes writing a lot of scientific reports, but you don’t quite know where and how to start, the Skills Centre can help you get started. I recently attended their ‘How...

• Features for Creative Writers
• Features for Work
• Features for Higher Education
• Features for Teachers
• Features for Non-Native Speakers
• Learn Blog Grammar Guide Community Events FAQ
• Grammar Guide

How to Write an Abstract (With Examples)

Sarah Oakley

Table of Contents

What is an abstract in a paper, how long should an abstract be, 5 steps for writing an abstract, examples of an abstract, how prowritingaid can help you write an abstract.

If you are writing a scientific research paper or a book proposal, you need to know how to write an abstract, which summarizes the contents of the paper or book.

When researchers are looking for peer-reviewed papers to use in their studies, the first place they will check is the abstract to see if it applies to their work. Therefore, your abstract is one of the most important parts of your entire paper.

In this article, we’ll explain what an abstract is, what it should include, and how to write one.

An abstract is a concise summary of the details within a report. Some abstracts give more details than others, but the main things you’ll be talking about are why you conducted the research, what you did, and what the results show.

When a reader is deciding whether to read your paper completely, they will first look at the abstract. You need to be concise in your abstract and give the reader the most important information so they can determine if they want to read the whole paper.

Remember that an abstract is the last thing you’ll want to write for the research paper because it directly references parts of the report. If you haven’t written the report, you won’t know what to include in your abstract.

If you are writing a paper for a journal or an assignment, the publication or academic institution might have specific formatting rules for how long your abstract should be. However, if they don’t, most abstracts are between 150 and 300 words long.

A short word count means your writing has to be precise and without filler words or phrases. Once you’ve written a first draft, you can always use an editing tool, such as ProWritingAid, to identify areas where you can reduce words and increase readability.

If your abstract is over the word limit, and you’ve edited it but still can’t figure out how to reduce it further, your abstract might include some things that aren’t needed. Here’s a list of three elements you can remove from your abstract:

Discussion : You don’t need to go into detail about the findings of your research because your reader will find your discussion within the paper.

Definition of terms : Your readers are interested the field you are writing about, so they are likely to understand the terms you are using. If not, they can always look them up. Your readers do not expect you to give a definition of terms in your abstract.

References and citations : You can mention there have been studies that support or have inspired your research, but you do not need to give details as the reader will find them in your bibliography.

Good writing = better grades

ProWritingAid will help you improve the style, strength, and clarity of all your assignments.

If you’ve never written an abstract before, and you’re wondering how to write an abstract, we’ve got some steps for you to follow. It’s best to start with planning your abstract, so we’ve outlined the details you need to include in your plan before you write.

Remember to consider your audience when you’re planning and writing your abstract. They are likely to skim read your abstract, so you want to be sure your abstract delivers all the information they’re expecting to see at key points.

1. What Should an Abstract Include?

Abstracts have a lot of information to cover in a short number of words, so it’s important to know what to include. There are three elements that need to be present in your abstract:

Your context is the background for where your research sits within your field of study. You should briefly mention any previous scientific papers or experiments that have led to your hypothesis and how research develops in those studies.

Your hypothesis is your prediction of what your study will show. As you are writing your abstract after you have conducted your research, you should still include your hypothesis in your abstract because it shows the motivation for your paper.

Throughout your abstract, you also need to include keywords and phrases that will help researchers to find your article in the databases they’re searching. Make sure the keywords are specific to your field of study and the subject you’re reporting on, otherwise your article might not reach the relevant audience.

2. Can You Use First Person in an Abstract?

You might think that first person is too informal for a research paper, but it’s not. Historically, writers of academic reports avoided writing in first person to uphold the formality standards of the time. However, first person is more accepted in research papers in modern times.

If you’re still unsure whether to write in first person for your abstract, refer to any style guide rules imposed by the journal you’re writing for or your teachers if you are writing an assignment.

3. Abstract Structure

Some scientific journals have strict rules on how to structure an abstract, so it’s best to check those first. If you don’t have any style rules to follow, try using the IMRaD structure, which stands for Introduction, Methodology, Results, and Discussion.

Following the IMRaD structure, start with an introduction. The amount of background information you should include depends on your specific research area. Adding a broad overview gives you less room to include other details. Remember to include your hypothesis in this section.

The next part of your abstract should cover your methodology. Try to include the following details if they apply to your study:

What type of research was conducted?

How were the test subjects sampled?

What were the sample sizes?

What was done to each group?

How long was the experiment?

How was data recorded and interpreted?

Following the methodology, include a sentence or two about the results, which is where your reader will determine if your research supports or contradicts their own investigations.

The results are also where most people will want to find out what your outcomes were, even if they are just mildly interested in your research area. You should be specific about all the details but as concise as possible.

The last few sentences are your conclusion. It needs to explain how your findings affect the context and whether your hypothesis was correct. Include the primary take-home message, additional findings of importance, and perspective. Also explain whether there is scope for further research into the subject of your report.

Your conclusion should be honest and give the reader the ultimate message that your research shows. Readers trust the conclusion, so make sure you’re not fabricating the results of your research. Some readers won’t read your entire paper, but this section will tell them if it’s worth them referencing it in their own study.

4. How to Start an Abstract

The first line of your abstract should give your reader the context of your report by providing background information. You can use this sentence to imply the motivation for your research.

You don’t need to use a hook phrase or device in your first sentence to grab the reader’s attention. Your reader will look to establish relevance quickly, so readability and clarity are more important than trying to persuade the reader to read on.

5. How to Format an Abstract

Most abstracts use the same formatting rules, which help the reader identify the abstract so they know where to look for it.

Here’s a list of formatting guidelines for writing an abstract:

Stick to one paragraph

Use block formatting with no indentation at the beginning

Put your abstract straight after the title and acknowledgements pages

Use present or past tense, not future tense

There are two primary types of abstract you could write for your paper—descriptive and informative.

An informative abstract is the most common, and they follow the structure mentioned previously. They are longer than descriptive abstracts because they cover more details.

Descriptive abstracts differ from informative abstracts, as they don’t include as much discussion or detail. The word count for a descriptive abstract is between 50 and 150 words.

