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Quoting and integrating sources into your paper

In any study of a subject, people engage in a “conversation” of sorts, where they read or listen to others’ ideas, consider them with their own viewpoints, and then develop their own stance. It is important in this “conversation” to acknowledge when we use someone else’s words or ideas. If we didn’t come up with it ourselves, we need to tell our readers who did come up with it.

It is important to draw on the work of experts to formulate your own ideas. Quoting and paraphrasing the work of authors engaged in writing about your topic adds expert support to your argument and thesis statement. You are contributing to a scholarly conversation with scholars who are experts on your topic with your writing. This is the difference between a scholarly research paper and any other paper: you must include your own voice in your analysis and ideas alongside scholars or experts.

All your sources must relate to your thesis, or central argument, whether they are in agreement or not. It is a good idea to address all sides of the argument or thesis to make your stance stronger. There are two main ways to incorporate sources into your research paper.

Quoting is when you use the exact words from a source. You will need to put quotation marks around the words that are not your own and cite where they came from. For example:

“It wasn’t really a tune, but from the first note the beast’s eyes began to droop . . . Slowly the dog’s growls ceased – it tottered on its paws and fell to its knees, then it slumped to the ground, fast asleep” (Rowling 275).

Follow these guidelines when opting to cite a passage:

• Choose to quote passages that seem especially well phrased or are unique to the author or subject matter.
• Be selective in your quotations. Avoid over-quoting. You also don’t have to quote an entire passage. Use ellipses (. . .) to indicate omitted words. Check with your professor for their ideal length of quotations – some professors place word limits on how much of a sentence or paragraph you should quote.
• Before or after quoting a passage, include an explanation in which you interpret the significance of the quote for the reader. Avoid “hanging quotes” that have no context or introduction. It is better to err on the side of your reader not understanding your point until you spell it out for them, rather than assume readers will follow your thought process exactly.
• If you are having trouble paraphrasing (putting something into your own words), that may be a sign that you should quote it.
• Shorter quotes are generally incorporated into the flow of a sentence while longer quotes may be set off in “blocks.” Check your citation handbook for quoting guidelines.

Paraphrasing is when you state the ideas from another source in your own words . Even when you use your own words, if the ideas or facts came from another source, you need to cite where they came from. Quotation marks are not used. For example:

With the simple music of the flute, Harry lulled the dog to sleep (Rowling 275).

Follow these guidelines when opting to paraphrase a passage:

• Don’t take a passage and change a word here or there. You must write out the idea in your own words. Simply changing a few words from the original source or restating the information exactly using different words is considered plagiarism .
• Read the passage, reflect upon it, and restate it in a way that is meaningful to you within the context of your paper . You are using this to back up a point you are making, so your paraphrased content should be tailored to that point specifically.
• After reading the passage that you want to paraphrase, look away from it, and imagine explaining the main point to another person.
• After paraphrasing the passage, go back and compare it to the original. Are there any phrases that have come directly from the original source? If so, you should rephrase it or put the original in quotation marks. If you cannot state an idea in your own words, you should use the direct quotation.

A summary is similar to paraphrasing, but used in cases where you are trying to give an overview of many ideas. As in paraphrasing, quotation marks are not used, but a citation is still necessary. For example:

Through a combination of skill and their invisibility cloak, Harry, Ron, and Hermione slipped through Hogwarts to the dog’s room and down through the trapdoor within (Rowling 271-77).

Important guidelines

When integrating a source into your paper, remember to use these three important components:

• Introductory phrase to the source material : mention the author, date, or any other relevant information when introducing a quote or paraphrase.
• Source material : a direct quote, paraphrase, or summary with proper citation.
• Analysis of source material : your response, interpretations, or arguments regarding the source material should introduce or follow it. When incorporating source material into your paper, relate your source and analysis back to your original thesis.

Ideally, papers will contain a good balance of direct quotations, paraphrasing and your own thoughts. Too much reliance on quotations and paraphrasing can make it seem like you are only using the work of others and have no original thoughts on the topic.

Always properly cite an author’s original idea, whether you have directly quoted or paraphrased it. If you have questions about how to cite properly in your chosen citation style, browse these citation guides . You can also review our guide to understanding plagiarism .

University Writing Center

The University of Nevada, Reno Writing Center provides helpful guidance on quoting and paraphrasing and explains how to make sure your paraphrasing does not veer into plagiarism. If you have any questions about quoting or paraphrasing, or need help at any point in the writing process, schedule an appointment with the Writing Center.

Works Cited

Rowling, J.K. Harry Potter and the Sorcerer's Stone.  A.A. Levine Books, 1998.

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Academic writing often requires students to use evidence, and learning how to use evidence effectively is an important skill for college writers to master. Often, the evidence college writers are asked to use comes from their textbooks, course readings, or other written work by professional scholars. It is important to learn how to use these writings responsibly and accurately.

General Considerations

There are three methods of incorporating the writing of others into your paper as evidence:

• quotation , which is anything from a word to several sentences taken word-for-word from the original source and enclosed in quotation marks
• paraphrase , which is a rephrasing in your own voice and sentence structure of one portion of the original source and is about the same length as the original sentence or sentences you are paraphrasing
• summary , which is shorter than the original source and gives the text’s central idea in your own words

Some words to use in signal phrases are argues, asserts, contends, emphasizes, explains, observes, suggests, writes.

In what follows, you will learn some strategies for using these methods of incorporating evidence into your paper.

In Practice

Quoting When you use a q uotation as evidence, you should integrate it into your own writing using a “signal phrase.” Take, for example, this quotation, taken from page 418 of the essay “Prejudice and the Individual” by Gordon Allport: “Much prejudice is caught rather than directly taught.” Here are three ways to integrate Allport’s quotation into a sentence of your own with a signal phrase:

Allport claims that “prejudice is caught rather than directly taught” (418). “Much prejudice is caught rather than directly taught,” claims Allport (418). “Much prejudice,” Allport claims, “is caught rather than directly taught” (418).

You can adapt a quotation to fit your own paragraph and sentence structure by making small changes to words and indicating those changes with square brackets. Say, for example, you liked this quotation from Allport:

“It should be added that overgeneralized prejudgments of this sort are prejudices only if they are not reversible when exposed to new knowledge” (417).

However, you want to apply Allport’s words to a specific example of your own. You could adapt the quotation like this:

The young man in my example was not prejudiced, according to Allport’s definition; his opinion was “reversible when [he was] exposed to new knowledge” (417).

You can also use ellipses to indicate that you have left irrelevant words out of a quotation. Again, say you wanted to use this quotation from Allport:

“The best opinion today says that if we eliminate discrimination, then—as people become acquainted with one another on equal terms—attitudes are likely to change, perhaps more rapidly than through the continued preaching or teaching of tolerance” (417).

But the middle part is less important to your paper than what Allport says at the start and the end. You could modify the quotation like this:

“The best opinion today says that if we eliminate discrimination . . . attitudes are likely to change, perhaps more rapidly than through the continued preaching or teaching of tolerance” (417).

Longer quotations must be formatted in a special way; usually, they are indented from the left margin and/or single-spaced. Depending on what citation style you use, guidelines differ regarding what defines a long quotation and how a long quotation should be formatted. Typically, a quotation of four or five lines is considered long.

Paraphrasing To paraphrase a source for use as evidence, you should use as little of the original language as possible and put the passage in your own voice and sentence structure. Also, because paraphrasing involves wrapping your words around someone else’s idea, people often forget to give credit to the author. Even though a paraphrase is in your words, it is not your idea. Remember to cite your source when you paraphrase. Here is another quotation from Allport and an example of weak and strong paraphrase:

“Education combats easy overgeneralizations, and as the educational level rises we find a reduction in stereotyped thinking” (Allport 422).

WEAK PARAPHRASE: Learning fights against stereotypes, and as more people are more educated we notice a decrease in prejudice (422).

STRONG PARAPHRASE: Allport explains that the more we learn, the harder we will find it to make unfair assumptions about groups of people, which means as more people pursue more education, prejudice decreases (422).

In the weak example above, you can see the sentence structure in the paraphrase is very similar to the quotation—notice, for instance, the use in both the original sentence and the weak paraphrase of a comma plus the conjunction “and.” Also, the replacement of Allport’s words with synonyms makes the paraphrase too close to the original—Allport’s “education” is replaced with “learning” in the paraphrase; his “combats” is exchanged for “fights”; “overgeneralizations” becomes “stereotypes.” The strong example above does a better job of restating Allport’s idea in a new sentence structure and without simple word substitution. Also, notice the weak paraphrase does not give Allport credit by mentioning him, but the strong one does.

Summarizing When you summarize another writer’s idea to use as evidence in a paper of your own, you are taking the essence of the writer’s idea and stating it more briefly, with less detail and explanation, than in the original. You may summarize an article or a chapter, or even a book, in a sentence, a paragraph, a page, or more—the purpose of your summary should dictate how specific you are. Summaries should be mostly in your own words, but often summaries include quotations or paraphrases when it is necessary to highlight a certain key point. When you are writing a summary, you need to be very careful not to use the original writer’s words without putting those words in quotation marks. You also need to be sure that when you summarize, you are fairly representing the original writer’s main idea. Here is a paragraph from Allport and examples of weak and strong summary:

“While discrimination ultimately rests on prejudice, the two processes are not identical. Discrimination denies people their natural or legal rights because of their membership in some unfavored group. Many people discriminate automatically without being prejudiced; and others, the “gentle people of prejudice,” feel irrational aversion, but are careful not to show it in discriminatory behavior. Yet in general, discrimination reinforces prejudices, and prejudices provide rationalizations for discrimination. The two concepts are most distinct when it comes to seeking remedies. The corrections for discrimination are legal, or lie in a direct change of social practices; whereas the remedy for prejudice lies in education and the conversion of attitudes. The best opinion today says that if we eliminate discrimination, then—as people become acquainted with one another on equal terms—attitudes are likely to change, perhaps more rapidly than through the continued preaching or teaching of tolerance.” (Allport 417)

WEAK SUMMARY: Discrimination is when people are denied their rights because they belong to some unfavored group, and it is addressed with legal action or a change in social practices. Eliminating discrimination from society would have a drastic effect on social attitudes overall, according to Allport (417).

