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Joan Didion: Why I Write

"i write entirely to find out what i’m thinking, what i’m looking at, what i see and what it means.".

Of course I stole the title for this talk from George Orwell. One reason I stole it was that I like the sound of the words: Why I Write. There you have three short unambiguous words that share a sound, and the sound they share is this:

In many ways, writing is the act of saying I, of imposing oneself upon other people, of saying listen to me, see it my way, change your mind . It’s an aggressive, even a hostile act. You can disguise its aggressiveness all you want with veils of subordinate clauses and qualifiers and tentative subjunctives, with ellipses and evasions—with the whole manner of intimating rather than claiming, of alluding rather than stating—but there’s no getting around the fact that setting words on paper is the tactic of a secret bully, an invasion, an imposition of the writer’s sensibility on the reader’s most private space.

I stole the title not only because the words sounded right but because they seemed to sum up, in a no-nonsense way, all I have to tell you. Like many writers I have only this one “subject,” this one “area”: the act of writing. I can bring you no reports from any other front. I may have other interests: I am “interested,” for example, in marine biology, but I don’t flatter myself that you would come out to hear me talk about it. I am not a scholar. I am not in the least an intellectual, which is not to say that when I hear the word “intellectual” I reach for my gun, but only to say that I do not think in abstracts. During the years when I was an undergraduate at Berkeley I tried, with a kind of hopeless late-adolescent energy, to buy some temporary visa into the world of ideas, to forge for myself a mind that could deal with the abstract.

In short I tried to think. I failed. My attention veered inexorably back to the specific, to the tangible, to what was generally considered, by everyone I knew then and for that matter have known since, the peripheral. I would try to contemplate the Hegelian dialectic and would find myself concentrating instead on a flowering pear tree outside my window and the particular way the petals fell on my floor. I would try to read linguistic theory and would find myself wondering instead if the lights were on in the Bevatron up the hill. When I say that I was wondering if the lights were on in the Bevatron you might immediately suspect, if you deal in ideas at all, that I was registering the Bevatron as a political symbol, thinking in shorthand about the military-industrial complex and its role in the university community, but you would be wrong. I was only wondering if the lights were on in the Bevatron, and how they looked. A physical fact.

I had trouble graduating from Berkeley, not because of this inability to deal with ideas—I was majoring in English, and I could locate the house-and-garden imagery in The Portrait of a Lady as well as the next person, “imagery” being by definition the kind of specific that got my attention—but simply because I had neglected to take a course in Milton. For reasons which now sound baroque I needed a degree by the end of that summer, and the English department finally agreed, if I would come down from Sacramento every Friday and talk about the cosmology of Paradise Lost , to certify me proficient in Milton. I did this. Some Fridays I took the Greyhound bus, other Fridays I caught the Southern Pacific’s City of San Francisco on the last leg of its transcontinental trip. I can no longer tell you whether Milton put the sun or the earth at the center of his universe in Paradise Lost , the central question of at least one century and a topic about which I wrote ten thousand words that summer, but I can still recall the exact rancidity of the butter in the City of San Francisco’s dining car, and the way the tinted windows on the Greyhound bus cast the oil refineries around Carquinez Strait into a grayed and obscurely sinister light. In short my attention was always on the periphery, on what I could see and taste and touch, on the butter, and the Greyhound bus. During those years I was traveling on what I knew to be a very shaky passport, forged papers: I knew that I was no legitimate resident in any world of ideas. I knew I couldn’t think. All I knew then was what I couldn’t do. All I knew then was what I wasn’t, and it took me some years to discover what I was.

Which was a writer.

By which I mean not a “good” writer or a “bad” writer but simply a writer, a person whose most absorbed and passionate hours are spent arranging words on pieces of paper. Had my credentials been in order I would never have become a writer. Had I been blessed with even limited access to my own mind there would have been no reason to write. I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear. Why did the oil refineries around Carquinez Strait seem sinister to me in the summer of 1956? Why have the night lights in the Bevatron burned in my mind for twenty years? What is going on in these pictures in my mind?