Here is an example of an informative abstract:

A growing trend exists for authors to employ a more informal writing style that uses “we” in academic writing to acknowledge one’s stance and engagement. However, few studies have compared the ways in which the first-person pronoun “we” is used in the abstracts and conclusions of empirical papers. To address this lacuna in the literature, this study conducted a systematic corpus analysis of the use of “we” in the abstracts and conclusions of 400 articles collected from eight leading electrical and electronic (EE) engineering journals. The abstracts and conclusions were extracted to form two subcorpora, and an integrated framework was applied to analyze and seek to explain how we-clusters and we-collocations were employed. Results revealed whether authors’ use of first-person pronouns partially depends on a journal policy. The trend of using “we” showed that a yearly increase occurred in the frequency of “we” in EE journal papers, as well as the existence of three “we-use” types in the article conclusions and abstracts: exclusive, inclusive, and ambiguous. Other possible “we-use” alternatives such as “I” and other personal pronouns were used very rarely—if at all—in either section. These findings also suggest that the present tense was used more in article abstracts, but the present perfect tense was the most preferred tense in article conclusions. Both research and pedagogical implications are proffered and critically discussed.

Wang, S., Tseng, W.-T., & Johanson, R. (2021). To We or Not to We: Corpus-Based Research on First-Person Pronoun Use in Abstracts and Conclusions. SAGE Open, 11(2).

Here is an example of a descriptive abstract:

From the 1850s to the present, considerable criminological attention has focused on the development of theoretically-significant systems for classifying crime. This article reviews and attempts to evaluate a number of these efforts, and we conclude that further work on this basic task is needed. The latter part of the article explicates a conceptual foundation for a crime pattern classification system, and offers a preliminary taxonomy of crime.

Farr, K. A., & Gibbons, D. C. (1990). Observations on the Development of Crime Categories. International Journal of Offender Therapy and Comparative Criminology, 34(3), 223–237.

If you want to ensure your abstract is grammatically correct and easy to read, you can use ProWritingAid to edit it. The software integrates with Microsoft Word, Google Docs, and most web browsers, so you can make the most of it wherever you’re writing your paper.

Before you edit with ProWritingAid, make sure the suggestions you are seeing are relevant for your document by changing the document type to “Abstract” within the Academic writing style section.

You can use the Readability report to check your abstract for places to improve the clarity of your writing. Some suggestions might show you where to remove words, which is great if you’re over your word count.

We hope the five steps and examples we’ve provided help you write a great abstract for your research paper.

Get started with ProWritingAid

Drop us a line or let's stay in touch via :

Organizing Research for Arts and Humanities Papers and Theses

• General Guide Information
• Developing a Topic
• What are Primary and Secondary Sources
• What are Scholarly and Non-Scholarly Sources
• Writing an Abstract
• Writing Academic Book Reviews
• Writing A Literature Review
• Using Images and other Media

What is an abstract?

Note: This description of a typical abstract and its elements is geared toward researchers in the arts and humanities. Additional information on writing abstracts is available in Dr. Robert Labaree's libguide on organizing research in the social sciences .

An abstract is a summary of a paper, a book, or a presentation. As a general rule, the abstract is written by the author of the work. Most abstracts are informative.

Abstracts are a required part of graduate theses and dissertations. Abstracts are common in academic and scholarly journal articles, as well as in conference presentations and publications of proceedings. The author, the title, and the abstract are the most immediately visible elements of a work of scholarship that other researchers see as they peruse scholarly databases and publications. These are also the elements that may be indexed by search engines such as Google.

Stylistic guidelines : Use active verbs, when possible, and write in complete sentences. Try to imagine yourself in the shoes of a reader who is not familiar with your work, and who might be reading the abstract to decide on the im portance and relevance of your research.

An informative abstract

A common type of abstract is informative. Such an abstract is usually about 300-500 words in length. It is usually composed after the conclusion of the writing of the work, and acts as a surrogate for the work itself.

Generally speaking an informative abstract should include at least the following elements:

1) an overall description of the topic explored;

2) the theoretical, historical, or methodological framework used;

3) an outline of the main argument(s);

4) a brief summary of the conclusion(s).

A descriptive abstract

A somewhat less common type of abstract is descriptive. Descriptive abstracts are short, ordinarily 150 words or less, and briefly describe the work, almost in an outline format.

Remember to keep track of your sources, regardless of the stage of your research. The USC Libraries have an excellent guide to  citation styles  and to  citation management software . 

• << Previous: What are Scholarly and Non-Scholarly Sources
• Next: Writing Academic Book Reviews >>
• Last Updated: Jan 19, 2023 3:12 PM
• URL: https://libguides.usc.edu/ah_writing

Visiting Sleeping Beauties: Reawakening Fashion?

You must join the virtual exhibition queue when you arrive. If capacity has been reached for the day, the queue will close early.

Heilbrunn Timeline of Art History Essays

Abstract expressionism.

Number 28, 1950

Jackson Pollock

The Glazier

Willem de Kooning

No. 13 (White, Red on Yellow)

Mark Rothko

The Flesh Eaters

William Baziotes

Black Reflections

Franz Kline

Clyfford Still

Symphony No. 1, The Transcendental

Richard Pousette-Dart

David Smith

Elegy to the Spanish Republic No. 70

Robert Motherwell

Black Untitled

Barnett Newman

Autumn Rhythm (Number 30)

Night Creatures

Lee Krasner

Stella Paul Department of Education, The Metropolitan Museum of Art

October 2004

A new vanguard emerged in the early 1940s, primarily in New York, where a small group of loosely affiliated artists created a stylistically diverse body of work that introduced radical new directions in art—and shifted the art world’s focus. Never a formal association, the artists known as “Abstract Expressionists” or “The New York School” did, however, share some common assumptions. Among others, artists such as Jackson Pollock (1912–1956), Willem de Kooning (1904–1997), Franz Kline (1910–1962), Lee Krasner (1908–1984), Robert Motherwell (1915–1991), William Baziotes (1912–1963), Mark Rothko (1903–1970), Barnett Newman (1905–1970), Adolph Gottlieb (1903–1974), Richard Pousette-Dart (1916–1992), and Clyfford Still (1904–1980) advanced audacious formal inventions in a search for significant content. Breaking away from accepted conventions in both technique and subject matter, the artists made monumentally scaled works that stood as reflections of their individual psyches—and in doing so, attempted to tap into universal inner sources. These artists valued spontaneity and improvisation, and they accorded the highest importance to process. Their work resists stylistic categorization, but it can be clustered around two basic inclinations: an emphasis on dynamic, energetic gesture, in contrast to a reflective, cerebral focus on more open fields of color. In either case, the imagery was primarily abstract. Even when depicting images based on visual realities, the Abstract Expressionists favored a highly abstracted mode.

