how to shorten titles in an essay

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Collaboration, information literacy, writing process, shorten the title of this source in the in-text citation, when should long titles be shortened within in-text citations.

In-text citations usually supply the author(s)’ last name to reference their work, but when the source has no known author or more than one source by the same author is cited, the title of the source is inserted instead. When an in-text citation refers to a work with a long title, a shortened phrase from the title should be used.

Care should be taken to shorten the title in such a way that it does not compromise the reader’s ability to locate the source on the Works Cited list.

How should long titles be shortened within in-text citations?

Ideally, the shortened title should use the first two or three words of the original title, but in some cases, these first few words may not be descriptive enough. In this instance, the shortened title should utilize key words from the title that can help readers identify the correct source on the Works Cited list. When possible, eliminate articles and prepositions (e. g., a, the, of, on, in ) from the shortened title.

Let’s look at these examples:

When a work with a long title is cited:

• Original title: “Eyes off the Road: How Texting while Driving Affects Driver Response Time”
• Shortened title: (“Eyes off the Road” 4)
• Original title: The Effects of Homelessness on Adults and Children in Suburban Populations
• Shortened title: ( Effects of Homelessness 27)

When more than one source by the same author is cited:

In the following paragraph, the writer references two works by the same author and has appropriately shortened the titles in the in-text citations:

Theorist Bill Brown explains that our relationship to things cannot be explained simply by our cultural ties to capitalism because we use objects to make meaning in our culture and for ourselves outside of these objects’ production value or use ( Sense 5). [1] For “thing theorists,” our ability to find meaning in and through objects is possible because there are “ideas in things” (“Thing” 7). [2] While ideas are untouchable and enigmatic, objects and things are tangible; therefore, it’s easier for subjects to understand objects because we can physically interact with them. By giving physical form to ideas, they can be thought about and understood more completely.

Note: The author’s name in the signal phrase, keywords, and format of the shortened titles in the parenthetical citations make it easy to identify which source is referenced.

[1] Brown, Bill. A Sense of Things: The Object Matter of American Literature . Chicago: The U of Chicago P, 2003. Print.

[2] ———–. “Thing Theory.” Critical Inquiry 28.1 (2001): 1-22. JSTOR. Web. 11 Apr. 2011.

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In an in-text citation, how do I shorten a title enclosed in quotation marks if the title begins with a quotation?

Note: This post relates to content in the eighth edition of the MLA Handbook . For up-to-date guidance, see the ninth edition of the MLA Handbook .

If you need to shorten a title enclosed in quotation marks that begins with a quotation, use the title within the title as the short form and retain the single quotation marks within double quotation marks:

As Barry Menikoff shows, Stevenson’s novels were influenced by his relation to the South Seas (“‘These Problematic Shores’”). Works Cited Menikoff, Barry. Narrating Scotland: The Imagination of Robert Louis Stevenson . U of South Carolina P, 2005. —. “‘These Problematic Shores’: Robert Louis Stevenson in the South Seas.” The Ends of the Earth, 1876-1918 , edited by Simon Gatrell, Ashfield Press, 1992, pp. 141-46.

When the introductory quotation is extremely long, truncate it:

Although Pamela is accepted into Mr. B.’s family, Charlotte Sussman argues that this outcome is tempered by the “precarious nature of Pamela’s ‘happiness,’” which is “hemmed in by the threat of physical punishment” as depicted in the narrative references to Sally Godfrey (“‘I Wonder’” 97).  Works Cited Sussman, Charlotte. “Epic, Exile, and the Global: Felicia Hemans’s The Forest Sanctuary .” Nineteenth-Century Literature , vol. 65, no. 4, 2011, pp. 481-512. —.“‘I Wonder Whether Poor Miss Sally Godfrey Be Living or Dead’: The Married Woman and the Rise of the Novel.” Diacritics , vol. 20, no. 1, 1990, pp. 88-102.

A similar issue occurs when shortening a title within quotation marks that begins with a title in quotation marks. See our post for examples.

Formatting Titles

by Purdue Global Academic Success Center and Writing Center · Published October 2, 2020 · Updated November 5, 2020

Let’s face it: For whatever reason, formatting titles can be confusing, especially if you think about all the titles that need proper formatting–the title placed on the title page of a paper, the title of a journal article mentioned in the body of a paper, the title of a newspaper or a website on the list of references. There are titles of books and titles of chapters in those books; titles of blogs and titles of blog entries. Some titles are italicized and some are put in quotation marks. Titles on the list of references require formatting–some titles use title case, some sentence case; some titles are italicized and some are not. And then there are those situations where titles are used in in-text citations–some titles are truncated and italicized; some are put in quotation marks–you get the idea. 

First off, I am not going to address how to format titles when citing in the paper or listing on the list of references—those are formatting guidelines for another time. I am going to focus on titles on the title page, the first page of the paper, and within a paper. Here is what you need to keep straight:

Titles require special capitalization called title case. Title case requires one to

• capitalize the first letter of the first and last words of a title;
• capitalize the first letter of all verbs;
• capitalize all words of four or more letters;
• capitalize the first letter of all other words except a, an, the, short conjunctions such as “for, and, but,” and prepositions of fewer than four letters (words like “up, in, off”);
• capitalize the first letter of a word following a colon or dash;
• capitalize the first letter of a subtitle. 

When a title appears on the title page of an APA Style 7th edition student paper, that title should be centered, bolded, and in title case—no need to use all caps, no need to italicize or underline, and no need to use quotation marks or place a period at the end. 

Simply type out the title using title case and bold it–that’s it.

On the first page of the essay, center and repeat the title, bold it, and use title case. Again, do not use any special formatting. Do not use a bigger font size or style. Do not underline or italicize and so forth. Just use title case, bold, and center the title on the first page of the essay.

Easy enough, right?

Titles that appear within an essay require special formatting in addition to title case. If the title is for an article—content that is part of a greater whole—then the title should have quotation marks around it. If the title is for a book, journal, newspaper, or some other whole work, then the title is italicized.

Let’s say you have an article titled “The New Coffee Culture” that appears in the journal Studies in Popular Culture . Let’s also say that for whatever reason, you name both titles in the body of your paper. The article “The New Coffee Culture” appears in the journal Studies in Popular Culture , so the article is content that appears in a greater whole, right? 

Both titles would be in title case. The article “The New Coffee Culture” would have quotation marks around it, and the title of the journal, Studies in Popular Culture , would be italicized. 

I hope this blogcast clarifies exactly what you need to do when formatting titles in typical usage situations in APA style. 

Until next week–

Kurtis Clements

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Chicago Style: Elements of a Citation

• Getting Started
• Formatting Your Paper
• Notes vs. Bibliography
• Elements of a Citation
• Books (Print)
• Books (Electronic)
• Articles (Print)
• Articles (Electronic)
• Web Pages/Sites
• Miscellaneous Sources
• Author (or editor) is the first element in both notes and bibliography entries.
• Use the author's name as it appears on the title page or article heading.
• If there is no author , the first element of the citation is the article title.
• In full notes, type all author names in direct order, e.g., Charles Schultz.
• When initials are part of a name, separate with a space, e.g., C. S. Lewis.
• In shortened notes, type only author(s) last names, e.g., Schultz and Brown.
• In a bibliography reference, invert the  first author's name (Schultz, Charles); additional author names are in direct order (Ron Brown).
• Capitalization:   Use CMS headline style for titles and subtitles of books and articles: Capitalize first and last words and other major words.
• Italics:   Italicize book titles and journal names.
• Question Marks:
• If a title ends in a question mark, do not use a colon before the subtitle.
• if an article title ends with a question mark, do not insert a period after the quotation mark.
• Quotation Marks 
• Enclose article titles in quotation marks. If an article title includes a quotation, enclose the quotation in single quotes, with double quotes around the entire article title.
• Shortening titles:  S horten a book or article title that is 5 or more words in a note, but do not shorten journal titles. Acceptable ways of shortening titles:
• Omit the initial article ( A, The ).
• Include only key words from the title. 