When I talk about pictures in my mind I am talking, quite specifically, about images that shimmer around the edges. There used to be an illustration in every elementary psychology book showing a cat drawn by a patient in varying stages of schizophrenia. This cat had a shimmer around it. You could see the molecular structure breaking down at the very edges of the cat: the cat became the background and the background the cat, everything interacting, exchanging ions. People on hallucinogens describe the same perception of objects. I’m not a schizophrenic, nor do I take hallucinogens, but certain images do shimmer for me. Look hard enough, and you can’t miss the shimmer. It’s there. You can’t think too much about these pictures that shimmer. You just lie low and let them develop. You stay quiet. You don’t talk to many people and you keep your nervous system from shorting out and you try to locate the cat in the shimmer, the grammar in the picture.

Just as I meant “shimmer” literally I mean “grammar” literally. Grammar is a piano I play by ear, since I seem to have been out of school the year the rules were mentioned. All I know about grammar is its infinite power. To shift the structure of a sentence alters the meaning of that sentence, as definitely and inflexibly as the position of a camera alters the meaning of the object photographed. Many people know about camera angles now, but not so many know about sentences. The arrangement of the words matters, and the arrangement you want can be found in the picture in your mind. The picture dictates the arrangement. The picture dictates whether this will be a sentence with or without clauses, a sentence that ends hard or a dying-fall sentence, long or short, active or passive. The picture tells you how to arrange the words and the arrangement of the words tells you, or tells me, what’s going on in the picture. Nota bene:

It tells you.

You don’t tell it.

Let me show you what I mean by pictures in the mind. I began Play It as It Lays just as I have begun each of my novels, with no notion of “character” or “plot” or even “incident.” I had only two pictures in my mind, more about which later, and a technical intention, which was to write a novel so elliptical and fast that it would be over before you noticed it, a novel so fast that it would scarcely exist on the page at all. About the pictures: the first was of white space. Empty space. This was clearly the picture that dictated the narrative intention of the book—a book in which anything that happened would happen off the page, a “white” book to which the reader would have to bring his or her own bad dreams—and yet this picture told me no “story,” suggested no situation. The second picture did. This second picture was of something actually witnessed. A young woman with long hair and a short white halter dress walks through the casino at the Riviera in Las Vegas at one in the morning. She crosses the casino alone and picks up a house telephone. I watch her because I have heard her paged, and recognize her name: she is a minor actress I see around Los Angeles from time to time, in places like Jax and once in a gynecologist’s office in the Beverly Hills Clinic, but have never met. I know nothing about her. Who is paging her? Why is she here to be paged? How exactly did she come to this? It was precisely this moment in Las Vegas that made Play It as It Lays begin to tell itself to me, but the moment appears in the novel only obliquely, in a chapter which begins:

Maria made a list of things she would never do. She would never: walk through the Sands or Caesar’s alone after midnight. She would never: ball at a party, do S-M unless she wanted to, borrow furs from Abe Lipsey, deal. She would never: carry a Yorkshire in Beverly Hills.

That is the beginning of the chapter and that is also the end of the chapter, which may suggest what I meant by “white space.”

I recall having a number of pictures in my mind when I began the novel I just finished, A Book of Common Prayer . As a matter of fact one of these pictures was of that Bevatron I mentioned, although I would be hard put to tell you a story in which nuclear energy figures. Another was a newspaper photograph of a hijacked 707 burning on the desert in the Middle East. Another was the night view from a room in which I once spent a week with paratyphoid, a hotel room on the Colombian coast. My husband and I seemed to be on the Colombian coast representing the United States of America at a film festival (I recall invoking the name Jack Valenti a lot, as if its reiteration could make me well), and it was a bad place to have fever, not only because my indisposition offended our hosts but because every night in this hotel the generator failed. The lights went out. The elevator stopped. My husband would go to the event of the evening and make excuses for me and I would stay alone in this hotel room, in the dark. I remember standing at the window trying to call Bogotá (the telephone seemed to work on the same principle as the generator) and watching the night wind come up and wondering what I was doing eleven degrees off the equator with a fever of 103. The view from that window definitely figures in A Book of Common Prayer , as does the burning 707, and yet none of these pictures told me the story I needed.