STRONG SUMMARY: Allport explains that discrimination occurs when an individual is refused rights because he or she belongs to a group which is the object of prejudice. In this way, discrimination reinforces prejudice, but if instances of discrimination are ruled illegal or seen as socially unacceptable, prejudice will likely decrease along with discrimination (417).

You will notice that the weak summary above uses exact words and phrases from the source (“unfavored group,” “social practices”) and also some words and phrases very close to the original (“when people are denied,” “eliminating discrimination”). It does not effectively restate the original in different language. It also does not fairly represent the complete idea of the source paragraph: it does not explain the relationship between discrimination and prejudice, an important part of what Allport says. The strong example does a better job using independent language and fairly conveying Allport’s point.

How to choose which method of incorporating evidence to use These methods of incorporating evidence into your paper are helpful in different ways. Think carefully about what you need each piece of evidence to do for you in your paper, then choose the method that most suits your needs.

You should use a quotation if

• you are relying on the reputation of the writer of the original source to give authority or credibility to your paper.
• the original wording is so remarkable that paraphrasing would diminish it.

A paraphrase is a good choice if

• you need to provide a supporting fact or detail but the original writer’s exact words are not important.
• you need to use just one specific idea from a source and the rest of the source is not as important.

Summary is useful when

• you need to give an overview of a source to orient your reader.
• you want to provide background that leads up to the point of your paper.

Last but certainly not least, remember that anytime you use another person’s ideas or language, you must give credit to that person. If you do not know the name of the person whose idea or language you are using, you must still give credit by referring to a title or any such available information. You should always check with your instructor to see what method of citing and documenting sources you should use. The examples on this handout are cited using MLA style.

The sample text in these exercises is Holly Devor’s “Gender Role Behaviors and Attitudes.”

1. Read the paragraph from Devor below, then identify which summary of it is weak and which is strong.

“Body postures and demeanors which communicate subordinate status and vulnerability to trespass through a message of "no threat" make people appear to be feminine. They demonstrate subordination through a minimizing of spatial use: people appear to be feminine when they keep their arms closer to their bodies, their legs closer together, and their torsos and heads less vertical than do masculine-looking individuals. People also look feminine when they point their toes inward and use their hands in small or childlike gestures.” (486)

A. Devor argues that body language suggests a great deal about gender and power in our society. People who minimize the body space they occupy and whose physical gestures are minimal and unobtrusive appear inferior and feminine (486).

B. Devor says that body postures and demeanors that imply weakness make people look feminine. Minimizing the space one takes up and using infantile gestures also makes one appear feminine (486).

2. Read the sentence from Devor below, then identify which paraphrase of it is weak and which is strong.

“They demonstrate subordination through a minimizing of spatial use: people appear to be feminine when they keep their arms closer to their bodies, their legs closer together, and their torsos and heads less vertical than do masculine-looking individuals.” (486)

A. Devor explains that people demonstrate a lesser position by using less space, keeping arms close, legs together, and head less upright (486).

B. According to Devor, taking up less space with one’s body—keeping arms and legs close and hunching to reduce height—makes one appear inferior and implies femininity (486).

3. The quotations of Devor below, taken from the paragraph in exercise 1, contain technical errors. Identify and correct them.

A. Devor argues that “[b]ody postures and demeanors which communicate subordinate status and vulnerability make people appear to be feminine” (486).

B. The actress looked particularly feminine because she “point their toes inward and use their hands in small or childlike gestures” (486).

C. Devor claims that “using their hands in small or childlike gestures” makes people look feminine (486).

Answers: 1. A. STRONG B. WEAK – This example uses too many exact words and phrases from the original.

2. A. WEAK – This example uses too many exact words and phrases from the source, and its sentence structure is also too close to the original. B. STRONG

3. A. Devor argues that “[b]ody postures and demeanors which communicate subordinate status and vulnerability . . . make people appear to be feminine.” B. The actress looked particularly feminine because she “point[s her] toes inward and use[s her] hands in small or childlike gestures.” C. Devor claims that “us[ing] their hands in small or childlike gestures” makes people look feminine.

Allport, Gordon, “Prejudice and the Individual,” in The Borozoi College Reader , 6th ed. Eds. Charles Muscatine and Marlene Griffith (New York: Alfred A Knopf, 1988): 416-22.

Devor, Holly, “Gender Role Behaviors and Attitudes,” in Signs of Life in the USA: Readings on Popular Culture for Writers , 4th ed. Eds. Sonia Maasik and Jack Solomon (New York: Bedford / St Martin's, 2003): 484-89.

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How do I incorporate academic sources into my paper?

Return to Student Resources

Sources are an important part of any paper

Whether you are referencing a primary text from your class or a secondary text that supports your argument, sources lend credibility to your ideas and give your reader the impression that you are trustworthy; knowledgeable; and experienced when it comes to your topic. There are a variety of ways to include sources in your paper:

Involves selecting a brief excerpt from a source in order to enhance your own argument.

• When quoting, you may not insert words to alter the meaning of the quote or take the quote out of its original context, and you must properly credit the source in your paper and provide a full citation at the end of your work.
• If you make a slight alteration to a quote in order to ensure that it is grammatically coherent with your overall sentence, you must offset any  change with the use of brackets [ ], and if you skip over any part of a quote, you must note it with an ellipsis ( . . . ) so the reader knows you made an adjustment.

Paraphrasing:

Involves the detailed explanation of a source's ideas in your own words.

• Successful paraphrasing means using your own words to convey an idea and presenting that idea with a sentence structure that is your own, not the author's.  In addition, you must still cite the author and the pages you are paraphrasing.

Summarizing:

Involves a concise account of an author's overall claims.

• This integration of a source is meant to demonstrate you are familiar with an author's central ideas. Again, summarizing requires an acknowledgment of an author's name and work but might not require a page number if it is addressing a writer's ideas at large.

Still Have Questions:

• The Writing Center's guide to avoiding plagiarism:  Paraphrasing and Citation
• Source incorporation handout:  Introducing Arguments  [pdf]

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How to Reference Articles in APA Format

Kendra Cherry, MS, is a psychosocial rehabilitation specialist, psychology educator, and author of the "Everything Psychology Book."

Emily is a board-certified science editor who has worked with top digital publishing brands like Voices for Biodiversity, Study.com, GoodTherapy, Vox, and Verywell.

If you write a psychology paper, you will need to reference several sources in APA format. Journal articles are often used and cited to summarize the results of studies and experiments conducted by researchers. In most cases, you will need to create references for at least five or more journal articles for every APA format paper you write.

APA format details a set of strict rules for referencing articles that appear in academic journals and other periodicals. These vary somewhat based on where the article appears and who the authors are. While most articles you will use in your paper appear in academic and professional journals, you may also find articles in magazines, newspapers, and online publications.

Keep reading for a breakdown of the rules for creating references in APA format.

Basic Structure for Journal Article References

Begin the reference with the author's last name and first initials, followed by the date of publication in parentheses. Provide the title of the article, but only capitalize the first letter of the title. Next, include the journal or periodical and volume number in italics, followed by the issue number in parentheses. Finally, provide the page numbers where the article can be found.

Author, I. N. (Year). Title of the article. Title of the Journal or Periodical, volume number (issue number), page numbers.

Smith, L. V. (2000). Referencing articles in APA format. APA Format Weekly, 34 (1), 4-10.

If possible, include the DOI (digital object identifier) number at the end of your reference. If a DOI number is not available and you accessed the article online, give the URL of the journal's home page.

Formatting Rules

• The title , subtitle and all proper nouns should be capitalized.
• Your reference page should be double-spaced.
• The first line of each reference should be flush left and remaining lines should be indented

Be sure to check your references using the official Publication Manual of the American Psychological Association. See an example of different types of references and learn more about APA format .

Magazine Articles

The structure of a reference for an article appearing in a magazine is similar to that of a journal article. However, be sure to add the month and day of publication to the publication date.

James, S. A. (2001, June 7). Magazine articles in APA format. Newsweek, 20, 48-52.

Newspaper Articles

References for newspaper articles follow the basic structure as magazines, but you should list each individual page the article appears on rather than a page range.

Tensky, J. A. (2004, January 5). How to cite newspaper articles. The New York Times, 4D, 5D.

Articles With Two Authors

If an article has two authors, follow the basic format for a journal reference. Place a comma after the first initial of the first author followed by an ampersand (&). Then, include the last name and first initial of the second author.

Mischel, W., & Baker, N. (1975). Cognitive transformations of reward objects through instructions.  Journal of Personality and Social Psychology, 31 , 254-261.

Articles With Three to Twenty Authors

 For journal articles with three to 20 authors, you will follow a similar format as with two authors but each author and their initials will be separated with a comma. The final author should be preceded by an ampersand. Follow this same format for each additional author up to 20 authors.

Hart, D., Keller, M., Edelstein, W., & Hofmann, V. (1998). Childhood personality influences on social-cognitive development: A longitudinal study. Journal of Personality and Social Psychology, 74, 1288-1289. doi:10.1037/0022-3514.74.5.1278

Keller, J. L., Smithfield, K. B., Ellis, M., Michelina, R., & Bels, S. (1987). The limitations of anchoring bias. J ournal of Market Research, 17 , 115-119.

Articles With More Than Twenty Authors

The rules for referencing both single and multiple authors apply to all sources, whether the material came from books, magazine articles, newspaper articles, journal articles, or online sources. Include the last name and first initials of each author, with individuals' names separated by a comma. The last author should be preceded with an ampersand.

If the article includes 20 or fewer authors, list each author separately. If there are more than 20, include the first 19 and then include an ellipse (. . . ) in place of the authors' names before listing the final author.

Arlo, A., Black, B., Clark, C., Davidson, D., Emerson, E., Fischer, F., Grahmann, G., Habib, H., Ianelli, I., Juarez, J., Kobayashi, K., Lee, L., Martin, M., Naim, N., Odelsson, O., Pierce, P., Qiang, Q., Reed, R., Scofield, S., . . . Thatcher, T. (2011). Even more references. APA Format Today, 11 (4), 30-38.