Note the edition of a source in a note or reference  if it is not the first edition;  that is, if the source is a numbered edition, or if the title page reads, "revised edition."

Numbered editions are abbreviated as shown below.

• A revised edition is abbreviated as "rev. ed." in the note, since elements are separated by commas, and "Rev. ed." in the bibliography since elements end in periods.

           Sample Note:  

        Sample Bib:

                       Louis: Mosby, 2002.

Page Numbers

• Books:  Provide page numbers when referring to a chapter or section.
• Journal and Magazine a rticles:   Provide start and end pages.
• Newspaper articles:  No page numbers required.
• Electronic sources without page numbers  (including e-books with variable page numbers due to text size):  Provide identifying information, e.g., chapter number, paragraph number, heading or section title.

Journals: Volume Number, Issue, Page Numbers

Online journal.

Include a DOI (Digital Object Identifier) in your citation if one is listed. A DOI, appended to the address, http://dx.doi.org/, links directly to the source. If no DOI is available, list a URL. Include the access date only if required by your professor.

Sample Note:

12. Pamela Paul, "The Playground Gets Even Tougher," New York Times , October 10, 2010, 12, Academic Search Complete (54317717). 

Sample Bib:

Publication Date

• Use the most recent date on the copyright page.  If it has no date, use  "n.d."
• If you have an idea of the date, enclose it in square brackets, e.g., [1951].

Magazines:   Use the most complete date available on the cover or table of contents.

Place of Publication

• The place of publication is usually found on the book's title page.  If more than one city is listed, use the first.
• If a city is not well known, include the state, province, or country .  Use state postal codes and abbreviate country/province as in Section 10.32 of CMS .
• Make sure to use a city's English name, e.g., "Rome" not "Roma."
• If no place is listed, use "n.p." in a note and "N.p." in a bibliography.
• The publisher's name is found on the title page.
• Omit initial articles from publisher names like  A, An, and The .
• Omit common corporate designations like Inc. , Ltd ., Co. , and Publishing Co., but retain special designations like Sons, Brothers, etc.
• Omit Press if doing so is not confusing. For example, use  Abingdon rather than Abingdon Press but do not omit  Press from Free Press.   Also, do not omit  Press from a university press name (e.g., Ohio University Press).
• Does the publisher name include  and or & ?  Use either but  be consistent .
• Is the publisher's name foreign?  Do not translate.
• Is the publisher unknown (as with an older work)?  Use place and date only.
• If the publisher's parent company appears on the title page, do not include it.
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Frequently asked questions

How can i shorten my college essay.

If your college essay goes over the word count limit , cut any sentences with tangents or irrelevant details. Delete unnecessary words that clutter your essay.

You can speed up this process by shortening and smoothing your writing with a paraphrasing tool . After that, you can use the summarizer to shorten it even more.

Frequently asked questions: College admissions essays

When writing your Common App essay , choose a prompt that sparks your interest and that you can connect to a unique personal story.

No matter which prompt you choose, admissions officers are more interested in your ability to demonstrate personal development , insight, or motivation for a certain area of study.

The Common App essay is your primary writing sample within the Common Application, a college application portal accepted by more than 900 schools. All your prospective schools that accept the Common App will read this essay to understand your character, background, and value as a potential student.

Since this essay is read by many colleges, avoid mentioning any college names or programs; instead, save tailored answers for the supplementary school-specific essays within the Common App.

Most importantly, your essay should be about you , not another person or thing. An insightful college admissions essay requires deep self-reflection, authenticity, and a balance between confidence and vulnerability.

Your essay shouldn’t be a résumé of your experiences but instead should tell a story that demonstrates your most important values and qualities.

When revising your college essay , first check for big-picture issues regarding your message and content. Then, check for flow, tone, style , and clarity. Finally, focus on eliminating grammar and punctuation errors .

If you’re struggling to reach the word count for your college essay, add vivid personal stories or share your feelings and insight to give your essay more depth and authenticity.

If you’ve got to write your college essay fast , don’t panic. First, set yourself deadlines: you should spend about 10% of your remaining time on brainstorming, 10% on outlining, 40% writing, 30% revising, and 10% taking breaks in between stages.

Second, brainstorm stories and values based on your essay prompt.

Third, outline your essay based on the montage or narrative essay structure .

Fourth, write specific, personal, and unique stories that would be hard for other students to replicate.

Fifth, revise your essay and make sure it’s clearly written.

Last, if possible, get feedback from an essay coach . Scribbr essay editors can help you revise your essay in 12 hours or less.

Avoid swearing in a college essay , since admissions officers’ opinions of profanity will vary. In some cases, it might be okay to use a vulgar word, such as in dialogue or quotes that make an important point in your essay. However, it’s safest to try to make the same point without swearing.

If you have bad grades on your transcript, you may want to use your college admissions essay to explain the challenging circumstances that led to them. Make sure to avoid dwelling on the negative aspects and highlight how you overcame the situation or learned an important lesson.

However, some college applications offer an additional information section where you can explain your bad grades, allowing you to choose another meaningful topic for your college essay.

Here’s a brief list of college essay topics that may be considered cliché:

• Extracurriculars, especially sports
• Role models
• Dealing with a personal tragedy or death in the family
• Struggling with new life situations (immigrant stories, moving homes, parents’ divorce)
• Becoming a better person after community service, traveling, or summer camp
• Overcoming a difficult class
• Using a common object as an extended metaphor

It’s easier to write a standout essay with a unique topic. However, it’s possible to make a common topic compelling with interesting story arcs, uncommon connections, and an advanced writing style.

Yes. The college application essay is less formal than other academic writing —though of course it’s not mandatory to use contractions in your essay.

In a college essay , you can be creative with your language . When writing about the past, you can use the present tense to make the reader feel as if they were there in the moment with you. But make sure to maintain consistency and when in doubt, default to the correct verb tense according to the time you’re writing about.

The college admissions essay gives admissions officers a different perspective on you beyond your academic achievements, test scores, and extracurriculars. It’s your chance to stand out from other applicants with similar academic profiles by telling a unique, personal, and specific story.

Use a standard font such as Times New Roman or Arial to avoid distracting the reader from your college essay’s content.

A college application essay is less formal than most academic writing . Instead of citing sources formally with in-text citations and a reference list, you can cite them informally in your text.

For example, “In her research paper on genetics, Quinn Roberts explores …”

There is no set number of paragraphs in a college admissions essay . College admissions essays can diverge from the traditional five-paragraph essay structure that you learned in English class. Just make sure to stay under the specified word count .