The picture that did, the picture that shimmered and made these other images coalesce, was of the Panama airport at 6 am. I was in this airport only once, on a plane to Bogotá that stopped for an hour to refuel, but the way it looked that morning remained superimposed on everything I saw until the day I finished A Book of Common Prayer . I lived in that airport for several years. I can still feel the hot air when I step off the plane, can see the heat already rising off the tarmac at 6:00 a.m. I can feel the skirt damp and wrinkled on my legs. I can feel the asphalt stick to my sandals. I remember the big tail of a Pan American plane floating motionless down at the end of the tarmac. I remember the sound of a slot machine in the waiting room. I could tell you that I remember a particular woman in the airport, an American woman, a norteamericana , a thin norteamericana about forty who wore a big square emerald in lieu of a wedding ring, but there was no such woman there.

I put this woman in the airport later. I made this woman up, just as I later made up a country to put the airport in, and a family to run the country. This woman in the airport is neither catching a plane nor meeting one. She is ordering tea in the airport coffee shop. In fact she is not simply “ordering” tea but insisting that the water be boiled, in front of her, for twenty minutes. Why is this woman in this airport? Why is she going nowhere, where has she been? Where did she get that big emerald? What derangement, or disassociation, makes her believe that her will to see the water boiled can possibly prevail?

She had been going to one airport or another for four months, one could see it, looking at the visas on her passport. All those airports where Charlotte Douglas’s passport had been stamped would have looked alike. Sometimes the sign on the tower would say “BIENVENIDOS” and sometimes the sign on the tower would say “BIENVENUE,” some places were wet and hot and others were dry and hot, but at each of these airports the pastel concrete walls would rust and stain and the swamp off the runway would be littered with the fuselages of cannibalized Fairchild F-227s and the water would need boiling.

I knew why Charlotte went to the airport even if Victor did not. I knew about airports.

These lines appear about halfway through A Book of Common Prayer , but I wrote them during the second week I worked on the book, long before I had any idea where Charlotte Douglas had been or why she went to airports. Until I wrote these lines I had no character called Victor in mind: the necessity for mentioning a name, and the name Victor, occurred to me as I wrote the sentence. I knew why Charlotte went to the airport sounded incomplete. I knew why Charlotte went to the airport even if Victor did not carried a little more narrative drive. Most important of all, until I wrote these lines I did not know who “I” was, who was telling the story. I had intended until that moment that the “I” be no more than the voice of the author, a nineteenth-century omniscient narrator. But there it was:

“I knew why Charlotte went to the airport even if Victor did not.”

“I knew about airports.”

This “I” was the voice of no author in my house. This “I” was someone who not only knew why Charlotte went to the airport but also knew someone called Victor. Who was Victor? Who was this narrator? Why was this narrator telling me this story? Let me tell you one thing about why writers write: had I known the answer to any of these questions I would never have needed to write a novel.

__________________________________

Excerpted from Let Me Tell You What I Mean by Joan Didion. Copyright © 2021 by Joan Didion. Excerpted by permission of Alfred A. Knopf, a division of Penguin Random House LLC. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

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The Orwell Foundation is delighted to make available a selection of essays, articles, sketches, reviews and scripts written by Orwell.

This material remains under copyright in some jurisdictions, including the US, and is reproduced here with the kind permission of  the Orwell Estate . All queries regarding rights should be addressed to the Estate’s representatives at A. M. Heath literary agency.