Articles With No Author

If an article does not cite any authors, start the reference with the title of the article. Follow this with the publication date, source, and URL if the article was accessed electronically.

Scientists seek source of creativity. (2012, March, 6). Dayton County News. http://www.daytoncountynews.com/news/39756_39275.html

The reference section is one of the easiest places to lose points due to incorrect APA format, so be sure to check your references before you hand in your psychology papers . While it may be tedioous, learning to reference articles in proper APA style will help you throughout your study of psychology.

American Psychological Association. Publication Manual of the American Psychological Association  (7th ed.). The American Psychological Association, 2019.

By Kendra Cherry, MSEd Kendra Cherry, MS, is a psychosocial rehabilitation specialist, psychology educator, and author of the "Everything Psychology Book."

Using Sources Correctly

Crediting and Citing Your Sources

Now that you’ve just summarized or paraphrased or directly quoted a source, is there anything else you need to do with that source? Well, it turns out there is. There are some standard ways of using sources that let your readers know this material is from other texts rather than original ideas from your own brain. Following these guidelines also allows us, your readers, to locate those sources if we are interested in the topic and would like to know more about what they say.

 . . . . . . . . . . . . . . .

Giving credit to the sources you used creating a text is important (and useful!) for several reasons.

• It adds to your own credibility as an author by showing you have done appropriate research on your topic and approached your work ethically.
• It gives credit to the original author and their work for the ideas you found to be useful, and in giving them credit it helps you avoid unintentionally plagiarizing their work.
• It gives your readers additional resources (already curated by you in your research process!) that they can go to if they want to read further your topic.

What Does It Mean to Credit or Cite Your Sources?

For college-level work, this generally means two things: in-text or parenthetical citation and a “Works Cited” or “References” page. What these two things look like will be a little different for different types of classes (for example, it’s likely your writing class will use MLA—Modern Language Association—format, while a psychology class is more likely to use APA—American Psychological Association—format). The specific details required and the order in which they appear changes a little between different formats, but practicing one of them will give you a general idea of what most of them are looking for. All of the information we are looking at here is specific to MLA, which is the format you will use for your writing classes (and some other humanities classes).

Citing: Identifying In-Text Sources

Once you have brought source material into your writing (via quotation, summary, or paraphrase), your next task is to cite or identify it. This is essential because giving credit to the creator of the source material helps you avoid plagiarism. Identifying your sources also helps your reader understand which written content is from a source and which represents your ideas.

When you cite or identify source materials, you make it absolutely clear that the material was taken from a source. Note that if you don’t do that, your reader is left to assume the words are yours—and since that isn’t true, you will have committed plagiarism.

In-Text Citation

Every time you use an idea or language from a source in your text (so every time you summarize, paraphrase, or directly quote material from a source), you will want to add an in-text citation. Sometimes you can accomplish this simply by mentioning the author or title of a source in the body of your writing, but other times you’ll handle in-text citation differently, with a parenthetical citation. Parenthetical means that the citation appears in parentheses in the text of your essay.

A starting point for parenthetical citations is that they include the author’s last name and the page number where the borrowed information came from. For example, let’s say I’m using material from an article written by Lisa Smith. It’s in a physical magazine and spans pages 38-42. If, on page 41, she says something like, “While most studies have shown that Expo dry erase markers have superior lasting power, erasability, and color saturation than other brands on the market, their higher cost is a concern for some consumers,” I might incorporate that into a paper like this:

By most measurable standards, Expo markers are clearly the favored option (Smith 41).

However, you don’t always need both components (last name and page number) in the parenthetical citation. If I introduced the source material in the sentence above a little differently, introducing the author before delivering the material, I wouldn’t need to repeat the author’s name in that same sentence in the parenthetical citation. In that case, my sentence would look something like this: According to Lisa Smith, Expo markers are clearly the favored option by most measurable standards (41).

In this section, we’ll discuss three ways to cite or identify written source materials in your own writing.

1. Introduce the Author and/or the Title of the Source

By introducing the author or the material, you make it clear to the reader that what you’re talking about is from a source. Here’s an example of a quotation that is identified by introducing the author and the title of source (which are highlighted):

In the article, “Grooming Poodles for Fun and Profit,” Jonas Fogbottom explains , “Poodle grooming is a labor of love. It takes years of practice to be good at it, but once learned, it’s a fun and worthwhile career.”

Here’s an example of a paraphrase that is identified in the same way:

In the article, “Grooming Poodles for Fun and Profit,” Jonas Fogbottom says that although it takes a long time to become a skilled poodle groomer, it’s well worth the effort and leads to a good career.

Note that, in the example above, (1) if there are no page numbers to cite and (2) if the name of the author is signaled in the phrase that introduces the bit of source material, then there is no need for the parenthetical citation. This is an example of a situation where mentioning the author by name is the only in-text citation you’ll need. And sometimes, if the name of the author is unknown, then you might just mention the title of the article instead. It will be up to you, as a writer, to choose which method works best for your given situation.

The first time that you mention a source in your writing, you should always introduce the speaker and, if possible, the title of the source as well. Note that the speaker is the person responsible for stating the information that you’re citing and that this is not always the author of the text. For example, an author of an article might quote someone else, and you might quote or paraphrase that person.

Use the speaker’s full name (e.g. “According to Jonas Fogbottom . . .”) the first time you introduce them; if you mention them again in the paper, use their last name only (e.g. “Fogbottom goes on to discuss . . .”).

2. Use Linking or Attributive Language

Using linking language (sometimes called attributive language or signal phrases) simply means using words that show the reader you are still talking about a source that you just mentioned.

For example, you might use linking language that looks something like this:

• The author also explains . . .
• Fogbottom continues . . .
• The article goes on to say . . .
• The data set also demonstrates . . .

By using this kind of language, you make it clear to the reader that you’re still talking about a source. And while you’ll use this type of language throughout any researched essay whether you’re also using parenthetical citations or not, as we mentioned above, sometimes this linking language will be all you need for in-text citation.

Let’s look back at the last Fogbottom example from above, and imagine you wanted to add two more sentences from the same source. The linking language is highlighted :

In the article, “Grooming Poodles for Fun and Profit,” Jonas Fogbottom says that although it takes a long time to become a skilled poodle groomer, it’s well worth the effort and leads to a good career. Fogbottom goes on to explain how one is trained in the art of dog and poodle grooming. The article also gives a set of resources for people who want to know more about a dog grooming career.

Using the linking language makes it absolutely clear to your reader that you are still talking about a source.

3. Use a Parenthetical Citation

A parenthetical citation is a citation enclosed within parentheses.

The classic parenthetical citation includes the author’s name and, if there is one, a page number. To learn more about parenthetical citation and see some examples, see the Purdue OWL article on “ MLA In-Text Citations: The Basics ” (available from owl.english.purdue.edu).

Here’s an example :

(Fogbottom 16)

If there are two authors , list both (with a page number, if available):

(Smith and Jones 24)

If there are three or more authors , list the first author only and add “et al.”* (with a page number, if available):

(Smith et al. 62)

* et al means “and others.” If a text or source has three or more authors, MLA style has us just list the first one with et al .

But my source doesn’t have page numbers!

If you are using an electronic source or another kind of source with no page numbers, just leave the page number out:

(Fogbottom)

If you’re quoting or paraphrasing someone who was cited by the author of one of your sources , then that’s handled a bit differently. For example, what if you quote Smith, but you found that quote in the article by Fogbottom. In this case, you should introduce the speaker (Smith) as described above, and then cite the source for the quote, like this:

(qtd. in Fogbottom)

But my source doesn’t have an author!

This happens sometimes. Many useful documents, like government publications, organizational reports, and surveys, don’t list their authors. On the other hand, sometimes no clearly listed author can be a red flag that a source is not entirely trustworthy or is not researched well enough to be a reliable source for you.

If you encounter a source with no author, do look for other indicators that it is a good (or poor) source—who published it, does it have an appropriate list of references, is it current information, is it unbiased?

If you determine that this source is an appropriate source to use, then, when you create your in-text citation for it, you will simply use the title of the source (article, chapter, graph, film, etc.) in the place where you would have used the author’s name. If the title is long, you should abbreviate by listing the first one or two words of it (with a page number, if available).

Let’s imagine you’re working with a newspaper article entitled, “What’s New in Technology,” enclosed in quotation marks to indicate that this is an article title, and with no known author . Here’s what that would look in a parenthetical citation:

(“What’s New” B6)

If there is no author and you’re working with an electronic article, use the first one or two words in your parenthetical citation, again, enclosed in quotation marks. Let’s imagine you’re working with a web article entitled, “Pie Baking for Fun and Profit” and with no author. Here’s what that would look in a parenthetical citation:

(“Pie Baking”)

The parenthetical citation should be added at the end of the sentence that contains the source material. Let’s go back to the Fogbottom example and see how a parenthetical citation would work:

“Poodle grooming is a labor of love. It takes years of practice to be good at it, but once learned, it’s a fun and worthwhile career” (Fogbottom).

Here’s what it would look like if we used it with a paraphrase instead of a quotation:

Although it takes a long time to become a skilled poodle groomer, it’s well worth the effort and leads to a good career (Fogbottom).

Note that the citation is placed at the end of the sentence; the period comes after the parentheses. Misplacing the period is one of the most common formatting errors made by students.

Using parenthetical citation makes it crystal clear that a sentence comes from source material. This is, by far, the easiest way to cite or identify your source materials, too.

If using parenthetical citations is easy, why would we bother with using introduction or linking language to identify sources?

Good question! There would be nothing wrong with only using parenthetical citations all the way through your writing—it would absolutely do the job of citing the material. But, it wouldn’t read smoothly and would feel somewhat rough because every time a parenthetical citation popped up, the reader would be “stopped” in place for a moment. Using a combination of introduction, linking language, and parenthetical citation, as needed, makes the writing smoother and easier to read. It also integrates the source material with the writer’s ideas. We call this synthesis, and it’s part of the craft of writing.