Most topics are acceptable for college essays if you can use them to demonstrate personal growth or a lesson learned. However, there are a few difficult topics for college essays that should be avoided. Avoid topics that are:

• Overly personal (e.g. graphic details of illness or injury, romantic or sexual relationships)
• Not personal enough (e.g. broad solutions to world problems, inspiring people or things)
• Too negative (e.g. an in-depth look at your flaws, put-downs of others, criticizing the need for a college essay)
• Too boring (e.g. a resume of your academic achievements and extracurriculars)
• Inappropriate for a college essay (e.g. illegal activities, offensive humor, false accounts of yourself, bragging about privilege)

To write an effective diversity essay , include vulnerable, authentic stories about your unique identity, background, or perspective. Provide insight into how your lived experience has influenced your outlook, activities, and goals. If relevant, you should also mention how your background has led you to apply for this university and why you’re a good fit.

Many universities believe a student body composed of different perspectives, beliefs, identities, and backgrounds will enhance the campus learning and community experience.

Admissions officers are interested in hearing about how your unique background, identity, beliefs, culture, or characteristics will enrich the campus community, which is why they assign a diversity essay .

In addition to your main college essay , some schools and scholarships may ask for a supplementary essay focused on an aspect of your identity or background. This is sometimes called a diversity essay .

You can use humor in a college essay , but carefully consider its purpose and use it wisely. An effective use of humor involves unexpected, keen observations of the everyday, or speaks to a deeper theme. Humor shouldn’t be the main focus of the essay, but rather a tool to improve your storytelling.

Get a second opinion from a teacher, counselor, or essay coach on whether your essay’s humor is appropriate.

Though admissions officers are interested in hearing your story, they’re also interested in how you tell it. An exceptionally written essay will differentiate you from other applicants, meaning that admissions officers will spend more time reading it.

You can use literary devices to catch your reader’s attention and enrich your storytelling; however, focus on using just a few devices well, rather than trying to use as many as possible.

To decide on a good college essay topic , spend time thoughtfully answering brainstorming questions. If you still have trouble identifying topics, try the following two strategies:

• Identify your qualities → Brainstorm stories that demonstrate these qualities
• Identify memorable stories → Connect your qualities to these stories

You can also ask family, friends, or mentors to help you brainstorm topics, give feedback on your potential essay topics, or recall key stories that showcase your qualities.

Yes—admissions officers don’t expect everyone to have a totally unique college essay topic . But you must differentiate your essay from others by having a surprising story arc, an interesting insight, and/or an advanced writing style .

There are no foolproof college essay topics —whatever your topic, the key is to write about it effectively. However, a good topic

• Is meaningful, specific, and personal to you
• Focuses on you and your experiences
• Reveals something beyond your test scores, grades, and extracurriculars
• Is creative and original

Unlike a five-paragraph essay, your admissions essay should not end by summarizing the points you’ve already made. It’s better to be creative and aim for a strong final impression.

You should also avoid stating the obvious (for example, saying that you hope to be accepted).

There are a few strategies you can use for a memorable ending to your college essay :

• Return to the beginning with a “full circle” structure
• Reveal the main point or insight in your story
• Look to the future
• End on an action

The best technique will depend on your topic choice, essay outline, and writing style. You can write several endings using different techniques to see which works best.

College deadlines vary depending on the schools you’re applying to and your application plan:

• For early action applications and the first round of early decision applications, the deadline is on November 1 or 15. Decisions are released by mid-December.
• For the second round of early decision applications, the deadline is January 1 or 15. Decisions are released in January or February.
• Regular decision deadlines usually fall between late November and mid-March, and decisions are released in March or April.
• Rolling admission deadlines run from July to April, and decisions are released around four to eight weeks after submission.

Depending on your prospective schools’ requirements, you may need to submit scores for the SAT or ACT as part of your college application .

Some schools now no longer require students to submit test scores; however, you should still take the SAT or ACT and aim to get a high score to strengthen your application package.

Aim to take the SAT or ACT in the spring of your junior year to give yourself enough time to retake it in the fall of your senior year if necessary.

Apply early for federal student aid and application fee waivers. You can also look for scholarships from schools, corporations, and charitable foundations.

To maximize your options, you should aim to apply to about eight schools:

• Two reach schools that might be difficult to get into
• Four match schools that you have a good chance of getting into
• Two safety schools that you feel confident you’ll get into

The college admissions essay accounts for roughly 25% of the weight of your application .

At highly selective schools, there are four qualified candidates for every spot. While your academic achievements are important, your college admissions essay can help you stand out from other applicants with similar profiles.

In general, for your college application you will need to submit all of the following:

• Your personal information
• List of extracurriculars and awards
• College application essays
• Transcripts
• Standardized test scores
• Recommendation letters.

Different colleges may have specific requirements, so make sure you check exactly what’s expected in the application guidance.

You should start thinking about your college applications the summer before your junior year to give you sufficient time for college visits, taking standardized tests, applying for financial aid , writing essays, and collecting application material.

Yes, but make sure your essay directly addresses the prompt, respects the word count , and demonstrates the organization’s values.

If you plan ahead, you can save time by writing one scholarship essay for multiple prompts with similar questions. In a scholarship tracker spreadsheet, you can group or color-code overlapping essay prompts; then, write a single essay for multiple scholarships. Sometimes, you can even reuse or adapt your main college essay .

You can start applying for scholarships as early as your junior year. Continue applying throughout your senior year.

Invest time in applying for various scholarships , especially local ones with small dollar amounts, which are likely easier to win and more reflective of your background and interests. It will be easier for you to write an authentic and compelling essay if the scholarship topic is meaningful to you.

You can find scholarships through your school counselor, community network, or an internet search.

A scholarship essay requires you to demonstrate your values and qualities while answering the prompt’s specific question.

After researching the scholarship organization, identify a personal experience that embodies its values and exemplifies how you will be a successful student.

A standout college essay has several key ingredients:

• A unique, personally meaningful topic
• A memorable introduction with vivid imagery or an intriguing hook
• Specific stories and language that show instead of telling
• Vulnerability that’s authentic but not aimed at soliciting sympathy
• Clear writing in an appropriate style and tone
• A conclusion that offers deep insight or a creative ending

While timelines will differ depending on the student, plan on spending at least 1–3 weeks brainstorming and writing the first draft of your college admissions essay , and at least 2–4 weeks revising across multiple drafts. Don’t forget to save enough time for breaks between each writing and editing stage.

You should already begin thinking about your essay the summer before your senior year so that you have plenty of time to try out different topics and get feedback on what works.

Your college essay accounts for about 25% of your application’s weight. It may be the deciding factor in whether you’re accepted, especially for competitive schools where most applicants have exceptional grades, test scores, and extracurricular track records.

In most cases, quoting other people isn’t a good way to start your college essay . Admissions officers want to hear your thoughts about yourself, and quotes often don’t achieve that. Unless a quote truly adds something important to your essay that it otherwise wouldn’t have, you probably shouldn’t include it.

Cliché openers in a college essay introduction are usually general and applicable to many students and situations. Most successful introductions are specific: they only work for the unique essay that follows.

The key to a strong college essay introduction is not to give too much away. Try to start with a surprising statement or image that raises questions and compels the reader to find out more.

The introduction of your college essay is the first thing admissions officers will read and therefore your most important opportunity to stand out. An excellent introduction will keep admissions officers reading, allowing you to tell them what you want them to know.

If you’re struggling to reach the word count for your college essay, add vivid personal stories or share your feelings and insight to give your essay more depth and authenticity.