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Sketches For Burmese Days

• 1. John Flory – My Epitaph
• 2. Extract, Preliminary to Autobiography
• 3. Extract, the Autobiography of John Flory
• 4. An Incident in Rangoon
• 5. Extract, A Rebuke to the Author, John Flory

Essays and articles

• A Day in the Life of a Tramp ( Le Progrès Civique , 1929)
• A Hanging ( The Adelphi , 1931)
• A Nice Cup of Tea ( Evening Standard , 1946)
• Antisemitism in Britain ( Contemporary Jewish Record , 1945)
• Arthur Koestler (written 1944)
• British Cookery (unpublished, 1946)
• Can Socialists be Happy? (as John Freeman, Tribune , 1943)
• Common Lodging Houses ( New Statesman , 3 September 1932)
• Confessions of a Book Reviewer ( Tribune , 1946)
• “For what am I fighting?” ( New Statesman , 4 January 1941)
• Freedom and Happiness – Review of We by Yevgeny Zamyatin ( Tribune , 1946)
• Freedom of the Park ( Tribune , 1945)
• Future of a Ruined Germany ( The Observer , 1945)
• Good Bad Books ( Tribune , 1945)
• In Defence of English Cooking ( Evening Standard , 1945)
• In Front of Your Nose ( Tribune , 1946)
• Just Junk – But Who Could Resist It? ( Evening Standard , 1946)
• My Country Right or Left ( Folios of New Writing , 1940)
• Nonsense Poetry ( Tribune , 1945)
• Notes on Nationalism ( Polemic , October 1945)
• Pleasure Spots ( Tribune , January 1946)
• Poetry and the microphone ( The New Saxon Pamphlet , 1945)
• Politics and the English Language ( Horizon , 1946)
• Politics vs. Literature: An examination of Gulliver’s Travels ( Polemic , 1946)
• Reflections on Gandhi ( Partisan Review , 1949)
• Rudyard Kipling ( Horizon , 1942)
• Second Thoughts on James Burnham ( Polemic , 1946)
• Shooting an Elephant ( New Writing , 1936)
• Some Thoughts on the Common Toad ( Tribune , 1946)
• Spilling the Spanish Beans ( New English Weekly , 29 July and 2 September 1937)
• The Art of Donald McGill ( Horizon , 1941)
• The Moon Under Water ( Evening Standard , 1946)
• The Prevention of Literature ( Polemic , 1946)
• The Proletarian Writer (BBC Home Service and The Listener , 1940)
• The Spike ( Adelphi , 1931)
• The Sporting Spirit ( Tribune , 1945)
• Why I Write ( Gangrel , 1946)
• You and the Atom Bomb ( Tribune , 1945)

Reviews by Orwell

• Anonymous Review of Burmese Interlude by C. V. Warren ( The Listener , 1938)
• Anonymous Review of Trials in Burma by Maurice Collis ( The Listener , 1938)
• Review of The Pub and the People by Mass-Observation ( The Listener , 1943)

Why I Write

By george orwell, part of penguin great ideas, category: literary criticism | reference | biography & memoir.

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About Why I Write

A selection of George Orwell’s politically charged essays on language and writing that give context to his dystopian classic, 1984 Throughout history, some books have changed the world. They have transformed the way we see ourselves—and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives—and destroyed them. Now, Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization, and helped make us who we are. Penguin’s Great Ideas series features twelve groundbreaking works by some of history’s most prodigious thinkers, and each volume is beautifully packaged with a unique type-drive design that highlights the bookmaker’s art. Offering great literature in great packages at great prices, this series is ideal for those readers who want to explore and savor the Great Ideas that have shaped the world. Whether puncturing the lies of politicians, wittily dissecting the English character or telling unpalatable truths about war, Orwell’s timeless, uncompromising essays are more relevant, entertaining and essential than ever in today’s era of spin.

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Also by George Orwell

About George Orwell

George Orwell (1903–1950) served with the Imperial Police in Burma, fought with the Republicans during the Spanish Civil War, and was a member of the Home Guard and a writer for the BBC during World War II. He is the… More about George Orwell

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Why I Write

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Summary and Study Guide

The essay collection Why I Write by George Orwell includes four essays published between the years 1931 and 1946. The essays detail Orwell’s opinions on art as political performance, totalitarianism and socialism , imperialism, and the state of the English language in printed political material. Orwell was also a novelist known for his works Animal Farm and 1984. He was born in India in 1903 to the wealthy sahib class, consisting of colonial administrators. He was educated in England and graduated from Eton College. His political writings reflect his deep understanding of classism in English society as well as his firsthand experiences with imperialism, fascism , and published writing.