Context Abstract Expressionism developed in the context of diverse, overlapping sources and inspirations. Many of the young artists had made their start in the 1930s. The Great Depression yielded two popular art movements, Regionalism and Social Realism, neither of which satisfied this group of artists’ desire to find a content rich with meaning and redolent of social responsibility, yet free of provincialism and explicit politics. The Great Depression also spurred the development of government relief programs, including the Works Progress Administration (WPA), a jobs program for unemployed Americans in which many of the group participated, and which allowed so many artists to establish a career path.

But it was the exposure to and assimilation of European modernism that set the stage for the most advanced American art. There were several venues in New York for seeing avant-garde art from Europe. The Museum of Modern Art had opened in 1929, and there artists saw a rapidly growing collection acquired by director Alfred H. Barr, Jr. They were also exposed to groundbreaking temporary exhibitions of new work, including Cubism and Abstract Art (1936), Fantastic Art, Dada, Surrealism (1936–37), and retrospectives of Matisse , Léger , and Picasso , among others. Another forum for viewing the most advanced art was Albert Gallatin’s Museum of Living Art, which was housed at New York University from 1927 to 1943. There the Abstract Expressionists saw the work of Mondrian, Gabo, El Lissitzky, and others. The forerunner of the Solomon R. Guggenheim Museum—the Museum of Non-Objective Painting—opened in 1939. Even prior to that date, its collection of Kandinskys had been publicly exhibited several times. The lessons of European modernism were also disseminated through teaching. The German expatriate Hans Hofmann (1880–1966) became the most influential teacher of modern art in the United States, and his impact reached both artists and critics.

The crisis of war and its aftermath are key to understanding the concerns of the Abstract Expressionists. These young artists, troubled by man’s dark side and anxiously aware of human irrationality and vulnerability, wanted to express their concerns in a new art of meaning and substance. Direct contact with European artists increased as a result of World War II, which caused so many—including Dalí, Ernst, Masson, Breton, Mondrian, and Léger—to seek refuge in the U.S. The Surrealists opened up new possibilities with their emphasis on tapping the unconscious. One Surrealist device for breaking free of the conscious mind was psychic automatism—in which automatic gesture and improvisation gain free rein.

Early Work Early on, the Abstract Expressionists, in seeking a timeless and powerful subject matter, turned to primitive myth and archaic art for inspiration. Rothko, Pollock, Motherwell, Gottlieb, Newman, and Baziotes all looked to ancient or primitive cultures for expression. Their early works feature pictographic and biomorphic elements transformed into personal code. Jungian psychology was compelling, too, in its assertion of the collective unconscious. Directness of expression was paramount, best achieved through lack of premeditation. In a famous letter to the New York Times (June 1943), Gottlieb and Rothko, with the assistance of Newman, wrote: “To us, art is an adventure into an unknown world of the imagination which is fancy-free and violently opposed to common sense. There is no such thing as a good painting about nothing. We assert that the subject is critical.”

Mature Abstract Expressionism: Gesture In 1947, Pollock developed a radical new technique, pouring and dripping thinned paint onto raw canvas laid on the ground (instead of traditional methods of painting in which pigment is applied by brush to primed, stretched canvas positioned on an easel). The paintings were entirely nonobjective. In their subject matter (or seeming lack of one), scale (huge), and technique (no brush, no stretcher bars, no easel), the works were shocking to many viewers. De Kooning, too, was developing his own version of a highly charged, gestural style, alternating between abstract work and powerful iconic figurative images. Other colleagues, including Krasner and Kline, were equally engaged in creating an art of dynamic gesture in which every inch of a picture is fully charged. For Abstract Expressionists, the authenticity or value of a work lay in its directness and immediacy of expression. A painting is meant to be a revelation of the artist’s authentic identity. The gesture, the artist’s “signature,” is evidence of the actual process of the work’s creation. It is in reference to this aspect of the work that critic Harold Rosenberg coined the term “action painting” in 1952: “At a certain moment the canvas began to appear to one American painter after another as an arena in which to act—rather than as a space in which to reproduce, re-design, analyze, or ‘express’ an object, actual or imagined. What was to go on the canvas was not a picture but an event.”

Mature Abstract Expressionism: Color Field Another path lay in the expressive potential of color. Rothko, Newman, and Still, for instance, created art based on simplified, large-format, color-dominated fields. The impulse was, in general, reflective and cerebral, with pictorial means simplified in order to create a kind of elemental impact. Rothko and Newman, among others, spoke of a goal to achieve the “sublime” rather than the “beautiful,” harkening back to Edmund Burke in a drive for the grand, heroic vision in opposition to a calming or comforting effect. Newman described his reductivism as one means of “freeing ourselves of the obsolete props of an outmoded and antiquated legend … freeing ourselves from the impediments of memory, association, nostalgia, legend, and myth that have been the devices of Western European painting.” For Rothko, his glowing, soft-edged rectangles of luminescent color should provoke in viewers a quasi-religious experience, even eliciting tears. As with Pollock and the others, scale contributed to the meaning. For the time, the works were vast in scale. And they were meant to be seen in relatively close environments, so that the viewer was virtually enveloped by the experience of confronting the work. Rothko said, “I paint big to be intimate.” The notion is toward the personal (authentic expression of the individual) rather than the grandiose.

The Aftermath The first generation of Abstract Expressionism flourished between 1943 and the mid-1950s. The movement effectively shifted the art world’s focus from Europe (specifically Paris) to New York in the postwar years. The paintings were seen widely in traveling exhibitions and through publications. In the wake of Abstract Expressionism, new generations of artists—both American and European—were profoundly marked by the breakthroughs made by the first generation, and went on to create their own important expressions based on, but not imitative of, those who forged the way.