Works Cited Entries

At the end of texts that have drawn from existing sources, you will often find a Works Cited page. This page gives more information than the parenthetical citations do about what kinds of sources were referenced in this work and where they can be found if the reader would like to know more about them. These entries all follow a specific and consistent format so that it is easy for readers to find the information they are looking for and so the shape and type of that information is consistent no matter who is writing the entries.

Until recently, the MLA required a slightly different format for every type of source—an entry for a Youtube video required certain information that was different from an entry for a book that was different from an entry for an online article. The most recent version of MLA, though—MLA 8—has simplified this so there is just one format rather than many.

You can learn how to create works cited entries in MLA 8 format, and see an example, in the “ Creating a Works Cited Page ” appendix to this text.

The Word on College Reading and Writing Copyright © by Carol Burnell, Jaime Wood, Monique Babin, Susan Pesznecker, and Nicole Rosevear is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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How to Introduce Evidence in an Essay

Last Updated: December 5, 2023

This article was co-authored by Tristen Bonacci . Tristen Bonacci is a Licensed English Teacher with more than 20 years of experience. Tristen has taught in both the United States and overseas. She specializes in teaching in a secondary education environment and sharing wisdom with others, no matter the environment. Tristen holds a BA in English Literature from The University of Colorado and an MEd from The University of Phoenix. This article has been viewed 235,346 times.

When well integrated into your argument, evidence helps prove that you've done your research and thought critically about your topic. But what's the best way to introduce evidence so it feels seamless and has the highest impact? There are actually quite a few effective strategies you can use, and we've rounded up the best ones for you here. Try some of the tips below to introduce evidence in your essay and make a persuasive argument.

Setting up the Evidence

• You can use 1-2 sentences to set up the evidence, if needed, but usually more concise you are, the better.

• For example, you may make an argument like, “Desire is a complicated, confusing emotion that causes pain to others.”
• Or you may make an assertion like, “The treatment of addiction must consider root cause issues like mental health and poor living conditions.”

• For example, you may write, “The novel explores the theme of adolescent love and desire.”
• Or you may write, “Many studies show that addiction is a mental health issue.”

Putting in the Evidence

• For example, you may use an introductory clause like, “According to Anne Carson…”, "In the following chart...," “The author states…," "The survey shows...." or “The study argues…”
• Place a comma after the introductory clause if you are using a quote. For example, “According to Anne Carson, ‘Desire is no light thing" or "The study notes, 'levels of addiction rise as levels of poverty and homelessness also rise.'"
• A list of introductory clauses can be found here: https://student.unsw.edu.au/introducing-quotations-and-paraphrases .

• For example, you may write, “In the novel, Carson is never shy about how her characters express desire for each other: ‘When they made love/ Geryon liked to touch in slow succession each of the bones of Herakles' back…’”
• Or you may write, "The study charts the rise in addiction levels, concluding: 'There is a higher level of addiction in specific areas of the United States.'"

• For example, you may write, “Carson views events as inevitable, as man moving through time like “a harpoon,” much like the fates of her characters.”
• Or you may write, "The chart indicates the rising levels of addiction in young people, an "epidemic" that shows no sign of slowing down."

• For example, you may write in the first mention, “In Anne Carson’s The Autobiography of Red , the color red signifies desire, love, and monstrosity.” Or you may write, "In the study Addiction Rates conducted by the Harvard Review...".
• After the first mention, you can write, “Carson states…” or “The study explores…”.
• If you are citing the author’s name in-text as part of your citation style, you do not need to note their name in the text. You can just use the quote and then place the citation at the end.

• If you are paraphrasing a source, you may still use quotation marks around any text you are lifting directly from the source.

• For example, you may write, “In the novel, the characters express desire for each other: ‘When they made love/ Geryon liked to touch in slow succession each of the bones of Herakles' back (Carson, 48).”
• Or you may write, "Based on the data in the graph below, the study shows the 'intersection between opioid addiction and income' (Branson, 10)."
• If you are using footnotes or endnotes, make sure you use the appropriate citation for each piece of evidence you place in your essay.

• You may also mention the title of the work or source you are paraphrasing or summarizing and the author's name in the paraphrase or summary.
• For example, you may write a paraphrase like, "As noted in various studies, the correlation between addiction and mental illness is often ignored by medical health professionals (Deder, 10)."
• Or you may write a summary like, " The Autobiography of Red is an exploration of desire and love between strange beings, what critics have called a hybrid work that combines ancient meter with modern language (Zambreno, 15)."

• The only time you should place 2 pieces of evidence together is when you want to directly compare 2 short quotes (each less than 1 line long).
• Your analysis should then include a complete compare and contrast of the 2 quotes to show you have thought critically about them both.

Analyzing the Evidence

• For example, you may write, “In the novel, Carson is never shy about how her characters express desire for each other: ‘When they made love/ Geryon liked to touch in slow succession each of the bones of Herakles' back (Carson, 48). The connection between Geryon and Herakles is intimate and gentle, a love that connects the two characters in a physical and emotional way.”
• Or you may write, "In the study Addiction Rates conducted by the Harvard Review, the data shows a 50% rise in addiction levels in specific areas across the United States. The study illustrates a clear connection between addiction levels and communities where income falls below the poverty line and there is a housing shortage or crisis."

• For example, you may write, “Carson’s treatment of the relationship between Geryon and Herakles can be linked back to her approach to desire as a whole in the novel, which acts as both a catalyst and an impediment for her characters.”
• Or you may write, "The survey conducted by Dr. Paula Bronson, accompanied by a detailed academic dissertation, supports the argument that addiction is not a stand alone issue that can be addressed in isolation."

• For example, you may write, “The value of love between two people is not romanticized, but it is still considered essential, similar to the feeling of belonging, another key theme in the novel.”
• Or you may write, "There is clearly a need to reassess the current thinking around addiction and mental illness so the health and sciences community can better study these pressing issues."

Expert Q&A

You Might Also Like

• ↑ Tristen Bonacci. Licensed English Teacher. Expert Interview. 21 December 2021.
• ↑ https://writing.wisc.edu/handbook/assignments/quoliterature/
• ↑ https://writingcenter.unc.edu/tips-and-tools/evidence/
• ↑ https://wts.indiana.edu/writing-guides/using-evidence.html

About This Article

Before you introduce evidence into your essay, begin the paragraph with a topic sentence. This sentence should give the reader an overview of the point you’ll be arguing or making with the evidence. When you get to citing the evidence, begin the sentence with a clause like, “The study finds” or “According to Anne Carson.” You can also include a short quotation in the middle of a sentence without introducing it with a clause. Remember to introduce the author’s first and last name when you use the evidence for the first time. Afterwards, you can just mention their last name. Once you’ve presented the evidence, take time to explain in your own words how it backs up the point you’re making. For tips on how to reference your evidence correctly, keep reading! Did this summary help you? Yes No

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• Aberystwyth University
• Referencing & Plagiarism Awareness
• 3. How to insert citations into your assignment.

Referencing & Plagiarism Awareness: 3. How to insert citations into your assignment.

• 1. Introduction
• 2. What is referencing and citation?
• 4. What is plagiarism?
• 5. Referencing Artificial Intelligence Outputs
• 6. Consequences of plagiarism
• 7. Plagiarism in the news
• 8. Referencing Examples
• 9. Reference management tools
• 10. Submitting your work using Turnitin
• 11. How to interpret your Turnitin similarity report
• 12. Further help

What is citing?

Citing is identifying the sources you have used in the text of your assignment.  This may be done as;

a direct quotation

paraphrasing

summarising

In-text citations give brief details about the source that you refer to.

This is an example citation (Harvard referencing style):

(Pears and Shields, 2013)  

Further citation examples from the different referencing styles used at Aberystwyth University can be found here .

The citations will allow the person reading your assignment to locate the full details of the source you have used in the reference list located at the end of your work.

Reference list (Harvard Style)

Pears, R. and Shields, G. (2013) Cite them right: the essential referencing guide . London: Palgrave.

Pears, R. and Shields, G. (2013). Cite them right: the essential referencing guide . London: Palgrave.

How to use quotes in your assignment.

When you use quotations they should be relevant.  Try not to use too many as they can break the flow of your text.  You will need to balance quotations with your own understanding of the sources used.

Don't forget - quotes are included in your word count!

A few tips:

Enclose any quotes in " quotation marks " - be consistent. Check out the further examples to see whether your chosen referencing style uses single or double quotation marks.

If using long quotes that are more than a few sentences, add these as a separate paragraph. This should be indented and there is no need to use quotation marks. ( Please note : The Department of Geography and Earth Sciences stipulate that long, indented quotations require quotation mark at the beginning and the end of the quotation).

Depending on the referencing style you are using, give the author, date and page number that the quote is from.

The full details of the source of the quote are then added into the reference list at the end of your assignment.

Example (Harvard Style):

In-text citation

'There are several ways in which you can incorporate citations into your text, depending on your own style and the flow of the work' (Pears and Shields, 2013, p. 8).

Reference list

How to paraphrase.

Paraphrasing involves expressing another author’s ideas or arguments in your own words, without direct quotation but with due acknowledgement.  It entails reformulating key points or information accurately, so that nothing important is lost but the means of communication is new. For instance:

Quotation     ‘It is impossible to step twice into the same river’ (Heraclitus) Paraphrase     Heraclitus argues that, just as a river is always in motion, the world is always changing so that nothing stays the same.

Paraphrasing can help with the flow or continuity of your written work and is a good way of demonstrating your understanding.

Read your source a few times to ensure you understand the meaning

Restate the key point(s) from the source in your own words, but without distorting the original meaning

Ensure you cite and reference the source.

Please note: When paraphrasing, you should NOT copy a passage from your source and then seek to change some of its wording. Use your own words and phrases from beginning to end when paraphrasing.

How to summarise.

This method provides the key points from an article, book or web page as a brief statement.

A few Tips;

Summaries should be your own work. It is NOT permitted to use online summary tools or other software for this purpose.

Ensure you cite and reference the source

Only list the main topics

In text citation

Importantly, one particular book (Pears and Shields, 2013) looks at the different citation methods when including them in an assignment.

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MLA Formatting Quotations

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MLA (Modern Language Association) style is most commonly used to write papers and cite sources within the liberal arts and humanities. This resource, updated to reflect the MLA Handbook (8 th ed.), offers examples for the general format of MLA research papers, in-text citations, endnotes/footnotes, and the Works Cited page.