This study guide references the Penguin Books edition published in 2004.

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In the essay “Why I Write,” published in 1946, George Orwell explained his authorial history and outlined the four main motivations that inspire a writer (and other artists, by extension). In childhood, Orwell gravitated toward poetry, performance, and inner narration. Of the four motivations that Orwell noted, he found political purpose to be the most important. Orwell described the political issues surrounding the World Wars and the rise of totalitarianism in Europe.

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In Orwell’s 1941 essay “The Lion and the Unicorn: Socialism and the English Genius,” written during the Blitzkrieg of London toward the conclusion of World War II, Orwell posed an argument for a socialist revolution in England. He analyzed the failures of the Conservative Party led by Prime Minister Chamberlain, the insufficiency of capitalistic production to provide the necessary material support for war and critiqued the wide disparities of wealth in English social classes. He believed that a socialist revolution of equality and State-controlled production was imminent in England. In order to defeat Hitler and the totalitarian governments of Europe, Orwell said, a socialist England must be established.

In “A Hanging,” published in 1931 and the earliest essay of this collection, Orwell described an execution by hanging that he witnessed while stationed in Burma. The essay encompassed Orwell’s earliest misgivings about imperialism and exemplified his support of decolonization and equality discussed in the collection’s other essays. In watching native Indians execute an Indian prisoner under the direction of an English superintendent, Orwell realized the hypocrisy that drove the English Empire and the necessity of finding an ideological and political system that supported equality.

In “Politics and the English Language,” published in 1946, Orwell critiqued what he believed to be the degradation of the English language as used by political and academic writers. He gave examples of poor writing and said how pretentious diction , hackneyed metaphors, and overall vagueness suggest that the author is not truly engaged with the ideas they are writing about. Orwell made the connection between clear writing and clear thinking. He said that a regeneration of the political atmosphere in England was only possible if the language was first cured of vague and insincere writing patterns.

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A Solar Eclipse Means Big Science

By Katrina Miller April 1, 2024

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On April 8, cameras all over North America will make a “megamovie” of the sun’s corona, like this one from the 2017 eclipse. The time lapse will help scientists track the behavior of jets and plumes on the sun’s surface.

There’s more science happening along the path of totality →

An app named SunSketcher will help the public take pictures of the eclipse with their phones.

Scientists will use these images to study deviations in the shape of the solar surface , which will help them understand the sun’s churning behavior below.

The sun right now is approaching peak activity. More than 40 telescope stations along the eclipse’s path will record totality.

By comparing these videos to what was captured in 2017 — when the sun was at a lull — researchers can learn how the sun’s magnetism drives the solar wind, or particles that stream through the solar system.

Students will launch giant balloons equipped with cameras and sensors along the eclipse’s path.

Their measurements may improve weather forecasting , and also produce a bird’s eye view of the moon’s shadow moving across the Earth.

Ham radio operators will send signals to each other across the path of totality to study how the density of electrons in Earth’s upper atmosphere changes .

This can help quantify how space weather produced by the sun disrupts radar communication systems.

(Animation by Dr. Joseph Huba, Syntek Technologies; HamSCI Project, Dr. Nathaniel Frissell, the University of Scranton, NSF and NASA.)

NASA is also studying Earth’s atmosphere, but far from the path of totality.

In Virginia, the agency will launch rockets during the eclipse to measure how local drops in sunlight cause ripple effects hundreds of miles away . The data will clarify how eclipses and other solar events affect satellite communications, including GPS.

Biologists in San Antonio plan to stash recording devices in beehives to study how bees orient themselves using sunlight , and how the insects respond to the sudden atmospheric changes during a total eclipse.

Two researchers in southern Illinois will analyze social media posts to understand tourism patterns in remote towns , including when visitors arrive, where they come from and what they do during their visits.

Results can help bolster infrastructure to support large events in rural areas.