Paul, Stella. “Abstract Expressionism.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/abex/hd_abex.htm (October 2004)

Further Reading

Messinger, Lisa Mintz Abstract Expressionism: Works on Paper. Selections from The Metropolitan Museum of Art . New York: Metropolitan Museum of Art, 1992. See on MetPublications

Thaw, Eugene Victor "The Abstract Expressionist." The Metropolitan Museum of Art Bulletin , v. 44, no. 3 (Winter, 1986–87). See on MetPublications

Tinterow, Gary, Lisa Mintz Messinger, and Nan Rosenthal, eds. Abstract Expressionism and Other Modern Works: The Muriel Kallis Steinberg Newman Collection in the Metropolitan Museum of Art . New York: Metropolitan Museum of Art, 2007. See on MetPublications

Additional Essays by Stella Paul

• Paul, Stella. “ Modern Storytellers: Romare Bearden, Jacob Lawrence, Faith Ringgold .” (October 2004)

Related Essays

• Fernand Léger (1881–1955)
• Henri Matisse (1869–1954)
• Pablo Picasso (1881–1973)
• School of Paris
• African Influences in Modern Art
• Georgia O’Keeffe (1887–1986)
• Jasper Johns (born 1930)
• Modern Storytellers: Romare Bearden, Jacob Lawrence, Faith Ringgold
• Paul Klee (1879–1940)
• The United States and Canada, 1900 A.D.–present
• 20th Century A.D.
• Abstract Art
• Action Painting / Gestural Painting
• Beat Movement
• Color Field
• Modern and Contemporary Art
• North America
• Nouveau Realisme
• Oil on Canvas
• Regionalism
• Sculpture in the Round
• Stainless Steel
• Tachism / Art Informel / Lyrical Abstraction
• United States

Artist or Maker

• Albers, Josef
• Baziotes, William
• Booth, Peter
• De Kooning, Willem
• Gorky, Arshile
• Kline, Franz
• Krasner, Lee
• Motherwell, Robert
• Newman, Barnett
• Pollock, Jackson
• Pousette-Dart, Richard
• Rothko, Mark
• Smith, David
• Still, Clyfford

Online Features

• 82nd & Fifth: “Deciphering the Flowers” by Sheena Wagstaff
• 82nd & Fifth: “Gesture” by Nicholas Cullinan
• The Artist Project: “Mark Bradford on Clyfford Still”
• The Artist Project: “Robert Longo on Jackson Pollock’s Autumn Rhythm (Number 30) “
• The Artist Project: “Wenda Gu on Robert Motherwell’s Lyric Suite “

Andrew Jackson’s Indian Removal Act: a Tragic Legacy of Expansion and Injustice

This essay is about Andrew Jackson’s Indian Removal Act of 1830 and its devastating impact on Native American communities. The act authorized the forced relocation of Native Americans from their ancestral lands to territories west of the Mississippi River, leading to immense suffering and loss of life. The essay discusses the motivations behind the policy, including Jackson’s expansionist desires, and highlights the infamous Trail of Tears, during which thousands of Cherokees and other tribes suffered and died. It also touches on the resistance to the act from Native Americans, legal challenges, and opposition from within the government and religious groups. The essay underscores the enduring legacy of this tragic policy and the importance of acknowledging and addressing historical injustices.

How it works

In the annals of American history, few episodes are as contentious and sorrowful as Andrew Jackson’s Indian Removal Act of 1830. This legislation, born out of the turbulent and expansionist fervor of the early 19th century, led to the forced displacement of tens of thousands of Native Americans from their ancestral homelands to territories west of the Mississippi River. The enactment and execution of this policy not only wrought immense suffering upon Native American tribes but also revealed the dark underbelly of America’s quest for territorial and economic expansion.

The seeds of the Indian Removal Act were planted in the early decades of the 19th century, a period marked by rapid growth and the insatiable desire for new lands among American settlers. As the United States expanded, pressure mounted on Native American tribes to cede their territories, which were increasingly coveted for agriculture, particularly for cotton cultivation. Andrew Jackson, who ascended to the presidency in 1829, was a fervent proponent of westward expansion and believed that the presence of Native Americans in the southeastern United States was a barrier to progress and prosperity.

Jackson’s vision for America did not include coexistence with Native American tribes. Instead, he saw their removal as a necessary step to clear the way for white settlers. The Indian Removal Act, passed by Congress in 1830, provided the legal framework for this vision. The act authorized the federal government to negotiate treaties with Native American tribes, ostensibly to exchange their lands in the east for territories west of the Mississippi. In theory, these treaties were meant to be voluntary, but in practice, they were often secured through coercion, manipulation, and broken promises.

One of the most harrowing outcomes of the Indian Removal Act was the forced relocation of the Cherokee Nation in 1838, an event that came to be known as the Trail of Tears. The Cherokee, along with other tribes such as the Creek, Choctaw, Chickasaw, and Seminole, were among the “Five Civilized Tribes” who had made significant efforts to adapt to European-American customs and lifestyles. Despite these efforts, they were not spared from the brutal reality of removal. Approximately 16,000 Cherokees were driven from their homes, and an estimated 4,000 perished during the treacherous journey due to disease, starvation, and exposure.

The removal of the Cherokee was emblematic of the broader injustices faced by Native American tribes under Jackson’s policy. The suffering inflicted upon these communities was immense and multifaceted. Families were torn apart, cultural practices were disrupted, and the very fabric of tribal societies was irreparably damaged. The physical and emotional toll of the removals left deep scars that have endured through generations.

Resistance to the Indian Removal Act came from various quarters, both within and outside the government. The Cherokee Nation, under the leadership of Chief John Ross, mounted a legal challenge to the policy, taking their case to the U.S. Supreme Court. In the landmark case Worcester v. Georgia (1832), the Court ruled in favor of the Cherokee, asserting that Georgia’s actions violated their sovereign rights. However, President Jackson notoriously disregarded the Court’s decision, allegedly stating, “John Marshall has made his decision; now let him enforce it.”

Opposition also came from individual lawmakers and religious groups who recognized the moral and ethical failings of the removal policy. Congressman Davy Crockett and Senator Theodore Frelinghuysen were among the vocal critics who condemned the act. Christian missionaries, many of whom had worked closely with Native American communities, also decried the removal efforts, highlighting the stark contrast between the nation’s professed values and its actions.

The legacy of the Indian Removal Act is one of profound injustice and enduring sorrow. It stands as a stark reminder of the human cost of America’s expansionist ambitions and the deep-seated prejudices that fueled such policies. The removal of Native American tribes from their ancestral lands not only resulted in immediate suffering and death but also set a precedent for the continued marginalization and mistreatment of indigenous peoples in the United States.