Most college application portals specify a word count range for your essay, and you should stay within 10% of the upper limit to write a developed and thoughtful essay.

You should aim to stay under the specified word count limit to show you can follow directions and write concisely. However, don’t write too little, as it may seem like you are unwilling or unable to write a detailed and insightful narrative about yourself.

If no word count is specified, we advise keeping your essay between 400 and 600 words.

In your application essay , admissions officers are looking for particular features : they want to see context on your background, positive traits that you could bring to campus, and examples of you demonstrating those qualities.

Colleges want to be able to differentiate students who seem similar on paper. In the college application essay , they’re looking for a way to understand each applicant’s unique personality and experiences.

You don’t need a title for your college admissions essay , but you can include one if you think it adds something important.

Your college essay’s format should be as simple as possible:

• Use a standard, readable font
• Use 1.5 or double spacing
• If attaching a file, save it as a PDF
• Stick to the word count
• Avoid unusual formatting and unnecessary decorative touches

There are no set rules for how to structure a college application essay , but these are two common structures that work:

• A montage structure, a series of vignettes with a common theme.
• A narrative structure, a single story that shows your personal growth or how you overcame a challenge.

Avoid the five-paragraph essay structure that you learned in high school.

Campus visits are always helpful, but if you can’t make it in person, the college website will have plenty of information for you to explore. You should look through the course catalog and even reach out to current faculty with any questions about the school.

Colleges set a “Why this college?” essay because they want to see that you’ve done your research. You must prove that you know what makes the school unique and can connect that to your own personal goals and academic interests.

Depending on your writing, you may go through several rounds of revision . Make sure to put aside your essay for a little while after each editing stage to return with a fresh perspective.

Teachers and guidance counselors can help you check your language, tone, and content . Ask for their help at least one to two months before the submission deadline, as many other students will also want their help.

Friends and family are a good resource to check for authenticity. It’s best to seek help from family members with a strong writing or English educational background, or from older siblings and cousins who have been through the college admissions process.

If possible, get help from an essay coach or editor ; they’ll have specialized knowledge of college admissions essays and be able to give objective expert feedback.

When revising your college essay , first check for big-picture issues regarding message, flow, tone, style , and clarity. Then, focus on eliminating grammar and punctuation errors.

Include specific, personal details and use your authentic voice to shed a new perspective on a common human experience.

Through specific stories, you can weave your achievements and qualities into your essay so that it doesn’t seem like you’re bragging from a resume.

When writing about yourself , including difficult experiences or failures can be a great way to show vulnerability and authenticity, but be careful not to overshare, and focus on showing how you matured from the experience.

First, spend time reflecting on your core values and character . You can start with these questions:

• What are three words your friends or family would use to describe you, and why would they choose them?
• Whom do you admire most and why?
• What are you most proud of? Ashamed of?

However, you should do a comprehensive brainstorming session to fully understand your values. Also consider how your values and goals match your prospective university’s program and culture. Then, brainstorm stories that illustrate the fit between the two.

In a college application essay , you can occasionally bend grammatical rules if doing so adds value to the storytelling process and the essay maintains clarity.

However, use standard language rules if your stylistic choices would otherwise distract the reader from your overall narrative or could be easily interpreted as unintentional errors.

Write concisely and use the active voice to maintain a quick pace throughout your essay and make sure it’s the right length . Avoid adding definitions unless they provide necessary explanation.

Use first-person “I” statements to speak from your perspective . Use appropriate word choices that show off your vocabulary but don’t sound like you used a thesaurus. Avoid using idioms or cliché expressions by rewriting them in a creative, original way.

If you’re an international student applying to a US college and you’re comfortable using American idioms or cultural references , you can. But instead of potentially using them incorrectly, don’t be afraid to write in detail about yourself within your own culture.

Provide context for any words, customs, or places that an American admissions officer might be unfamiliar with.

College application essays are less formal than other kinds of academic writing . Use a conversational yet respectful tone , as if speaking with a teacher or mentor. Be vulnerable about your feelings, thoughts, and experiences to connect with the reader.

Aim to write in your authentic voice , with a style that sounds natural and genuine. You can be creative with your word choice, but don’t use elaborate vocabulary to impress admissions officers.

Admissions officers use college admissions essays to evaluate your character, writing skills , and ability to self-reflect . The essay is your chance to show what you will add to the academic community.

The college essay may be the deciding factor in your application , especially for competitive schools where most applicants have exceptional grades, test scores, and extracurriculars.

Some colleges also require supplemental essays about specific topics, such as why you chose that specific college . Scholarship essays are often required to obtain financial aid .

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How to shorten an essay (2022 Top Expert Guide)

Table of Contents

 What comes to a naive mind when dwelling on “ how to shorten an essay ” is that, it is a tedious and meticulous task. 

How to shorten an essay

Shortening an essay is not difficult when you grab the right tips and tricks. These are the best common ways to make your assigned essay shorter in terms of pages. Some of these methods may reduce the essay by three or four pages. Some may cause more pages, and some may create a more elusive outcome. 

Experiment with your submission and find the ideal combination. Do not worry about the assignment due date; focus on the cat.

The five best ways to make an essay shorter include: 

1. Start with a thesis statement. A good thesis statement is the foundation of a well-rounded paper. When you begin your essay, make a clear statement. Be able to back that statement up if necessary, but be prepared to argue for it in a strong sense. Avoid the sentence “I believe that X.” Instead, state a thesis to help the reader understand exactly how you feel and why. 

2. Read your essay out loud. This will help you find areas that need improvement, and it will keep you aware of the pace of this activity. 

3. Take notes. It is easy to get caught up in this activity and lose sight of what else needs to be done. Make a note of the best ideas that come to you while doing this research activity. 

4. When writing the thesis, write down how you will prove or support it. Read your essay aloud again, and look for areas where you need more information. 

5. If your project is expository, the most commonly misunderstood aspect is the conclusion. You need to write the conclusion at the end of your project. Make sure it is clear, concise, and to the point. 

Paraphrasing

Can we shorten our essays through paraphrasing? Yes, we can. However, many students mistake rewording what they learn in the book. To create a properly-written paraphrase, you need to understand the original text and also be careful to maintain its organization. 

Paraphrasing language that is poor, vague, or missing essential details can have a significant impact on the audience. To write a good paraphrase, you need to practice and review it before publishing.

 The best way to write a good paraphrase is that the writer expresses his ideas in his own words. While paraphrasing, ensure your reader understands what you mean by your sentences and writing.

Write More Concisely – Tips to Shorten Your Essay

Need help on how to shorten an essay ? Shortening your essay is not a difficult thing to do, but it might require some effort. You will have a concise and engaging essay if you follow these steps!

Here are eight proven tips to shorten your essay:

1. Use simple, everyday words. Don’t try to conceal yourself behind big words. They will only exacerbate your flaws. 

2. Remove any unnecessary words.

Examine your adverbs (strongly, gratuitously), adjectives (large, great), and qualifiers (very, somewhat). The majority of the words you don’t need can be found here. Consider whether they are necessary. If not, get rid of them.

3. Avoid using nominalization.

How many times have you suffocated a verb by making it a noun? 

(delude – delusion, exclude – exclusion, contract – contraction) Stop it!

4. Avoid using these five words too close to a verb.

Desist from using the words’ take,’ ‘give, “make,’ ‘conduct,’ and ‘come’ too close to a verb or a nominalized verb phrase. They detract from the clarity of your sentences. 