Read more about the eclipse:

Our Coverage of the Total Solar Eclipse

Hearing the Eclipse:  A device called LightSound is being distributed to help the blind and visually impaired experience what they can’t see .

Maine Brac es Itself :  Businesses and planning committees are eager for visitors, but some in remote Aroostook County are not sure how they feel  about lying smack in the path of totality.

A Dark Day for Buffalo:  When the sky above Buffalo briefly goes dark  on the afternoon of April 8, the city will transcend its dreary place in the public consciousness — measured as it so often is by snowstorms — if only for about three minutes. The city can’t wait.

Under the Moon’s Shadow:  The late Jay Pasachoff, who spent a lifetime chasing eclipses , inspired generations of students to become astronomers by dragging them to the ends of the Earth for a few precarious moments of ecstasy.

A Rare Return:  It is rare for a total solar eclipse to hit the same place twice — once every 366 years on average. People in certain areas will encounter April 8’s eclipse  about seven years after they were near the middle of the path of the “Great American Eclipse.”

A Small City’s Big Plans:  Let the big cities have their eclipse mega-events. In Plattsburgh, N.Y., success looks different  for everyone stopping to look up.

 No Power Outages:  When the sky darkens during the eclipse, electricity production in some parts of the country will drop so sharply that it could theoretically leave tens of millions of homes in the dark. In practice, hardly anyone will notice  a sudden loss of energy.

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Is Using an Essay Writing Service Considered Cheating?

Oliva Campbell

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CollegeEssay.org

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Debunking Misconceptions and Embracing Academic Support

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Is Using an Essay Writing Service Considered Cheating? Debunking Misconceptions and Embracing Academic Support

In the contemporary academic landscape, the utilization of essay writing service has sparked a debate regarding its ethical implications. Some perceive it as a form of cheating, while others argue it as a legitimate means of seeking academic support. As we delve into this discussion, it's imperative to explore both perspectives and shed light on the role of essay writing services in academia.

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Understanding the Controversy The Ethical Dilemma

The crux of the debate lies in the ethical dilemma surrounding the use of essay writing services. Traditional notions of academic integrity emphasize the importance of individual effort and originality in scholarly pursuits. From this standpoint, outsourcing the task of essay writing may seem like circumventing academic rigor and ethical standards.

Perceived Academic Dishonesty

Critics often equate using essay writing services to academic dishonesty, arguing that it undermines the learning process and devalues the significance of genuine scholarly achievements. They view it as a shortcut to academic success, devoid of the essential elements of critical thinking, research, and academic growth.

Legitimate Academic Support

On the contrary, proponents of essay writing services advocate for a nuanced understanding of academic support. They argue that seeking assistance from professional writers does not inherently constitute cheating but rather serves as a supplementary resource to enhance learning outcomes. Best Essay writing service can provide valuable guidance, especially for students grappling with complex topics or facing time constraints.

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Debunking Misconceptions Collaboration, Not Duplication

Contrary to popular belief, engaging with essay writing services does not entail passively submitting pre-written essays as one's own work. Instead, it involves collaboration between students and professional writers to develop custom essays tailored to their unique requirements. The final product reflects the student's input, understanding, and perspective, albeit with expert guidance.

Learning Opportunity

Essay writing services offer a valuable learning opportunity by providing model essays that serve as exemplars of academic writing standards. Students can analyze these essays to understand proper structuring, argumentation techniques, and citation practices, thereby honing their own writing skills. Additionally, interacting with professional writers fosters a deeper understanding of subject matter and research methodologies.

Academic Support System

Rather than undermining academic integrity, essay writing services complement existing support systems within educational institutions. They function as supplementary resources that assist students in navigating academic challenges effectively. By offering personalized assistance, these services empower students to overcome obstacles and achieve their academic goals.

Embracing Academic Support Fostering Academic Success

Ultimately, the goal of essay writing services is to facilitate academic success by providing students with the necessary tools and guidance to excel in their studies. By availing these services, students can alleviate academic pressure, meet deadlines, and improve their overall learning experience. Moreover, the support offered by essay writing services can enhance students' confidence and motivation, leading to greater academic achievements.