Reflecting on this dark chapter in American history is crucial for understanding the complexities and contradictions of the nation’s past. It underscores the importance of acknowledging and addressing historical wrongs as a means of fostering reconciliation and healing. Efforts to honor the memory of those who suffered under the Indian Removal Act include educational initiatives, public memorials, and policy reforms aimed at supporting Native American rights and sovereignty.

In the present day, the story of the Indian Removal Act serves as a powerful lesson about the dangers of unchecked expansionism and the moral imperative to uphold justice and equality. It calls upon us to critically examine our history and to strive towards a future where the rights and dignity of all peoples are respected and protected. By learning from the past, we can work to ensure that such injustices are never repeated and that the legacy of those who endured the Trail of Tears is honored with the respect and remembrance they deserve.

In conclusion, Andrew Jackson’s Indian Removal Act represents a period of profound injustice that has left an indelible mark on American history. It serves as a poignant reminder of the human cost of policies driven by greed and prejudice, and it challenges us to reflect on the values that should guide our society. By confronting this painful history, we can better understand the struggles of Native American communities and the ongoing quest for justice and equality in our nation.

Cite this page

Andrew Jackson's Indian Removal Act: A Tragic Legacy of Expansion and Injustice. (2024, May 21). Retrieved from https://papersowl.com/examples/andrew-jacksons-indian-removal-act-a-tragic-legacy-of-expansion-and-injustice/

"Andrew Jackson's Indian Removal Act: A Tragic Legacy of Expansion and Injustice." PapersOwl.com , 21 May 2024, https://papersowl.com/examples/andrew-jacksons-indian-removal-act-a-tragic-legacy-of-expansion-and-injustice/

PapersOwl.com. (2024). Andrew Jackson's Indian Removal Act: A Tragic Legacy of Expansion and Injustice . [Online]. Available at: https://papersowl.com/examples/andrew-jacksons-indian-removal-act-a-tragic-legacy-of-expansion-and-injustice/ [Accessed: 22 May. 2024]

"Andrew Jackson's Indian Removal Act: A Tragic Legacy of Expansion and Injustice." PapersOwl.com, May 21, 2024. Accessed May 22, 2024. https://papersowl.com/examples/andrew-jacksons-indian-removal-act-a-tragic-legacy-of-expansion-and-injustice/

"Andrew Jackson's Indian Removal Act: A Tragic Legacy of Expansion and Injustice," PapersOwl.com , 21-May-2024. [Online]. Available: https://papersowl.com/examples/andrew-jacksons-indian-removal-act-a-tragic-legacy-of-expansion-and-injustice/. [Accessed: 22-May-2024]

PapersOwl.com. (2024). Andrew Jackson's Indian Removal Act: A Tragic Legacy of Expansion and Injustice . [Online]. Available at: https://papersowl.com/examples/andrew-jacksons-indian-removal-act-a-tragic-legacy-of-expansion-and-injustice/ [Accessed: 22-May-2024]

Don't let plagiarism ruin your grade

Hire a writer to get a unique paper crafted to your needs.

Our writers will help you fix any mistakes and get an A+!

Please check your inbox.

You can order an original essay written according to your instructions.

Trusted by over 1 million students worldwide

1. Tell Us Your Requirements

2. Pick your perfect writer

3. Get Your Paper and Pay

Hi! I'm Amy, your personal assistant!

Don't know where to start? Give me your paper requirements and I connect you to an academic expert.

short deadlines

100% Plagiarism-Free

Certified writers

• Search Menu
• Advance articles
• Author Guidelines
• Submission Site
• Open Access
• Why Publish with EHR?
• About The English Historical Review
• Editorial Board
• Advertising and Corporate Services
• Journals Career Network
• Self-Archiving Policy
• Dispatch Dates
• Books for Review
• Terms and Conditions
• Journals on Oxford Academic
• Books on Oxford Academic

Article Contents

Politics and political culture in ireland from restoration to union, 1660–1800: essays in honour of jacqueline r. hill , ed. raymond gillespie, james kelly and mary ann lyons.

• Article contents
• Figures & tables
• Supplementary Data

Brendan Kane, Politics and Political Culture in Ireland from Restoration to Union, 1660–1800: Essays in Honour of Jacqueline R. Hill , ed. Raymond Gillespie, James Kelly and Mary Ann Lyons, The English Historical Review , 2024;, ceae098, https://doi.org/10.1093/ehr/ceae098

• Permissions Icon Permissions

This collection is in honour of Jacqueline R. Hill, a pioneer in the history of politics in early modern and modern Ireland. The dedicatory preface by Vincent Comerford and Bernadette Cunningham makes clear that Hill’s influence and innovations extended well beyond the confines of her specialist research. A guiding force for the field of Irish history broadly throughout her more than four decades as managing secretary of the ‘bricks-and-mortar’ field-leading journal, Irish Historical Studies , she was also an early adopter of digital humanities approaches, serving as principal investigator for the widely-used and ongoing bibliographic project, Irish History Online . The latter endeavour showcases Hill’s talent for fostering collaboration among institutions, working with the Royal Historical Society and Royal Irish Academy to establish a robust and sustainable digital presence for what has proven to be a tremendously useful resource. Hill was also a pioneer in promoting gender balance not only in the discipline of history but in the academy as a whole, and was a founding member of the Irish Federation of University Teachers Committee on Women in the University, established in 1979. (In light of that fact, it is surprising that this volume only contains one substantive chapter written by a woman author.)

Email alerts

Citing articles via.

• Recommend to your Library

Affiliations

• Online ISSN 1477-4534
• Print ISSN 0013-8266
• Copyright © 2024 Oxford University Press
• About Oxford Academic
• Publish journals with us
• University press partners
• What we publish
• New features  
• Open access
• Institutional account management
• Rights and permissions
• Get help with access
• Accessibility
• Advertising
• Media enquiries
• Oxford University Press
• Oxford Languages
• University of Oxford

Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide

• Copyright © 2024 Oxford University Press
• Cookie settings
• Cookie policy
• Privacy policy
• Legal notice

This Feature Is Available To Subscribers Only

Sign In or Create an Account

This PDF is available to Subscribers Only

For full access to this pdf, sign in to an existing account, or purchase an annual subscription.