Example: ‘The organization needs to take the defects into consideration.’  should be  ‘The organization needs to consider the defects.’ 

Other tips to shorten your essay include:

5. Make use of strong, specific verbs and nouns. This allows you to avoid using the passive voice, cut down on wordiness, and eliminate modifiers and qualifiers.

6. Make use of the active voice.

You must use the active voice if you follow plain language rules. It assists you in simplifying your message and saying precisely what you want to say. The active voice eliminates uncertainty. We are always aware of who is doing what. The Hemingway App assists you in identifying passive voice.

7. Avoid using jargon.

Overused phrases in a company or industry lose all meaning. Please refrain from using the terms’ like, ‘think outside the box,’ ‘win-win situation,’ ‘low-hanging fruit,’ and ‘pushing the envelope.’ Your readers will ignore you if you don’t say what you mean.

8. Avoid using verbs that require you to ‘tell.’

When used to describe something, these ten verbs will unnecessarily increase your word count. 

These ten verbs are appeared, mused, seemed, thought, wondered, seemed, felt, decided, heard, and realized. Stay away from them.

Shortening an essay requires a lot of focus, but the payoff is well worth the effort. Try out these tips, and soon you’ll be able to significantly shorten your essay without removing any significant content from the piece.

Think about your essay like a puzzle. You can add and subtract individual pieces to make the picture stronger. 

Pam is an expert grammarian with years of experience teaching English, writing and ESL Grammar courses at the university level. She is enamored with all things language and fascinated with how we use words to shape our world.

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How to Write a Book Title in an Essay (MLA, APA etc.)

Formatting your essay correctly ensures that you get full recognition for the hard work you put into it. Wondering what to do? There are two scenarios that lead you to the question of "how to write a book title in an essay":

• You have not been required to use a particular style guide, in which case consistency remains important.
• You have been instructed to use a particular style guide. You now simply need to ensure that you are familiar with its rules.

Regardless of which of these scenarios holds true for you, this guide is here to help.

How to Write a Book Title in an Essay

Many style manuals call on writers use title case and italics to format a book title. Title case rules vary slightly from one style guide to the next, but generally capitalize all important words — nouns, pronouns, verbs, and adverbs. Conjunctions and prepositions are not capitalized unless they are very long (generally more than four letters) or they appear at the beginning or end of a book title.

Writers who are not required to work with a specific style manual can't go wrong if they stick to this style. Some examples would be:

• To Kill a Mockingbird by Harper Lee
• The Gift of Fear and Other Survival Signals That Protect us From Violence by Gavin de Becker
• The Cat With a Feathery Tail and Other Stories by Enid Blyton

If, on the other hand, you're required to use a style guide, it will likely be one of these:

• MLA, commonly used in disciplines relating to literature and social sciences.
• APA, commonly used in psychology and other sciences.
• Chicago, often used in the publishing industry.
• Harvard style, commonly used in philosophy and social sciences.

These are certainly not the only "big players" in the style guide world, but they're ones it's good to be familiar with. There is overlap between these styles, but there are also major differences — so knowing one definitely does not mean you know the others, too.

Guidelines for Writing a Book Title in an Essay

Looking for a short and sharp answer, so you can get on with the rest of your essay? This is it.

This quick guide will help you reference the book title of your choosing in the body of your essay, but what about your Works Cited pages? Each style guide offers different rules, and we'll use the same book as an example to illustrate the differences.

• MLA uses the following format: Author Last Name, First Name. Title of Book . City of Publication, Publisher, Publication Year. Example: Card, Orson Scott. Ender's Game. Tor Books, 1985. (You only have to detail the city of publication if the book was published before 1900, the publisher has offices in many localities, or the publisher is not known in the US.)
• APA uses the following format: Author Last Name, First Name. (Year of Publication). Title of book. Example: Card, Orson Scott. (1985). Ender's game.
• Chicago style uses the following format: Author Last Name, First Name. Book Title: Subtitle . Place of publication: Publisher, Year. Example: Card, Orson Scott. Ender's Game . Tor Books, 1985.
• Harvard uses the following format: Author Last Name, First Initial. (Publication Year). Title . ed. City: Publisher. Example: Card, O. (1985). Ender's Game. Tor Books.

If, after researching, you cannot find relevant information about publication years, publishers, or the city in which a book was published, you may omit it. For a full guide, it is always best to have a physical copy of the latest edition of the style manual you are using. You can, however, get by without this if you need to.

Should you still not know what to do, it will be helpful for you to know that you can "generate" citations for a particular style manual with the help of online tools like Cite Me . These are not always accurate, so if you decide to use one, always check the citation manually.

Why Is Proper Formatting Important?

All of the well-known style manuals ultimately serve the very same set of purposes, although they were each developed for a particular niche. The goals of these style manuals are both explicit and implicit:

• Following a style guide ensures consistency throughout a document, in this case an essay.
• Consistency ensures that reader's understand precisely what the writer is talking about, without exerting any effort on figuring that out. Clarity is especially important in academic writing.
• By using a style guide within a certain discipline, you show that you understand the rules within that discipline. This adds credibility to your voice as a writer. You have done your homework, have ideally bought the style manual, and are part of the "in group".
• Sticking to a certain style guide makes it easier for relevant parties to check your references, which they can then use to perform further research.

Students are increasingly asked to refer to style guides at all levels, including in high school. In this case, formatting your essay correctly, in accordance with the right style manual, serves two additional purposes:

• You'll lose points if you don't do it right, offering you an additional reason to do your research.
• Getting used to these formats prepares you for further education. If you are in high school, it prepares you for college-level writing. If you are an undergraduate student, it prepares you for academic work at the graduate and post-graduate levels.

Can you start an essay with a book title?

Yes, you can start an essay with a book title. This is a valid stylistic choice, but you will always want to consider your introduction carefully.

How do you write a book title in handwriting?

Students sometimes ask whether it is acceptable to underline book titles instead of italicizing them. This practice indeed stems from a time in which most students wrote their essays by hand. Although it has largely fallen out of practice now, you can still underline a book title if you are handwriting your essay.

How do you write a book title and chapter in an essay?

You should mention the chapter title first: "Rat" from Ender's Game by Orson Scott Card. Consult the relevant style manual to ensure you get the formatting right.

Can you shorten a book title in an essay?

Yes, you can. Reference the full title the first time you mention it (for example: Furiously Happy: A Funny Book About Horrible Things ). The next time you mention the book, you may simply refer to Furiously Happy .

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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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Guidelines for writing Poems, Stories and Tales

Shortening a title without changing its meaning

August 8, 2022

Can you shorten a title?

Shortening titles: Shorten a book or article title that is 5 or more words in a note, but do not shorten journal titles . Acceptable ways of shortening titles: Omit the initial article (A, The). Include only key words from the title.

What does shortening mean?

Definition of shortening 1 : the action or process of making or becoming short specifically : the dropping of the latter part of a word so as to produce a new and shorter word of the same meaning. 2 : an edible fat used to shorten baked goods.

How do you shorten a long title in an essay?

In the works-cited-list entry, add an ellipsis after the first part of the title . If a period is needed, insert the period before the ellipsis. Bulwer, John.

How do you shorten a title in an essay MLA?

If the title of the work begins with a quotation mark, such as a title that refers to another work, that quote or quoted title can be used as the shortened title . The single quotation marks must be included in the parenthetical, rather than the double quotation.