When you directly quote the works of others in your paper, you will format quotations differently depending on their length. Below are some basic guidelines for incorporating quotations into your paper. Please note that all pages in MLA should be double-spaced .

Short quotations

To indicate short quotations (four typed lines or fewer of prose or three lines of verse) in your text, enclose the quotation within double quotation marks. Provide the author and specific page number (in the case of verse, provide line numbers) in the in-text citation, and include a complete reference on the Works Cited page. Punctuation marks such as periods, commas, and semicolons should appear after the parenthetical citation.

Question marks and exclamation points should appear within the quotation marks if they are a part of the quoted passage, but after the parenthetical citation if they are a part of your text.

For example, when quoting short passages of prose, use the following examples:

When using short (fewer than three lines of verse) quotations from poetry, mark breaks in verse with a slash, ( / ), at the end of each line of verse (a space should precede and follow the slash). If a stanza break occurs during the quotation, use a double slash ( // ).

Long quotations

For quotations that are more than four lines of prose or three lines of verse, place quotations in a free-standing block of text and omit quotation marks. Start the quotation on a new line, with the entire quote indented 1/2   inch  from the left margin while maintaining double-spacing. Your parenthetical citation should come  after the closing punctuation mark . When quoting verse, maintain original line breaks. (You should maintain double-spacing throughout your essay.)

For example, when citing more than four lines of prose, use the following examples :

Nelly Dean treats Heathcliff poorly and dehumanizes him throughout her narration: They entirely refused to have it in bed with them, or even in their room, and I had no more sense, so, I put it on the landing of the stairs, hoping it would be gone on the morrow. By chance, or else attracted by hearing his voice, it crept to Mr. Earnshaw's door, and there he found it on quitting his chamber. Inquiries were made as to how it got there; I was obliged to confess, and in recompense for my cowardice and inhumanity was sent out of the house. (Bronte 78)

When citing long sections of poetry (four lines of verse or more), keep formatting as close to the original as possible.

In his poem "My Papa's Waltz," Theodore Roethke explores his childhood with his father:

The whiskey on your breath Could make a small boy dizzy; But I hung on like death: Such waltzing was not easy. We Romped until the pans Slid from the kitchen shelf; My mother's countenance Could not unfrown itself. (qtd. in Shrodes, Finestone, Shugrue 202)

When citing two or more paragraphs, use block quotation format, even if the passage from the paragraphs is less than four lines. If you cite more than one paragraph, the first line of the second paragraph should be indented an extra 1/4 inch to denote a new paragraph:

In "American Origins of the Writing-across-the-Curriculum Movement," David Russell argues,

Writing has been an issue in American secondary and higher education since papers and examinations came into wide use in the 1870s, eventually driving out formal recitation and oral examination. . . .

From its birth in the late nineteenth century, progressive education has wrestled with the conflict within industrial society between pressure to increase specialization of knowledge and of professional work (upholding disciplinary standards) and pressure to integrate more fully an ever-widening number of citizens into intellectually meaningful activity within mass society (promoting social equity). . . . (3)

Adding or omitting words in quotations

If you add a word or words in a quotation, you should put brackets around the words to indicate that they are not part of the original text:

If you omit a word or words from a quotation, you should indicate the deleted word or words by using ellipses, which are three periods ( . . . ) preceded and followed by a space. For example:

Please note that brackets are not needed around ellipses unless they would add clarity.

When omitting words from poetry quotations, use a standard three-period ellipses; however, when omitting one or more full lines of poetry, space several periods to about the length of a complete line in the poem:

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How to Introduce Evidence: 41 Effective Phrases & Examples

Research requires us to scrutinize information and assess its credibility. Accordingly, when we think about various phenomena, we examine empirical data and craft detailed explanations justifying our interpretations. An essential component of constructing our research narratives is thus providing supporting evidence and examples.

The type of proof we provide can either bolster our claims or leave readers confused or skeptical of our analysis. Therefore, it’s crucial that we use appropriate, logical phrases that guide readers clearly from one idea to the next. In this article, we explain how evidence and examples should be introduced according to different contexts in academic writing and catalog effective language you can use to support your arguments, examples included.

When to Introduce Evidence and Examples in a Paper

Evidence and examples create the foundation upon which your claims can stand firm. Without proof, your arguments lack credibility and teeth. However, laundry listing evidence is as bad as failing to provide any materials or information that can substantiate your conclusions. Therefore, when you introduce examples, make sure to judiciously provide evidence when needed and use phrases that will appropriately and clearly explain how the proof supports your argument.

There are different types of claims and different types of evidence in writing. You should introduce and link your arguments to evidence when you

• state information that is not “common knowledge”;
• draw conclusions, make inferences, or suggest implications based on specific data;
• need to clarify a prior statement, and it would be more effectively done with an illustration;
• need to identify representative examples of a category;
• desire to distinguish concepts; and
• emphasize a point by highlighting a specific situation.

Introductory Phrases to Use and Their Contexts

To assist you with effectively supporting your statements, we have organized the introductory phrases below according to their function. This list is not exhaustive but will provide you with ideas of the types of phrases you can use.

Although any research author can make use of these helpful phrases and bolster their academic writing by entering them into their work, before submitting to a journal, it is a good idea to let a professional English editing service take a look to ensure that all terms and phrases make sense in the given research context. Wordvice offers paper editing , thesis editing , and dissertation editing services that help elevate your academic language and make your writing more compelling to journal authors and researchers alike.

For more examples of strong verbs for research writing , effective transition words for academic papers , or commonly confused words , head over to the Wordvice Academic Resources website.

How to Add an Article Title Into the Text Using APA Format

Catherine bowers.

Including an article title in the text of your writing serves a different purpose than including it in the Works Cited section of a paper. You may want to include the title of an article in your paper when it is the main subject you’re writing about, a subject you’re discussing that you’re referring to simply as an example, or if the research for your writing isn’t extensive enough to require a citation page. The American Psychological Association (APA) has specific guidelines on how to include an article title in the text of your writing.

Consider section 4.21 of the APA Publication Manual "Use of Italics;" according to it, italics should be used for titles of books, periodicals, films, videos, television shows, and microfilm. Make an exception if words in the title are usually italicized and set them in normal type instead; this is called reverse italicization.

Consider section 4.07 of the APA Publication Manual, “Quotation Marks;” according to it, quotes should be used to set off the title of books, articles, and chapters when you are including it in the text.

Check your writing to make sure you’re following the previous two guidelines; the article you mention in your text should be formatted as follows:

Ms. Bond published her controversial piece, “Housebreaking the Habit” in (italics)Dogfancy(/italics) magazine in June of 2010.

• 1 “Publication Manual of the American Psychological Association, 6th ed.”; American Psychological Association; 2010

About the Author

In 1998 Catherine Bowers began writing articles for newspapers, including "The Daily Collegian" at Pennsylvania State University. She also edited a Spanish-language journal and wrote product and patent descriptions for inventors. Bowers assists with the Gutenberg Project and graduated from Pennsylvania State with a Bachelor of Arts in English.

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Bringing Stories to Your Essay: Introducing a Case Study the Right Way!

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Ever found yourself immersed in a story, hanging onto every detail, eager to know what happens next? That, my friend, is the magic of a case study when sprinkled into an essay.

Just as a dash of spice can elevate a dish, a well-placed case study can take your essay from 'meh' to 'marvelous'. It's not just about showcasing real-world examples; it's about making your arguments relatable, tangible, and above all, memorable.

But hold on, before you dive headfirst into weaving in that intriguing case study you found, let’s chat about the art of introducing it. You see, dropping it in without context is like telling a joke without a punchline.

In this post, we'll guide you through the craft of smoothly and effectively introducing a case study into your essay, ensuring it's not just a detour but a meaningful journey for your readers. So, are you ready to give your essay that extra oomph?

Why Use Case Studies in Essays

You know those moments when you're explaining a theory or a concept, and you see those blank stares? Yup, we’ve all been there. That’s where real-world examples come into play. By weaving a case study into your essay, you're essentially turning on a light in a dim room. Suddenly, that complex theory has color, depth, and context. It's no longer just words on paper; it's a story, a lesson, a real-world incident that breathes life into your arguments.

And let's talk about the brownie points. When you toss a well-researched case study into the mix, it's like handing your readers proof that you've rolled up your sleeves and delved deep into your subject. It's a signal: you're not just skimming the surface; you're diving into the depths, bringing out treasures of knowledge.

Lastly, an apt case study is like the secret sauce to winning trust. Readers lean in, believing in your words, connecting with your narrative. It’s not just about flashing your research chops; it’s about creating a bond, engaging them, making them think, "Hey, this writer really knows their stuff!"

In a nutshell? Case studies? They're your essay's best friend.

Choosing the Right Case Study

Before you jump onto the Internet's vast ocean and fish out the first case study that sorta-kinda fits, let’s have a quick heart-to-heart. Not all case studies are created equal. And while it might be tempting to pick that dramatic, headline-grabbing one, it's essential to remember a few golden rules.

Firstly, it's all about alignment. Think of your essay as a puzzle. Every piece, every argument, every citation should fit just right. Your chosen case study? It's that central piece, setting the tone, connecting dots. So, make sure it's directly related to your topic. No square pegs in round holes, okay?

Next, reputation is everything. Dive into journals, accredited institutions, and renowned publications. Trustworthy sources not only boost your essay's credibility but save you from those cringe-worthy moments when someone points out a glaring error or bias in your chosen study.

Quick tip from the pros : Some case studies are like that popular song on the radio - overplayed and heard by everyone. Unless you’re bringing a fresh, unheard angle or a unique perspective to the table, steer clear of the overly popular ones. It's always more impressive to introduce your readers to a gem they haven't encountered before.

Introducing a Case Study: The Art of the Hook

Picture this : You're at a party, and someone starts a story with, "You won't believe what happened to me yesterday!" Chances are, you're all ears. That's the power of a good essay hook . Now, let's bring that energy to your essay!