The Shenandoah County School Board’s Terrible History Lesson

O n May 10, 2024, 161 years to the day after General Thomas “Stonewall” Jackson’s last breath fighting for the Confederate insurrection intended to continue enslavement of human beings in America, the Shenandoah County School Board voted 5-1 to restore his name on a high school in rural Virginia.

More than 50 concerned community members, students, and parents, including one of the first African Americans to integrate Stonewall Jackson High School in 1963, and hundreds of their supporters, continued to advocate a new reckoning of the county’s heritage of enslavement, segregation, and racial injustice. They affirmed the names a community committee selected in 2021 renaming the school as Mountain View High and another school named after Confederate generals Turner Ashby and Robert E. Lee as Honey Run Elementary.

But the school board heard none of it. Instead, the board sided with those idolizing the faith and loyalty of “heroes” like Jackson, condemning pandemic-related processes that did not take into account the voices of “we the people,” and complaining about “woke outsiders.” At the end of the board meeting, the board had delivered a disgraceful new chapter in our community’s history and a terrible lesson for the children they are sworn to educate.

Historians will debate the consequences of the board’s vote and perhaps whether the nation’s current political mood has rekindled racial tensions. But the school board members and their embittered supporters made it clear that the shadows of our segregated past still loom large.

For context, we should look at 2020, particularly the 8 minutes and 46 seconds of video that emblazoned the truth of racial injustice in America. After George Floyd’s murder by police in May of that year, national, state, and local leaders across the nation took up resolutions against racism, including Shenandoah County’s Board of Supervisors and the county School Board.

At around the same time in our mountain-cradled county, another incident reminded us of America’s lingering racial unrest: an encounter between a white mob and a black pastor in Edinburg, Va. On June 1, 2020, Pastor McCray approached a couple illegally dumping a refrigerator on his property, asking them to leave. They left, returned with three more people and began “attacking him physically, saying ‘they don’t give a darn’ about ‘my black life and the Black Lives Matter stuff,’ and telling him they would ‘kill’ him,” according to Associated Press reports. McCray put distance between himself and the mob by brandishing a gun that he was legally licensed to carry. When the police arrived, they arrested the Black man with the gun.

The Shenandoah County Sheriff later apologized for the incident, but it reinforces the need for formal resolutions against racism and leaders willing to make difficult decisions for a more inclusive community. The Shenandoah County School Board at the time agreed. They chose action, encouraged by then-Department of Education secretary Atif Qarni and then-Governor Ralph Northam, both of whom supported statewide removal of Confederate leaders’ names of public schools.

The 2020 school board, tying in as the next step to its June “Resolution condemning racism and affirming the division’s commitment to an inclusive school environment for all,” retired the names of Confederate leaders, and developed a process for community and student input into choosing more unifying public school names. On September 10, 2020, the then school board reaffirmed the foregoing motion, as well as moving forward with renaming the schools on southern campus. Community committees met during the next three months, with new names chosen at the January 14, 2021 meeting, after seven months of public input.

By 2024, recently elected school board members focused their arguments for restoration on the former board’s “secret” process during the COVID “plan-demic,” stating that community input was not taken into account at the time. Two years before, three current school board members ran on a campaign to restore the school’s Confederate leader names, an attempt that ended at the June 9, 2022 school board meeting with a 3-3 stalemate. The current board consists of three more new school board members, elected in the fall of 2023. Like many school boards around the nation, ours has committed to reversing civil rights often under the lost-cause banner of Confederate pride.

The memory of Stonewall Jackson High School as a whites-only public institution until its integration in 1963 is not a distant echo of history but an agonizing experience for many Black residents of Shenandoah County. These individuals are not just statistics in history books; they are our neighbors, friends, and family—and they were intentionally harmed in Shenandoah County as the Civil Rights movement gained momentum in the 1950s.

Read More: Confederate Monuments and Other Disputed Memorials Have Come Down in Cities Across America. What Should Take Their Place?

And now again in 2024. Dozens of citizens, alum, parents, and current students of the schools addressed the board, offering poignant testimony about lived experiences with institutionalized discrimination or in support of others who had. Approximately two-thirds of the speakers opposed back-naming the schools. For them, returning to Confederate leader names makes the damage linger.

Aliyah Ogle, a student who represented her school in three sports this year and would be attending the renamed high school next year, said it best: “I'm a black student and if the name is restored, I would have to represent a man that fought for my ancestors to be slaves. That makes me feel like I'm disrespecting my ancestors and going against what my family and I believe, which is that we should all be treated equally, and that slavery was a cruel and awful thing.”

Most of the board members could not have cared less about the county’s 252 year history. They were more concerned for judging the 2020 school board’s actions and recognizing the Confederate heritage of the county. Their brand of leadership consisted of telling the people they represent that we all have problems of one kind or another; it’s time to move on. “War is hell,” said Dennis Barlow, chairman of the Shenandoah County School Board. They were joined by two dozen pro-Confederacy speakers, claiming there is no evident racism in Shenandoah County, and never has been.

Board member Tom Streett used his decision to discuss pro-slavery General Jackson. “When you read about this man — who he was, what he stood for, his character, his loyalty, his leadership, how Godly a man he was — those standards that he had were much higher than any leadership of the school system in 2020,” Streett said.

Streett, however, neglected to mention that even Jackson’s descendants have weighed in on this legacy issue. For the past seven years, the general’s great-great grandsons, William Jackson Christian and Warren Edmund Christian, have said they support removing Confederate statues and other monuments—including in Shenandoah County this week—as “part of a larger project of actively mending the racial disparities that hundreds of years of white supremacy have wrought.” They added that they were “ashamed to benefit from white supremacy while our black family and friends suffer.”

Yet Shenandoah County’s school board and its grievance agenda does nothing to provide historical context, advance dialogue, or heal the feelings of well-meaning citizens. Using the same policy the 2021 school board used to name Mountain View and Honey Run, the 2024 board defiantly focused on undoing the decision and giving voice to the people they wanted to hear. The decision unfairly places our children as pawns on a rhetorical battlefield, keeping the board’s focus on vengeance and political control—not due process or heritage. But it’s more dangerous than just talk and hard feelings: The county remains on the radar of the Southern Poverty Law Center , which tracks white supremacists, including ongoing activity by the Patriot Front. To address this reality, we need better, sensible leadership from our school board. But for now, we must live with a stark reminder that elections have consequences.