How do you shorten a title in-text?

Yep, your idea is correct here; when a long title appears in an in-text citation, it should be shortened to the initial noun phrase, omitting any articles (e.g. “a,” “the”). So for example, “The Basics of APA In-Text Citations” would become just “Basics.”

Can you shorten a title in an essay APA?

Italicize the title if it’s italicized in the reference entry (except for court cases, which are italicized in the in-text citation but not the reference entry). Otherwise, enclose it in double quotation marks. Apply title case capitalization, and shorten long titles .

How do you shorten an article title in APA?

Shorten title if needed. Use double quotation marks for title of an article, a chapter, or a web page . Use italics for title of a periodical, a book, a brochure or a report. Two or more authors: Within the text use the word and.

How do you shorten a quote?

You can shorten quotes by removing words from the middle of the quote and adding ellipses to indicate that you have removed some words . Shortening quotes helps the reader focus on the key information. You can remove words that are redundant or irrelevant to the point you are making.

What is short title of research paper?

Many journals require a short title, which should not exceed 60 characters (including spaces) . This is the running title/short title/running head which is an abbreviated form of the main title. This title is usually displayed at the top of each page of the article or left-hand text pages.

How do you format a long title in APA?

Make the title no more than twelve words : “APA recommends that your title be no more than 12 words in length and that it should not contain abbreviations or words that serve no purpose.”

How do you quote a long article title?

When an in-text citation refers to a work with a long title, a shortened phrase from the title should be used. Care should be taken to shorten the title in such a way that it does not compromise the reader’s ability to locate the source on the Works Cited list.

How do you quote a title?

In general, you should italicize the titles of long works, like books, movies, or record albums. Use quotation marks for the titles of shorter pieces of work : poems, articles, book chapters, songs, T.V. episodes, etc.

Related posts

How to Shorten an Essay: 4 Techniques to Reduce Word Count

If you need to shorten your essay by 100-500 words, or even more, you can use one or more of four techniques. You can clean up your sentences, remove repetition, summarize your examples, and/or cut out an entire section.

One of my subscribers recently asked me, “ How do I compress an essay of 700-1000 words, or even more, to just 300 words? ”

In this tutorial I will show you four easy ways to shorten your essay by as much or as little as you wish. I am giving them to you in the order you should try them out.

Here are four techniques to shorten your essay:

Technique #1: Sentence Cleanup

When I taught essay writing in college, I noticed that students wrote sentences that were just too wordy. 

They used 20 words where 10 would have probably done the trick. If you examine your sentences, you’ll often find that you can say the same thing in much fewer words.

“In my opinion, there are many people who want to lose weight.”

This sentence contains 12 words. 

Here’s how we can shorten it by performing a Sentence Cleanup.

First, you never have to say, “ In my opinion, ” because if it were not your opinion, you wouldn’t be stating it. Okay? So, let’s cross out “ in my opinion. ”

“ In my opinion, there are many people who want to lose weight.”

We just cut out three words. 

Next, the phrase “ there are ” is usually unnecessary, and if you take it out, your sentence will become more elegant. So, let’s do it. Let’s just cross it out.

“ There are many people who want to lose weight.”

We also have to cross out the extra word “ who ” because it is only needed if you use “ there are. ”

We just got rid of three more words. 

And so our sentence becomes:

“Many people want to lose weight.”

How many words is that? That is now a six word sentence. Guess what – we just cut this sentence in half. 

Do this enough times in your essay, and it will get a lot shorter.

“How do I cut out 200 words from my essay to make it shorter?”

This sentence contains 14 words. Let’s perform a Sentence Cleanup.

Notice that it is pretty obvious that to cut out 200 words from an essay will make it shorter. Therefore, stating that you want to do it “ to make it shorter ” is unnecessary. 

If we get rid of that phrase, we’ll cut out 4 words from this sentence and make it a lot more elegant. 

“How do I cut out 200 words from my essay to make it shorter ?”

Technique #2: Removing Repetition

Repetition can be found on all levels – in a sentence, in a paragraph, or a section. When you reduce or eliminate repetition in your essay, you are making it less redundant. “Redundant” just means repetitive and therefore useless.

In the last example we just did, we eliminated a redundancy from a sentence. And that’s part of a Sentence Cleanup. But you can also find and eliminate entire redundant sentences.  

Look for repetitive phrases, sentences, and even passages in your content and remove them. 

Students often repeat things over and over, using different words, thinking that they’re writing great content. Those are your opportunities to significantly shorten your essay while improving it at the same time.

Here’s an example from a fictitious student essay. Let’s say the student writes about his trip to Paris and states:

“ I found that Parisians are very nice if you talk to them in French. ”

And then, in the same or even a different paragraph or section, the following sentence would appear:

“Parisians can be very nice people, but they really prefer that you speak French with them.”

Well, the two sentences say the same thing, just using different words. 

So, what do you do? 

Pick the longer sentence and just delete it.

Sometimes you will find a whole paragraph in your essay that is repetitive and can be removed without the essay losing any meaning. If you find such a paragraph, just delete it.

Technique #3: Zooming Out

Make sure that you go through your essay using the first two techniques before you employ this and the next one. 

The only case where you would do Zooming Out first would be if you had to shorten your essay drastically – by 30% or more. 

If you’ve cleaned up all your sentences and removed all repetitive content, and you still need to lose hundreds of words, the Zooming Out technique will really help. 

Here’s how it works. 

You may have heard that in essay writing, you are supposed to proceed from general to specific. Whether you stick to this rule really well in your essay or not, I want you to notice something. 

In your essay, you make statements that are:

• very general
• less general
• somewhat specific
• very specific

The most general statement in your essay is the thesis because it summarizes the entire essay. And the most specific parts of your essay are examples .

So, in order to shorten your essay, you can summarize your examples. I call this Zooming Out because you are taking something that was very specific (zoomed in) and making it more general (zoomed out). 

Let’s say you’re writing about the harms of second-hand smoking. And in one of the sections you provide an example of your friend or someone in the news who became seriously ill because she lived with a smoker for a long time:

“My friend Isabelle was married to a chain smoker. Her husband refused not only to give up his habit but even to reduce it. As years went by, Isabelle began to notice some respiratory symptoms. At first, she developed a light but persistent cough. Then, she started to feel out of breath more and more often. When she finally went to a pulmonologist, a test revealed that she had COPD, a serious lung disease.”

This example is 74 words long. And this is your opportunity to shorten your essay dramatically. 

You can simply contract this example into one short sentence and write something like this:

“A friend of mine developed lung disease after having lived with a chain smoker for twelve years.”

Now, this sentence contains only 17 words. We just cut out 57 words just by Zooming Out on one example. 

We are Zooming Out because we are no longer exploring this example in detail. We simply provide a fact without giving a lot of specific information. 

So, look for these detailed examples in your essay and just summarize each of them into one short sentence.

Technique #4: Cutting out a Section

This technique works very well to cut out a big chunk of your essay in one fell swoop.

Let’s say that you wrote an essay in which you have four supporting points to prove your main point, your thesis. 

If this is a 2,000-word essay, then each section is approximately 500 words long. But do you really need four reasons/sections to support your point?

Is it possible that if you provide only three supporting points, your essay will still work very well?

For example, if you argue that apples are a great food, you could have four supporting points, claiming that apples are:

But what if you simply took out one of these points? Let’s say that you eliminate the section about the portability of apples.