Starting with a compelling fact or statement is your ticket to gripping your readers. Imagine leading with, "In a village where electricity was once a dream, solar panels changed everything." Instantly, your readers are curious. They want to know more about this village, the change, the story behind it all.

Once you've got their attention, lay down the problem. Paint a picture of the challenges, the obstacles, the scenario before the solution came into play. This sets the stage for your case study. By presenting the problem, you're essentially saying, "Hey, here's a situation. Stick around to see how it unraveled."

Quick Checklist: Crafting That Perfect Hook

• Relevance : Ensure it ties back to your main essay topic.
• Emotion : Strike a chord, whether it's curiosity, empathy, or even surprise.
• Simplicity : Keep it straightforward. No need for jargon or over-the-top language.
• Authenticity : Stay true to the essence of your case study. No embellishing facts!

Remember, the aim is to draw readers in, making them eager to delve into the heart of your case study. With a killer hook, you're not just starting an essay; you're beginning a journey they'll want to join.

MLA Citation: Giving Credit Where It's Due

Alright, let's chat about something we often overlook in our writing excitement: citation. I get it; it may not be the most thrilling part of essay writing, but think of it as the unsung hero, quietly ensuring your work stands tall with authenticity and respect.

First off, why the fuss about proper citation ? Well, citing your sources isn't just about avoiding the scary plagiarism monster. It's about acknowledging the hard work of others. It's a nod to fellow researchers, saying, "Hey, I see your efforts, and they've helped shape mine."

How to cite a case study in MLA format

Author's Last Name, First Name . "Title of the Case Study." Title of the Journal or Publication , vol. number, no. issue number, Year of Publication, page range.

For example: Smith, John. "Solar Power in Remote Villages." Energy Research Journal , vol. 5, no. 2, 2020, pp. 45-59.

If found online: Add the website name, the URL, and the access date at the end.

Smith, John. "Solar Power in Remote Villages." Energy Research Journal , vol. 5, no. 2, 2020, pp. 45-59. ERJ Online, www.erjonline123.com , Accessed 5 June 2022.

Avoid these mistakes

• Forgetting the access date: Especially for online sources, this one's crucial!
• Overlooking the punctuation: Note the periods, commas, and italics. They're all essential in MLA.

Quick Tip : If this feels a tad overwhelming, online citation tools are here to rescue! Platforms like EasyBib or Citation Machine can churn out MLA citations in a snap. Just feed in your source details, and voila!

In the end, think of citations as your essay's backstage crew, working behind the scenes to ensure your masterpiece gets a standing ovation.

Weaving the Case Study into Your Essay Narrative

Alright, so you've got this shiny case study and you’re all set to embed it into your essay. But here's the catch – it's not about just dropping it in; it's about stitching it seamlessly into your narrative fabric.

Make It Relevant : Think of your essay and case study as dance partners. They need to move in harmony. Ensure that your case study doesn't just stand alone; it should back up your arguments, add depth to them, or even offer a contrasting perspective. It’s about making the dance memorable.

Build a Logical Flow : Your readers are on a journey with you. Introduce your case study at a point where it feels natural, leading them from one idea to the next. It’s like following breadcrumbs; one leading to another, ensuring they never get lost in the woods.

Pacing is Key : Imagine watching a movie where the climax is revealed in the first ten minutes. Boring, right? Similarly, don’t spill all the beans about your case study right away. Tease a little, build intrigue, let it unfold gradually, keeping your readers hooked.

In essence, introducing a case study is an art. It’s not about making it fit, but about ensuring it belongs, enriching your essay's narrative and making it truly unforgettable.

Concluding Your Case Study Introduction

As you wrap up the intro to your case study, think of it as putting a bow on a gift. First, make a promise to your readers: assure them that venturing deeper into this case study will shed light, offer insights, or challenge perspectives. Maybe it's a promise of a lesson learned or an innovative solution unveiled. Then, seamlessly pave the way for what's next: your main arguments. Like a skilled guide, hint at the journey ahead, ensuring your readers are not only invested but also eager to embark on the exploration with you.

Final Thoughts & Wrap-up

Introducing a case study in an essay is much like mastering a dance step; at first, it might feel a tad awkward, maybe even a little forced. But with practice? Ah, that’s when the magic happens. Just as dancers become one with the music, with time, you'll find that blending case studies into your essays becomes second nature. The beauty lies in the richness they add, turning plain text into tapestries of real-life stories, insights, and revelations.

But what if you're pressed for time or feeling a tad overwhelmed? Here's a lifesaver: Writers Per Hour offers impeccable custom case study writing services tailored to your needs. They're the backstage crew ensuring your essay shines under the spotlight.

Now, with or without help, here's a challenge for you, dear readers: In your next essay, venture out, find that perfect case study, and weave it in. Experience the transformation it brings. And when you do, remember that every story you tell, every example you cite, adds depth and dimension to your narrative. Ready to give it a whirl?

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• Writing Tips

How to Format Images in an Essay

• 5-minute read
• 27th April 2022

Writing an essay ? It may enhance your argument to include some images, as long as they’re directly relevant to the essay’s narrative. But how do you format images in an essay? Read on for tips on inserting and organizing images, creating captions, and referencing.

Inserting Images

To insert an image into the text using Microsoft Word:

●  Place the cursor where you want to add a picture.

●  Go to Insert > Pictures .

●  Click on This Device to add pictures from your own computer or select Online Pictures to search for a picture from the internet.

●  Select the image you wish to use and click Insert .

See our companion blog post for further detail on inserting images into documents using Word.

Organizing Images

There are two common methods of organizing images in your essay: you can either place them next to the paragraph where they are being discussed (in-text), or group them all together at the end of the essay (list of figures). It can be clearer to display images in-text, but remember to refer to your university style guide for its specifications on formatting images.

Whichever method you decide upon, always remember to refer directly to your images in the text of your essay. For example:

●  An example of Cubism can be seen in Figure 1.

●  Cubist paintings have been criticized for being overly abstract (see Figure 1).

●  Many paintings of this style, including those by Picasso (Figure 1), are very abstract.

Every image that you include in your essay needs to have a caption. This is so that the reader can identify the image and where it came from. Each caption should include the following:

●  A label (e.g., Figure 1 ).

●  A description of the image, such as “Picasso’s Guernica ,” or “ Guernica : One of Picasso’s most famous works.”

●  The source of the image. Even if you have created the image yourself, you should attribute it correctly (for example, “photo by author”).

Have a look at this example:

Figure 1: Picasso’s Guernica

Photo: Flickr

Here, the image is given both a label and a title, and its source is clearly identified.

Creating Captions Using Microsoft Word

If you are using Word, it’s very simple to add a caption to an image. Simply follow the steps below:

●  Click on the image.

●  Open the References toolbar and click Insert Caption .

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●  Fill in or select the required details and click OK .

You can also add a caption manually.

Referencing Captions

At this point, you’ll need to refer to your style guide again to check which referencing system you’re using. As mentioned above, all sources should be clearly identified within the caption for the image. However, the format for captions will vary depending on your style guide. Here, we give two examples of common style guides:

• APA 7th Edition

The format for a caption in APA style is as follows:

Note. By Creator’s Initials, Last Name (Year), format. Site Name (or Museum, Location). URL

The image format refers to whether it’s a photograph, painting, or map you are citing. If you have accessed the image online, then you should give the site name, whereas if you have viewed the image in person, you should state the name and location of the museum. The figure number and title should be above the image, as shown:

                     Figure 1

Note . By P. Picasso (1937), painting. Flickr. https://www.flickr.com/photos/huffstutterrobertl/5257246455

If you were to refer to the image in the text of your essay, simply state the creator’s last name and year in parentheses:

(Picasso, 1937).

Remember that you should also include the details of the image in your reference list .

MLA style dictates that an image caption should be centered, and each figure labeled as “Fig.” and numbered. You then have two options for completing the caption:

1. Follow the Works Cited format for citing an image, which is as follows:

Creator’s Last Name, First Name. “Image Title.” Website Name , Day Month Year, URL.

2. Provide key information about the source, such as the creator, title, and year.

In this case, we have followed option 1:

Fig. 1. Picasso, Pablo. “Guernica.” Flickr , 1937, https://www.flickr.com/photos/huffstutterrobertl/5257246455

When referring to the image in the text of the essay, you need only cite the creator’s last name in parentheses:

And, again, remember to include the image within the Works Cited list at the end of your essay.

Expert Proofreading and Formatting

We hope this guide has left you a little clearer on the details of formatting images in your essays . If you need any further help, try accessing our expert proofreading and formatting service . It’s available 24 hours a day!a

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Donald Trump and Megan Mullally performing the Green Acres theme song at the Emmy Awards, Los Angeles, September 2005

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In the Warsaw Ghetto in October 1941 Mary Berg, then a teenager, wrote in her diary about the improbable persistence of laughter in that hellish place:

Every day at the Art Café on Leszno Street one can hear songs and satires on the police, the ambulance service, the rickshaws, and even the Gestapo, in a veiled fashion. The typhus epidemic itself is the subject of jokes. It is laughter through tears, but it is laughter. This is our only weapon in the ghetto—our people laugh at death and at the Nazi decrees. Humor is the only thing the Nazis cannot understand.

Berg here movingly expresses a common and comforting idea. Laughter is one of the few weapons that the weak have against the strong. Gallows humor is the one thing that cannot be taken away from those who are about to be hanged, the final death-defying assertion of human dignity and freedom. And the hangmen don’t get the jokes. Fascists don’t understand humor.

There is great consolation in these thoughts. Yet is it really true that fascists don’t get humor? Racist, misogynistic, antisemitic, xenophobic, antidisabled, and antiqueer jokes have always been used to dehumanize those who are being victimized. The ghetto humor that Berg recorded was a way of keeping self-pity at bay. But as Sigmund Freud pointed out, jokes can also be a way of shutting down pity itself by identifying those who are being laughed at as the ones not worthy of it: “A saving in pity is one of the most frequent sources of humorous pleasure.” Humor, as in Berg’s description, may be a way of telling us not to feel sorry for ourselves. But it is more often a way of telling us not to feel sorry for others. It creates an economy of compassion, limiting it to those who are laughing and excluding those who are being laughed at. It makes the polarization of humanity fun.