Looking ahead, the many good people of our county will strive to ensure that our complete history, good and bad, remains available to students and the public. We must find a way to truly honor our whole heritage without insisting that students salute pro-slavery traitors or the treatment of their ancestors as subhuman property for almost 400 years.

If the U.S. Department of Defense can rename military bases once emblazoned with Confederate leaders’ names, then our public schools can do the same. After all, these are the spaces where the first lessons of civic duties are learned. History is complicated, no doubt, but there’s no better place to examine complex issues than in a good school. Other nations and communities reckon with difficult pasts. In Germany, for example, students still learn about Adolf Hitler, but they are not forced to wear sports jerseys and school-pride t-shirts that glorify symbols or names associated with murderous war crimes.

Our fight for what’s right in Shenandoah County is not over. We will continue to oppose historical injustices and help all constituencies in our community learn from the lessons of our past. As it has throughout our nation’s history, the work of decent people striving for a better, more united America will go on. We hope the school board here can find a way to join us along the way.

More Must-Reads from TIME

• The New Face of Doctor Who
• How Private Donors Shape Birth-Control Choices
• What Happens if Trump Is Convicted ? Your Questions, Answered
• Putin’s Enemies Are Struggling to Unite
• The Deadly Digital Frontiers at the Border
• Scientists Are Finding Out Just How Toxic Your Stuff Is
• The 31 Most Anticipated Movies of Summer 2024
• Want Weekly Recs on What to Watch, Read, and More? Sign Up for Worth Your Time

Contact us at [email protected]

Main Navigation

• Contact NeurIPS
• Code of Ethics
• Code of Conduct
• Create Profile
• Journal To Conference Track
• Diversity & Inclusion
• Proceedings
• Future Meetings
• Exhibitor Information
• Privacy Policy

This document is out-of-date, please see the 2023 CfP

Neurips 2022, call for papers .

Abstract submission deadline: Monday, May 16, 2022 01:00 PM PDT

Full paper submission and co-author registration deadline: Thursday, May 19, 2022 01:00 PM PDT

Supplementary materials submission deadline: Thursday, May 26, 2022 01:00 PM PDT 

Author notification: Wednesday, September 14, 2022

Camera-ready, poster, and video submission : Wednesday, October 12, 2022 01:00 PM PDT

Video submissions: Saturday, October 22, 2022 01:00 PM PDT

Submit at: https://openreview.net/group?id=NeurIPS.cc/2022/Conference  

The site will start accepting submissions on April 16, 2022.

The Thirty-Sixth Annual Conference on Neural Information Processing Systems (NeurIPS 2022) is an interdisciplinary conference that brings together researchers in machine learning, neuroscience, statistics, optimization, computer vision, natural language processing, life sciences, natural sciences, social sciences, and other adjacent fields. We invite submissions presenting new and original research on topics including but not limited to the following:

General Machine Learning

Deep Learning (e.g., architectures, generative models, optimization for deep networks)

Reinforcement Learning (e.g., decision and control, planning, hierarchical RL, robotics)

Applications (e.g., speech processing, computer vision, NLP)

Machine Learning for Sciences (e.g. biology, physics, health sciences, social sciences)

Probabilistic Methods (e.g., variational inference, causal inference, Gaussian processes)

Optimization (e.g., convex and non-convex optimization)

Neuroscience and Cognitive Science (e.g., neural coding, brain-computer interfaces)

Theory (e.g., control theory, learning theory, algorithmic game theory)

Infrastructure (e.g., datasets, competitions, implementations, libraries)

Social Aspects of Machine Learning (e.g., AI safety, fairness, privacy, interpretability, human-AI interaction, ethics)

Machine learning is a rapidly evolving field, and so we welcome interdisciplinary submissions that do not fit neatly into existing categories. 

Authors will be asked to confirm that their submissions accord with the NeurIPS code of conduct .

Formatting instructions:  All submissions must be in PDF format. Submissions are limited to nine content pages, including all figures and tables; additional pages containing the NeurIPS paper checklist and references are allowed.  The page limit was increased to ensure that authors have space to address the checklist questions. You must format your submission using the NeurIPS 2022 LaTeX style file which includes a “preprint” option for non-anonymous preprints posted online. The maximum file size for submissions is 50MB. Submissions that violate the NeurIPS style (e.g., by decreasing margins or font sizes) or page limits may be rejected without further review. If your submission is accepted, you will be allowed an additional content page for the camera-ready version. Papers may be rejected without consideration of their merits if they fail to meet the submission requirements, as described in this document. 

Double-blind reviewing:  All submissions must be anonymized and may not contain any identifying information that may violate the double-blind reviewing policy.  This policy applies to any supplementary or linked material as well, including code.  If you are including links to any external material, it is your responsibility to guarantee anonymous browsing.  Please do not include acknowledgements at submission time.  If you need to cite one of your own papers, you should do so with adequate anonymization to preserve double-blind reviewing.  For instance, write “In the previous work of Smith et al. [1]…” rather than “In our previous work [1]...”). If you need to cite one of your own papers that is in submission to NeurIPS and not available as a non-anonymous preprint, then include a copy of the cited submission in the supplementary material and write “Anonymous et al. [1] concurrently show...”).

OpenReview: Same as last year, we are using OpenReview to manage submissions. The reviews and author responses will not be public initially. As in previous years, submissions under review will be visible only to their assigned program committee. We will not be soliciting comments from the general public during the reviewing process. Anyone who plans to submit a paper as an author or a co-author will need to create (or update) their OpenReview profile by the full paper submission deadline. The information entered in the profile is critical for ensuring that conflicts of interest are handled properly. Because of the rapid growth of NeurIPS, we request that all authors help with reviewing papers, if asked to do so.  We need everyone’s help in maintaining the high scientific quality of NeurIPS.  

Abstract Submission: There is a mandatory abstract submission deadline on May 16, 2022 01:00 PM PDT, three days before full paper submissions are due. While it will be possible to edit the title and abstract until the full paper submission deadline, submissions with “placeholder” abstracts that are rewritten for the full submission risk being removed without consideration. This includes titles and abstracts that either provide little or no semantic information (e.g., "We provide a new semi-supervised learning method.") or describe a substantively different claimed contribution.  Changes may be made to the author list until the full paper deadline. After that, authors may be reordered, but any additions or removals must be justified in writing and approved on a case-by-case basis by the program chairs. 