Will your essay still work? Sure it will. It will work just fine with the three remaining supporting points. And you just cut out 500 words (in a 2,000-word essay). 

After you have cut out a section, make sure to go back to your thesis statement and edit it to reflect the change.

I’ll leave you with one final tip. When trying to choose which sentence, paragraph, or section to cut out from your essay, go for the content that you know is not the best.

For example, you may have a section in your essay where you quote too much. Or, perhaps you were not very careful in paraphrasing, and your passage sounds too much like the original source. These would be great bits of content to get rid of.

I hope this was helpful. Now go ahead and shorten your essay to your heart’s desire!

How to Write a 300 Word Essay – Simple Tutorial

How to expand an essay – 4 tips to increase the word count, 10 solid essay writing tips to help you improve quickly, essay writing for beginners: 6-step guide with examples, 6 simple ways to improve sentence structure in your essays.

Tutor Phil is an e-learning professional who helps adult learners finish their degrees by teaching them academic writing skills.

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• Writing Tips

How to Write Book Titles in Your Essays

3-minute read

• 26th May 2023

When writing an essay, you’re likely to mention other authors’ works, such as books, papers, and articles. Formatting the titles of these works usually involves using quotation marks or italics.

So how do you write a book title in an essay? Most style guides have a standard for this – be sure to check that first. If you’re unsure, though, check out our guide below.

Italics or Quotation Marks?

As a general rule, you should set titles of longer works in italics , and titles of shorter works go in quotation marks . Longer works include books, journals, TV shows, albums, plays, etc. Here’s an example of a book mention:

Shorter works include poems, articles, chapters of books, episodes of TV shows, songs, etc. If it’s a piece that’s part of a biggHow to Write Book Titles in Your Essayser work, the piece considered a short work:

Exceptions to the Rule

The rule for writing book titles in italics applies specifically to running text . If the book title is standing on its own, as in a heading, there’s no need to italicize it.

Additionally, if the book is part of a larger series and you’re mentioning both the title of the series and that of the individual book, you can consider the book a shorter work. You would set the title of the series in italics and place the book title in quotation marks:

Punctuation in Book Titles

Do you need to apply italics to the punctuation in a book title? The short answer is yes – but only if the punctuation is part of the title:

If the punctuation isn’t part of the title (i.e., the punctuation is part of the sentence containing the title), you shouldn’t include in the italics:

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Summary: Writing Book Titles in Essays

We hope you’ll now feel confident when you’re writing and formatting book titles in your essays. Generally, you should set the title in italics when it’s in running text. Remember, though, to check your style guide. While the standards we’ve covered are the most common, some style guides have different requirements.

And once you finish writing your paper, make sure you send it our way! We’ll make sure any titles are formatted correctly as well as checking your work for grammar, spelling, punctuation, referencing, and more. Submit a free sample to try our service today.

Frequently Asked Questions

How do you write the title of a book in a sentence.

Set the title of the book in italics unless the book is part of a larger work (e.g., a book that’s part of a series):

When do you use quotation marks for titles?

Place titles of shorter works or pieces that are contained in a larger work in quotation marks:

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A Critic’s Plea for Maximalism: ‘Crack Us Open Like Eggs’

In her first essay collection, Becca Rothfeld demonstrates that sometimes, more really is more.

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By David Gates

David Gates teaches in the M.F.A. program at St. Joseph’s University.

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ALL THINGS ARE TOO SMALL: Essays in Praise of Excess , by Becca Rothfeld

The essays I love favor abundance over economy, performance over persuasion. Zadie Smith’s exemplary “Speaking in Tongues” juggles Barack Obama, Shakespeare, Shaw’s “Pygmalion,” Pauline Kael on Cary Grant, Thomas Macaulay on the Marquess of Halifax and her own “silly posh” speaking voice. Its modest argument, that “flexibility of voice leads to a flexibility in all things,” disappears into the spectacle of a nimble mind reveling in its omnivorous erudition.

The critic Becca Rothfeld’s first collection, “All Things Are Too Small: Essays in Praise of Excess,” is splendidly immodest in its neo-Romantic agenda — to tear down minimalism and puritanism in its many current varieties — but, like Smith, she makes her strongest case in her essays’ very form, a carnival of high-low allusion and analysis. Macaulay, Cary Grant, Obama and a posh accent? Rothfeld will see you and raise you: How about Simone Weil, Aristotle, “Troll 2,” Lionel Trilling, Hadewijch of Brabant (from whom she takes her title), serial killer procedurals, Proust and the Talmud? Not that she neglects Cary Grant; in an essay on love and equality, she filters a smart reading of “His Girl Friday” through the philosopher Stanley Cavell.

Cynthia Ozick (who ought to know) has favorably — and justly — compared Rothfeld to “the legendary New York intellectuals,” though Rothfeld lives in D.C., where she’s the nonfiction book critic for The Washington Post. She’s also an editor at The Point, a contributing editor at The Boston Review, and has published in The New Yorker, The New York Review of Books, The Nation, The Atlantic, The Baffler and The British Journal of Aesthetics. Of course she also has a Substack, and she declares on her website — which links to many splendid pieces not collected in this book — that she’s “perhaps delusionally convinced” she’ll eventually finish her Harvard Ph.D. dissertation in philosophy.

The costive and the envious might wonder if she’s spreading herself too thin, but Rothfeld’s rigor and eloquence suggest that in her case, as the title of one essay has it, “More Is More.” That piece begins in dispraise of “professional declutterers” such as Marie Kondo, whose aesthetic amounts to “solipsism spatialized,” and from whose dream houses “evidence of habitation — and, in particular, evidence of the body, with its many leaky indecencies — has been eliminated.”

But it soon morphs into dispraise of minimalist prose and the “impoverished non-novels” of fashionable writers including Jenny Offill, Ottessa Moshfegh and Kate Zambreno, whose “anti-narratives are soothingly tractable, made up of sentences so short that they are often left to complete themselves.”

Rothfeld, by contrast, leaves no phrase unturned. Her maximalist prose abounds in alliteration — “I recommend bingeing to bursting,” she writes, exhorting us to “savor the slivers of salvation hidden in all that hideous hunger” — as well as such old-school locutions as “pray tell” and “cannot but be offensive.” If these mannerisms sit uneasily next to her f-worded celebrations of sexuality, the dissonance is deliberate, and the unease is a matter of principle.

In “Wherever You Go, You Could Leave,” a takedown of “mindfulness,” Rothfeld reports that when she “decided to live” after a suicide attempt in her first year of college, she rejected the soothing blankness of meditation and concluded that “perturbation is a small price to pay for the privilege of a point of view.”

Despite her disdain for “professional opinion-havers” — among them the columnist Christine Emba, lately also of The Washington Post — she doesn’t mind laying down the law. In the book’s longest essay, “Only Mercy: Sex After Consent,” Rothfeld taxes Emba, author of the best-selling “Rethinking Sex,” with an “appalling incomprehension of what good sex is like.”

So, pray tell. “We should choke, crawl, spank, spew, and above all, surrender furiously, until the sheer smack of sex becomes its own profuse excuse for being.” Some sexual encounters, she continues, “crack us open like eggs” and “we should not be willing to live without them.”