Around the time that Berg was writing her diary, Theodor Adorno and Max Horkheimer were pointing to the relationship between Nazi rallies and this kind of comedy. The rally, they suggested, was an arena in which a release that was otherwise forbidden was officially permitted:

The anti-Semites gather to celebrate the moment when authority lifts the ban; that moment alone makes them a collective, constituting the community of kindred spirits. Their ranting is organized laughter. The more dreadful the accusations and threats, the greater the fury, the more withering is the scorn. Rage, mockery, and poisoned imitation are fundamentally the same thing.

Donald Trump is not a Nazi, and his followers are (mostly) not fascists. But it is not hard to see how this description resonates with his campaign appearances. Trump is America’s biggest comedian. His badinage is hardly Wildean, but his put-downs, honed to the sharpness of stilettos, are many people’s idea of fun. For them, he makes anger, fear, and resentment entertaining.

For anyone who questions how much talent and charisma this requires, there is a simple answer: Ron DeSantis. Why did DeSantis’s attempt to appeal to Republican voters as a straitlaced version of Trump fall so flat? Because Trumpism without the cruel laughter is nothing. It needs its creator’s fusion of rage, mockery, and poisoned imitation, whether of a reporter with a disability or (in a dumb show that Trump has been playing out in his speeches in recent months) of Joe Biden apparently unable to find his way off a stage. It demands the withering scorn for Sleepy Joe and Crooked Hillary, Crazy Liz and Ron DeSanctimonious, Cryin’ Chuck and Phoney Fani. It requires the lifting of taboos to create a community of kindred spirits. It depends on Trump’s ability to be pitiless in his ridicule of the targets of his contempt while allowing his audience to feel deeply sorry for itself. (If tragedy, as Aristotle claimed, involves terror and pity, Trump’s tragicomedy deals in terror and self-pity.)

Hard as it is to understand, especially for those of us who are too terrified to be amused, Trump’s ranting is organized laughter. To understand his continuing hold over his fans, we have to ask: Why is he funny?

This is not the 1930s or the 1940s, and we should not expect this toxic laughter to be organized quite as it was then. Trump functions in a culture supersaturated with knowingness and irony. In twentieth-century European fascism, the relationship between words and actions was clear: the end point of mockery was annihilation. Now, the joke is “only a joke.” Populist politics exploits the doubleness of comedy—the way that “only a joke” can so easily become “no joke”—to create a relationship of active connivance between the leader and his followers in which everything is permissible because nothing is serious.

This shift has happened in Europe, too. Think of Boris Johnson’s clown act, his deliberately ruffled hair, rumpled clothes, and ludicrous language. Or think of Giorgia Meloni, the first Italian prime minister from the far right since Benito Mussolini, posting on election day in September 2022 a TikTok video of herself holding two large melons ( meloni in Italian) in front of her breasts: fascism as adolescent snigger. It is impossible to think of previous far-right leaders engaging in such public self-mockery. Only in our time is it possible for a politician to create a sense of cultlike authority by using the collusiveness of comedy, the idea that the leader and his followers are united by being in on the joke.

Trump may be a narcissist, but he has a long history of this kind of self-caricature. When he did the Top Ten List on the David Letterman show in 2009, he seemed entirely comfortable delivering with a knowing smirk the top ten “financial tips” written for him, including “When nobody’s watching I go into a 7/11 and stick my head under a soda nozzle”; “Save money by styling your own hair” (pointing to his own improbable coiffure); “Sell North Dakota to the Chinese”; “If all else fails, steal someone’s identity”; and “The fastest way to get rich: marry and divorce me.” This performance, moreover, was the occasion for Trump’s entry into the world of social media. His first ever tweet was: “Be sure to tune in and watch Donald Trump on Late Night with David Letterman as he presents the Top Ten List tonight!”

At the 2005 Emmy Awards, Trump dressed in blue overalls and a straw hat and, brandishing a pitchfork, sang the theme song from the 1960s TV comedy Green Acres . Trump is a terrible singer and a worse actor, but he seemed completely unembarrassed on stage. He understood the joke: that Oliver, the fictional character he was impersonating, is a wealthy Manhattanite who moves to rustic Hooterville to run a farm, following his dream of the simple life—an alternative self that was amusing because it was, for Trump, unimaginable. But he may have sensed that there was also a deep cultural resonance. The Apprentice was “reality TV ,” a form in which the actual and the fictional are completely fused.

Green Acres , scenes from which played on a screen behind Trump as he was singing, pioneered this kind of metatelevision. Its debut episode set it up as a supposed documentary presented by a well-known former newscaster. Its characters regularly broke the fourth wall. When Oliver launched into rhapsodic speeches about American rural values, a fife rendition of “Yankee Doodle” would play on the soundtrack, and the other characters would move around in puzzlement trying to figure out where the musician was. Eva Gabor, playing Oliver’s pampered wife, admits on the show that her only real talent is doing impressions of Zsa Zsa Gabor, the actor’s more famous real-life sister.

The critic Armond White wrote in 1985 that “ Green Acres ’ surreal rationale is to capture the moment American gothic turns American comic.” Trump playing Oliver in 2005 may be the moment American comedy turned gothic again. Whoever had the idea of connecting Trump back to Green Acres clearly understood that “Donald Trump” had by then also become a metatelevision character, a real-life failed businessman who impersonated an ultrasuccessful mogul on The Apprentice . And Trump went along with the conceit because he instinctively understood that self-parody was not a threat to his image—it was his image. This connection to Green Acres was reestablished by Trump himself as president of the United States. In December 2018, as he was about to sign the Farm Bill into law, Trump tweeted, “Farm Bill signing in 15 minutes! #Emmys #TBT,” with a clip of himself in the Green Acres spoof. Hooterville and the White House were as one.

What is new in the development of antidemocratic politics is that Trump brings all this comic doubleness—the confusion of the real and the performative, of character and caricature—to bear on the authoritarian persona of the caudillo, the duce, the strongman savior. The prototype dictators of the far right may have looked absurd to their critics (“Hitler,” wrote Adorno and Horkheimer, “can gesticulate like a clown, Mussolini risk false notes like a provincial tenor”), but within the community of their followers and the shadow community of their intended victims, their histrionics had to be taken entirely seriously. Trump, on the other hand, retains all his self-aware absurdity even while creating a political persona of immense consequence.

This comic-authoritarian politics has some advantages over the older dictatorial style. It allows a threat to democracy to appear as at worst a tasteless prank: in the 2016 presidential campaign even liberal outlets like The New York Times took Hillary Clinton’s e-mails far more seriously than Trump’s open stirring of hatred against Mexicans and Muslims. Funny-autocratic functions better in a society like that of the US, where the boundaries of acceptable insult are still shifting and mainstream hate-mongering still has to be light on its feet. It allows racial insults and brazen lies to be issued, as it were, in inverted commas. If you don’t see those invisible quotation marks, you are not smart enough—or you are too deeply infected by the woke mind virus—to be in on the joke. You are not part of the laughing community. The importance of not being earnest is that it defines the boundaries of the tribe. The earnest are the enemy.

The extreme right in America was very quick to understand the potency of “only a joke” in the Internet age. In a 2001 study of three hate speech websites sympathetic to the Ku Klux Klan, Michael Billig noted that each of them described itself on its home page as a humorous exercise. The largest, called “N…..jokes KKK ” (the ellipsis is mine) carried the disclaimers: “You agree by entering this site, that this type of joke is legal where you live, and you agree that you recognize this site is meant as a joke not to be taken seriously”; “And you agree that this site is a comedy site, not a real racist site”; “We ARE NOT real life racists.”

What does “real life” even mean when Klansmen are not really racist? The power of this “humorous” mode of discourse lies at least partly in the way it blurs the distinctions between the real and the symbolic, and between words and actions. Consider the example of some of the men tried for their alleged parts in a 2020 plot to kidnap Gretchen Whitmer, the Democratic governor of Michigan. One of them, Barry Croft, insisted at his trial in 2022 that he was joking most of the time when he posted on Facebook questions like “Which governor is going to end up being dragged off and hung for treason first?” Another, Brandon Caserta, was acquitted in 2022 in part because he successfully pleaded that violent statements he made on Facebook and in secretly recorded meetings of the group were not serious. These included claims that the Second Amendment sanctions the killing of “agents of the government when they become tyrannical.” “I may kill dozens of agents but eventually die in the process,” Caserta wrote on Facebook in May 2020. He later posted that he would beat government agents so hard they would “beg til they couldn’t beg any more because their mouth is so full of blood.”

At Croft’s trial, his defense attorney put it to an FBI witness that a meme Croft posted showing thirty bullets as “30 votes that count” was “A little tongue-in-cheek? A little bit funny?” On the second season of Jon Ronson’s superb podcast series for the BBC , Things Fell Apart , Caserta acknowledges that, on the secret recordings, he is heard to urge his fellow militia members that any lawyers advocating for the Covid vaccine be decapitated in their own homes, speaks of “wanting Zionist banker blood,” and advocates blowing up buildings where the vaccine is manufactured. He nonetheless insists to Ronson:

This isn’t something I’m dead serious about. This is nothing I ever planned. It’s funny, dude! It’s funny! It’s fun to blow stuff up. It’s fun to shoot guns. It’s fun to say ridiculous offensive shit. And if it offends you, so what? I don’t care about your feelings and how you feel about words. Sorry!

The twist of logic here is striking: Caserta equates blowing stuff up and shooting people with saying ridiculous offensive shit. Violent words and violent actions are all covered by the same disclaimer—one that Trump’s apologists use to blur the relationship between his words and his followers’ actions in the assault on the Capitol on January 6, 2021. In the Trumpian twilight zone where democracy is dying but not yet dead, the connection between words (“fight like hell”) and deeds (the armed invasion of the Capitol) must be both strong and weak, sufficiently “no joke” to be understood by the faithful yet sufficiently “only a joke” to be deniable to the infidels. The comic mode is what creates the plausible deniability that in turn allows what used to be mainstream Republicans (and some Democrats) to remain in denial about what Trumpism really means.