Ethical Considerations

While utilizing essay writing services is permissible within ethical boundaries, it's essential for students to uphold academic integrity and honesty. They should utilize these services responsibly, ensuring that the essays produced are used for reference purposes and serve as aids in their own academic endeavors. Transparency and integrity should guide students' interactions with essay writing services to maintain the ethical integrity of academic pursuits.

In conclusion, the debate surrounding the use of essay writing services underscores the complexities inherent in modern education. While some may view it as a contentious issue mired in ethical ambiguity, a nuanced perspective reveals its potential as a valuable academic support tool. By dispelling misconceptions and embracing the role of essay writing services as supplementary resources, students can leverage these services responsibly to enhance their academic journey. Ultimately, the ethical considerations lie in how students utilize these services to foster their academic growth while upholding principles of integrity and honesty in their scholarly pursuits.

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Leveraging CollegeEssay.org and MyPerfectWords.com for Optimal Results

In the quest for academic excellence and ethical scholarship, students can enhance their learning journey by leveraging reputable essay writing services such as CollegeEssay.org and MyPerfectWords.com. These platforms offer a myriad of features and benefits designed to support students in achieving their academic goals while upholding principles of integrity and honesty.

Customized Essay Writing Services

Both CollegeEssay.org and MyPerfectWords.com prioritize delivering custom-written essays tailored to each student's unique requirements. By availing of their services, students can collaborate with professional writers to develop high-quality essays that meet academic standards and reflect their individual insights and perspectives.

Expert Guidance and Support

The teams of skilled writers at CollegeEssay.org and MyPerfectWords.com possess expertise in various subjects and disciplines, ensuring that students receive expert guidance and support across a wide range of academic topics. From research and outlining to drafting and editing, these platforms offer comprehensive assistance at every stage of the writing process.

Timely Delivery and Flexible Deadlines

Meeting deadlines is paramount in academic pursuits, and both CollegeEssay.org and MyPerfectWords.com prioritize timely delivery of essays. With flexible deadlines ranging from 6 to 24 hours, students can rely on these platforms to accommodate urgent essay requests without compromising on quality or accuracy.

24/7 Customer Support

Navigating the intricacies of essay writing can be daunting, but with 24/7 customer support and their  reliable research paper writing service available at CollegeEssay.org, students can seek assistance and clarification at any time. Multilingual support teams ensure accessibility for students from diverse linguistic backgrounds, fostering a supportive and inclusive environment.

Originality and Plagiarism-Free Guarantee

Maintaining academic integrity is non-negotiable, and both CollegeEssay.org and MyPerfectWords.com uphold rigorous standards of originality and authenticity. Essays produced by these platforms undergo thorough plagiarism checks, ensuring that students receive 100% original and plagiarism-free content with every order.

Transparent Pricing and Payment Options

Affordability is a key consideration for students, and MyPerfectWords.com offer cheapest research paper writing service transparent pricing structures and flexible payment options. With prices starting at just $11/page and the option to pay 50% upfront and 50% upon completion, these platforms provide cost-effective solutions that fit students' budgets.

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• 4. Quality Education

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Revision and Refund Policies

Student satisfaction is paramount, and both CollegeEssay.org and MyPerfectWords.com offer revision and refund policies to ensure that students are fully satisfied with the essays they receive. Students can request revisions free of charge until they are completely satisfied with the final product, and a 100% money-back guarantee ensures peace of mind in case of any unforeseen issues.

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In conclusion, students seeking academic support and assistance with essay writing can benefit greatly from utilizing reputable platforms such as CollegeEssay.org and MyPerfectWords.com. With features such as customized essay writing services, expert guidance and support, timely delivery, 24/7 customer support, originality guarantees, transparent pricing, and flexible payment options, these platforms provide comprehensive solutions to students' academic needs. By leveraging the services offered by CollegeEssay.org and MyPerfectWords.com, students can enhance their academic performance, alleviate academic pressure, and foster a deeper understanding of course materials, all while upholding principles of integrity and academic honesty.

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