Supplementary material:  Authors may submit up to 100MB of supplementary material, such as appendices, proofs, derivations, data, or source code; all supplementary materials must be in PDF or ZIP format. Supplementary material should be material created by the authors that directly supports the submission content. Like submissions, supplementary material must be anonymized. Looking at supplementary material is at the discretion of the reviewers. 

We encourage authors to upload their code and data as part of their supplementary material in order to help reviewers assess the quality of the work. Check the policy as well as code submission guidelines and templates for further details.

Ethics review:  Reviewers and ACs may flag submissions for ethics review . Flagged submissions will be sent to an ethics review committee for comments. Comments from ethics reviewers will be considered by the primary reviewers and AC as part of their deliberation. They will also be visible to authors, who will have an opportunity to respond.  Ethics reviewers do not have the authority to reject papers, but in extreme cases papers may be rejected by the program chairs on ethical grounds, regardless of scientific quality or contribution.   

Paper checklist: In order to improve the rigor and transparency of research submitted to and published at NeurIPS, authors are required to complete a paper checklist , which is included in the .tex template. The paper checklist is intended to help authors reflect on a wide variety of issues relating to responsible machine learning research, including reproducibility, transparency, research ethics, and societal impact. The checklist must appear in the submitted PDF, immediately after references, but does not count towards the page limit.

Preprints:  The existence of non-anonymous preprints (on arXiv or other online repositories, personal websites, social media) will not result in rejection. If you choose to use the NeurIPS style for the preprint version, you must use the “preprint” option rather than the “final” option. Reviewers will be instructed not to actively look for such preprints, but encountering them will not constitute a conflict of interest. Authors may submit anonymized work to NeurIPS that is already available as a preprint (e.g., on arXiv) without citing it.

Dual submissions:  Submissions that are substantially similar to papers that have been previously published, accepted for publication, or submitted in parallel to other peer-reviewed venues with proceedings may not be submitted to NeurIPS.  (Work that has appeared in non-archival workshops, such as workshops at NeurIPS/ICML, may be submitted.)  NeurIPS coordinates with other conferences to identify dual submissions.  The NeurIPS policy on dual submissions applies for the entire duration of the reviewing process.  Slicing contributions too thinly is discouraged.  The reviewing process will treat any other submission by an overlapping set of authors as prior work.  If publishing one would render the other too incremental, both may be rejected.  

Author responses:  Authors will have one week to view and respond to initial reviews. Author responses may not contain any identifying information that may violate the double-blind reviewing policy. After the initial response period, authors will be able to respond to any further reviewer/AC questions and comments by posting on the submission’s forum page.  The program chairs reserve the right to solicit additional reviews after the initial author response period.  These reviews will become visible to the authors as they are added to OpenReview, and authors will have a chance to respond to them.

After the notification deadline, accepted and opted-in rejected papers will be made public and open for non-anonymous public commenting. Their anonymous reviews, meta-reviews, and author responses will also be made public. Authors of rejected papers will have two weeks after the notification deadline to opt in to make their deanonymized rejected papers public in OpenReview.  These papers are not counted as NeurIPS publications and will be shown as rejected in OpenReview.

After the initial author response, we will allow for a rolling discussion with the authors.  This discussion will be made public later for papers that become public.

Authors may submit revisions of their paper during the discussion period, but the reviewers and ACs are not required to read them. 

Publication of accepted submissions:  Reviews, meta-reviews, and any discussion with the authors will be made public for accepted papers (but reviewer, area chair, and senior area chair identities will remain anonymous). Camera-ready papers will be due in advance of the conference. All camera-ready papers must include a funding disclosure . We strongly encourage accompanying code and data to be submitted with accepted papers when appropriate, as per the code submission policy . Authors will be allowed to make minor changes for a short period of time after the conference.

Other Tracks: Similarly to earlier years, NeurIPS 2022 will host multiple tracks, such as datasets and benchmarks, tutorials as well as workshops, in addition to the main track for which this call for papers is intended. See the conference homepage for updates and calls for participation in these tracks. 

Experiments: As in past years, the program chairs will be measuring the quality and effectiveness of the review process via randomized controlled experiments. All experiments are independently reviewed and approved by an Institutional Review Board (IRB).

Frequently asked questions can be found here .

Alekh Agarwal, Danielle Belgrave, Kyunghyun Cho, Alice Oh NeurIPS 2022 Program Chairs

Sanmi Koyejo, Shakir Mohamed NeurIPS 2022 General Chairs

Help | Advanced Search

Mathematics > Probability

Title: metastable hierarchy in abstract low-temperature lattice models: an application to kawasaki dynamics for ising lattice gas with macroscopic number of particles.

Abstract: This article is divided into two parts. In the first part, we study the hierarchical phenomenon of metastability in low-temperature lattice models in the most general setting. Given an abstract dynamical system governed by a Hamiltonian function, we prove that there exists a hierarchical decomposition of the collection of stable plateaux in the system into multiple $\mathfrak{m}$ levels, such that at each level there exist tunneling metastable transitions between the stable plateaux, which can be characterized by convergence to a simple Markov chain as the inverse temperature $\beta$ tends to infinity. In the second part, as an application, we characterize the $3$-level metastable hierarchy in Kawasaki dynamics for Ising lattice gas with macroscopic number of particles. We prove that the ground states in this model are those in which the particles line up and form a one-dimensional strip, and identify the full structure relevant to the tunneling transitions between these ground states. In particular, the results differ from the previous work [5] in that the particles in the ground states are likely to form a strip rather than a square droplet. The main tool is the resolvent approach to metastability, recently developed in [24]. Along with the analysis, we present a theorem on the sharp asymptotics of the exit distribution from cycles, which to the author's knowledge is not known in the community and therefore may be of independent interest.

Submission history

Access paper:.

• HTML (experimental)
• Other Formats

References & Citations

• Google Scholar
• Semantic Scholar

BibTeX formatted citation

Bibliographic and Citation Tools

Code, data and media associated with this article, recommenders and search tools.

• Institution

arXivLabs: experimental projects with community collaborators

arXivLabs is a framework that allows collaborators to develop and share new arXiv features directly on our website.

Both individuals and organizations that work with arXivLabs have embraced and accepted our values of openness, community, excellence, and user data privacy. arXiv is committed to these values and only works with partners that adhere to them.

Have an idea for a project that will add value for arXiv's community? Learn more about arXivLabs .