For those who love Trump, there is something carnivalesque in all of this. In his discussion of “mediaeval laughter” in Rabelais and His World , Mikhail Bakhtin wrote that “one might say that it builds its own world versus the official world, its own church versus the official church, its own state versus the official state.” Bakhtin suggested that the

festive liberation of laughter…was a temporary suspension of the entire official system with all its prohibitions and hierarchic barriers. For a short time life came out of its usual, legalized and consecrated furrows and entered the sphere of utopian freedom.

Trump and many of his followers have made this quite literal. They create their own America, their own republic, their own notions of legality, their own church of the leader’s cult, their own state versus what they see as the official state. In this way, extreme polarization becomes a sphere of utopian freedom.

This is the capacious zone in which Trump’s comedy operates, an arena that admits everyone who gets the joke, from those who fantasize about killing tyrants, decapitating lawyers, and torturing government agents to those who just like to blow off steam by listening to their hero saying stuff that riles the woke enemy. It is crucial that in Trump’s delivery there is no shift from mockery to seriousness, no line between entertainment and violence. His singsong tone is generous and flexible, serving equally well for vaudeville and vituperation. In his streams of consciousness, they flow together as complementary currents.

In the recent speeches in which he has upped the ante on openly fascist rhetoric by characterizing his opponents as “vermin” and accusing immigrants of “poisoning the blood of our country,” it is notable that his cadence is soft, almost lilting. There is no warning to his audience that these comments are of a different order. They are not even applause lines. By underplaying them, Trump leaves open the fundamental question: Is his mimicking of Hitler’s imagery just another impersonation, all of a piece with the way he does Biden and Haley in funny voices or even with the way he sings the theme song from Green Acres ?

Even when Trump actually goes the whole way and acknowledges that his rhetoric is indeed Hitlerian, as he did in a speech in Iowa after the alarmed reaction of liberals to his previous “poisoning the blood” speech, it is in a passage that jumbles together murderous intent, complaint about the media, and comic acting: “They are destroying the blood of our country. That’s what they’re doing…. They don’t like it when I said that. And I never read Mein Kampf .” But he makes the “Kampf” funny, puckering his lips and elongating the “pf” so it sounds like a rude noise. He continues: “They said ‘Oh, Hitler said that.’” Then he adds his defense: “in a much different way.” It is the stand-up comedian’s credo: it’s not the jokes, it’s the way you tell ’em. And this is, indeed, true—the difference is in the way he tells it, in a voice whose ambiguous pitch has been perfected over many years of performance.

The knowingness is all. In the speech in Conway, South Carolina, on February 10, in which he openly encouraged Russia to attack “delinquent” members of NATO , this startling statement, with potential world-historical consequences, was preceded by Trump’s metatheatrical riff on the idea of “fun.” What was fun, he told his followers, was the reaction he could provoke just by saying “Barack Hussein Obama”:

Every time I say it, anytime I want to have a little fun…even though the country is going to hell, we have to have a little bit of fun…. Remember Rush Limbaugh, he’d go “Barack Hooosaynn Obama”—I wonder what he was getting at.

He then segued into another commentary on his own well-honed send-up of Joe Biden: “I do the imitation where Biden can’t find his way off the stage…. So I do the imitation—is this fun?—I say this guy can’t put two sentences together…and then I go ‘Watch!’” (He said the word with a comic pout.) “I’ll imitate him. I go like this: ‘Haw!’” Trump hunches his shoulders and extends his arm, in a parody of Biden’s gestures. In this burlesque, Trump is not just mimicking his opponent; he is explicitly reenacting his own previous mocking impersonation, complete with commentary. He is simultaneously speaking, acting, and speaking about his acting.

It is within this “fun” frame that Trump proceeded to insinuate that there is something awry with Nikki Haley’s marriage: “Where’s her husband? Oh he’s away…. What happened to her husband? What happened to her husband! Where is he? He’s gone. He knew, he knew.” He and presumably many members of the audience were aware that Michael Haley is currently serving in Djibouti with the South Carolina National Guard. But as part of the show, with the funny voices and the exaggerated gestures, that lurid hint at some mysteriously unmentionable scandal (“He knew, he knew”) is somehow amusing. And then so is Trump’s story about telling an unnamed head of a “big” NATO country that the US would not defend it from invasion and—the punch line—that he would “encourage” Russia “to do whatever the hell they want.” Here Trump is acting in both senses, both ostentatiously performing and exerting a real influence on global politics—but which is which? How can we tell the dancer from the dance?

This shuffling in a typical Trump speech of different levels of seriousness—personal grudges beside grave geopolitics, savage venom mixed with knockabout farce, possible truths rubbing up against outrageous lies—creates a force field of incongruities. Between the looming solidity of Trump’s body and the airy, distracted quality of his words, in which weightless notions fly off before they are fully expressed, he seems at once immovable and in manic flux.

Incongruity has long been seen as one of the conditions of comedy. Francis Hutcheson in Reflections Upon Laughter (1725) noted that it is “this contrast or opposition of ideas of dignity and meanness which is the occasion of laughter.” The supposedly dignified idea of “greatness” is vital to Trump’s presence and rhetoric. But it is inextricably intertwined with the mean, the inconsequential, even the infantile. He is at one moment the grandiose man of destiny and the next a naughty child—an incongruity that can be contained only within an organized laughter in which the juxtaposition of incompatibilities is the essence of fun. This is why Trump’s lapses into pure gibberish—like telling a National Rifle Association gathering in Harrisburg, Pennsylvania, on February 9 that the Democrats are planning to “change the name of Pennsylvania” and that, in relation to the marble columns in the hall, it was “incredible how they could [have been built] years ago without the powerful tractors that you have today”—do not make his fans alarmed about his mental acuity. Cognitive dysfunction is not a worry with a man whose métier is cognitive dissonance.

Part of the dissonance is that Trump’s stand-up routine is completely dependent on the idea that he and his audience most despise: political correctness. Like much of the worst of contemporary comedy, Trump both amuses and thrills his audience by telling them that he is saying what he is not allowed to say. “Beautiful women,” he said at the rally in South Carolina after pointing to a group of female superfans in the audience. “You’re not allowed to say that anymore, but I’ll say it…. That usually is the end of a career, but I’ll say it.” There are so many layers to a moment like this: the idea that the woke mob is stopping manly men from complimenting attractive women, a sideways nod toward the “pussygate” tapes that should have ended Trump’s political career but didn’t, a dig at the Me Too movement, a reiteration of Trump’s right to categorize women as “my type” or “not my type,” the power of the leader to lift prohibitions—not just for himself but, in this carnivalesque arena of utopian freedom, for everyone in the audience.

Flirting with the unsayable has long been part of his shtick. If we go all the way back to May 1992 to watch Trump on Letterman’s show, there is a moment when Trump silently mouths the word “shit.” He does this in a way that must have been practiced rather than spontaneous—it takes some skill to form an unspoken word so clearly for a TV audience that everyone immediately understands it. Letterman plays his straight man: “You ain’t that rich, Don, you can’t come on here and say that.” But of course Trump did not “say” it. A sympathetic audience loves a moment like this because it is invited to do the transgressive part in its head. It gets the pleasure of filling in the blank.

Trump’s audiences, in other words, are not passive. This comedy is a joint enterprise of performer and listener. It gives those listeners the opportunity for consent and collusion. Consider a televised speech Trump gave at the Al Smith Dinner, hosted by the Catholic archbishop of New York, Cardinal Timothy Dolan, in October 2016, near the end of the presidential campaign. The dinner, held to raise money for Catholic charities, is traditionally the last occasion on which the two main presidential candidates share a stage—Hillary Clinton was also present. Trump deadpanned that he knew he would have a receptive audience because “so many of you in the archdiocese already have a place in your heart for a guy who started out as a carpenter working for his father. I was a carpenter working for my father. True.”

What is the joke here? That Trump is like Jesus Christ. Imagine if Clinton had attempted an equivalent gag. There would have been outrage and uproar: Clinton has insulted all Christians by making a blasphemous comparison between herself and the divine Savior. But the cameras cut to Dolan, a sycophantic supporter of Trump, and showed him laughing heartily. And if the cardinal found it funny, it was funny. It was thus an in-joke. If Clinton had made it, it would be the ultimate out-joke, proof of the Democrats’ contempt for people of faith.

But what is allowed as funny will sooner or later be proposed seriously. Many of those attending Trump rallies now wear T-shirts that proclaim “Jesus Is My Savior. Trump Is My President.” Some of them illustrate the slogan with a picture of an ethereal Christ laying both his hands on Trump’s shoulders. What begins as a risqué quip ends up as a religious icon. There is no line here between sacrilege and devotion, transgressive humor and religious veneration.

Just as Trump’s jokes can become literal, his ugly realities can be bathed in the soothing balm of laughter. Long before he ran for president, he was indulged on the late-night talk shows as the hilarious huckster. In 1986 Letterman tried repeatedly to get Trump to tell him how much money he had, and when he continually evaded the question, Letterman broke the tension with the laugh-line, “You act like you’re running for something.” In December 2005 Conan O’Brien asked him, “You also have an online school? Is that correct?” Trump replied, “Trump University—if you want to learn how to get rich.” The audience howled with laughter, presumably not because they thought he was kidding but because the very words “Trump University” are innately absurd. When he did that Top Ten List on Letterman in 2009, Trump’s comic financial advice included “For tip number four, simply send me $29.95.”

But these jokes came true. Trump wouldn’t say how much he was worth because his net worth was partly fictional. Trump did run for something. Trump University was an innately funny idea that people took seriously enough to enable Trump to rip them off. And Trump does want you to send him $29.95—the first thing you get on Trump’s official website is an insistent demand: “Donate Today.” This is the thing about Trump’s form of organized laughter, in which the idea of humor obscures the distinction between outlandish words and real-life actions. Sooner or later, the first becomes the second. The in-joke becomes the killer line.

March 21, 2024

Who Should Regulate Online Speech?

Small Island

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Fintan O’Toole is the Advising Editor at The New York Review and a columnist for The Irish Times. His most recent book, We Don’t Know Ourselves: A Personal History of Modern Ireland , was published in the US last year. (March 2024)

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