We-shoulding is an occupational hazard of opinion-having, but we need take these pronouncements no more — and no less — to heart than Rothfeld’s paradoxical admiration for both the “beatifically stylized” films of Éric Rohmer and the “magnificently demented” oeuvre of David Cronenberg. Do we agree or disagree with her that Sally Rooney’s novels are overpraised, and that Norman Rush’s “Mating” is really “one of the most perfect novels of the past half century”?

More to the point, do we agree that “the aesthetic resides in excess and aimlessness,” and that extravagance is “our human due”? I’d say no to the former and yes to the latter, but who cares? What counts in these essays is the exhilarating ride, not the sometimes-dodgy destination. William Blake wrote that the road of excess leads to the palace of wisdom; Rothfeld might say that they’re one and the same. No argument there.

ALL THINGS ARE TOO SMALL : Essays in Praise of Excess | By Becca Rothfeld | Metropolitan Books | 287 pp. | $27.99

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• The Case for Marrying an Older Man

A woman’s life is all work and little rest. An age gap relationship can help.

In the summer, in the south of France, my husband and I like to play, rather badly, the lottery. We take long, scorching walks to the village — gratuitous beauty, gratuitous heat — kicking up dust and languid debates over how we’d spend such an influx. I purchase scratch-offs, jackpot tickets, scraping the former with euro coins in restaurants too fine for that. I never cash them in, nor do I check the winning numbers. For I already won something like the lotto, with its gifts and its curses, when he married me.

He is ten years older than I am. I chose him on purpose, not by chance. As far as life decisions go, on balance, I recommend it.

When I was 20 and a junior at Harvard College, a series of great ironies began to mock me. I could study all I wanted, prove myself as exceptional as I liked, and still my fiercest advantage remained so universal it deflated my other plans. My youth. The newness of my face and body. Compellingly effortless; cruelly fleeting. I shared it with the average, idle young woman shrugging down the street. The thought, when it descended on me, jolted my perspective, the way a falling leaf can make you look up: I could diligently craft an ideal existence, over years and years of sleepless nights and industry. Or I could just marry it early.

So naturally I began to lug a heavy suitcase of books each Saturday to the Harvard Business School to work on my Nabokov paper. In one cavernous, well-appointed room sat approximately 50 of the planet’s most suitable bachelors. I had high breasts, most of my eggs, plausible deniability when it came to purity, a flush ponytail, a pep in my step that had yet to run out. Apologies to Progress, but older men still desired those things.

I could not understand why my female classmates did not join me, given their intelligence. Each time I reconsidered the project, it struck me as more reasonable. Why ignore our youth when it amounted to a superpower? Why assume the burdens of womanhood, its too-quick-to-vanish upper hand, but not its brief benefits at least? Perhaps it came easier to avoid the topic wholesale than to accept that women really do have a tragically short window of power, and reason enough to take advantage of that fact while they can. As for me, I liked history, Victorian novels, knew of imminent female pitfalls from all the books I’d read: vampiric boyfriends; labor, at the office and in the hospital, expected simultaneously; a decline in status as we aged, like a looming eclipse. I’d have disliked being called calculating, but I had, like all women, a calculator in my head. I thought it silly to ignore its answers when they pointed to an unfairness for which we really ought to have been preparing.

I was competitive by nature, an English-literature student with all the corresponding major ambitions and minor prospects (Great American novel; email job). A little Bovarist , frantic for new places and ideas; to travel here, to travel there, to be in the room where things happened. I resented the callow boys in my class, who lusted after a particular, socially sanctioned type on campus: thin and sexless, emotionally detached and socially connected, the opposite of me. Restless one Saturday night, I slipped on a red dress and snuck into a graduate-school event, coiling an HDMI cord around my wrist as proof of some technical duty. I danced. I drank for free, until one of the organizers asked me to leave. I called and climbed into an Uber. Then I promptly climbed out of it. For there he was, emerging from the revolving doors. Brown eyes, curved lips, immaculate jacket. I went to him, asked him for a cigarette. A date, days later. A second one, where I discovered he was a person, potentially my favorite kind: funny, clear-eyed, brilliant, on intimate terms with the universe.

I used to love men like men love women — that is, not very well, and with a hunger driven only by my own inadequacies. Not him. In those early days, I spoke fondly of my family, stocked the fridge with his favorite pasta, folded his clothes more neatly than I ever have since. I wrote his mother a thank-you note for hosting me in his native France, something befitting a daughter-in-law. It worked; I meant it. After graduation and my fellowship at Oxford, I stayed in Europe for his career and married him at 23.

Of course I just fell in love. Romances have a setting; I had only intervened to place myself well. Mainly, I spotted the precise trouble of being a woman ahead of time, tried to surf it instead of letting it drown me on principle. I had grown bored of discussions of fair and unfair, equal or unequal , and preferred instead to consider a thing called ease.

The reception of a particular age-gap relationship depends on its obviousness. The greater and more visible the difference in years and status between a man and a woman, the more it strikes others as transactional. Transactional thinking in relationships is both as American as it gets and the least kosher subject in the American romantic lexicon. When a 50-year-old man and a 25-year-old woman walk down the street, the questions form themselves inside of you; they make you feel cynical and obscene: How good of a deal is that? Which party is getting the better one? Would I take it? He is older. Income rises with age, so we assume he has money, at least relative to her; at minimum, more connections and experience. She has supple skin. Energy. Sex. Maybe she gets a Birkin. Maybe he gets a baby long after his prime. The sight of their entwined hands throws a lucid light on the calculations each of us makes, in love, to varying degrees of denial. You could get married in the most romantic place in the world, like I did, and you would still have to sign a contract.

Twenty and 30 is not like 30 and 40; some freshness to my features back then, some clumsiness in my bearing, warped our decade, in the eyes of others, to an uncrossable gulf. Perhaps this explains the anger we felt directed at us at the start of our relationship. People seemed to take us very, very personally. I recall a hellish car ride with a friend of his who began to castigate me in the backseat, in tones so low that only I could hear him. He told me, You wanted a rich boyfriend. You chased and snuck into parties . He spared me the insult of gold digger, but he drew, with other words, the outline for it. Most offended were the single older women, my husband’s classmates. They discussed me in the bathroom at parties when I was in the stall. What does he see in her? What do they talk about? They were concerned about me. They wielded their concern like a bludgeon. They paraphrased without meaning to my favorite line from Nabokov’s Lolita : “You took advantage of my disadvantage,” suspecting me of some weakness he in turn mined. It did not disturb them, so much, to consider that all relationships were trades. The trouble was the trade I’d made struck them as a bad one.

The truth is you can fall in love with someone for all sorts of reasons, tiny transactions, pluses and minuses, whose sum is your affection for each other, your loyalty, your commitment. The way someone picks up your favorite croissant. Their habit of listening hard. What they do for you on your anniversary and your reciprocal gesture, wrapped thoughtfully. The serenity they inspire; your happiness, enlivening it. When someone says they feel unappreciated, what they really mean is you’re in debt to them.

When I think of same-age, same-stage relationships, what I tend to picture is a woman who is doing too much for too little.

I’m 27 now, and most women my age have “partners.” These days, girls become partners quite young. A partner is supposed to be a modern answer to the oppression of marriage, the terrible feeling of someone looming over you, head of a household to which you can only ever be the neck. Necks are vulnerable. The problem with a partner, however, is if you’re equal in all things, you compromise in all things. And men are too skilled at taking .

There is a boy out there who knows how to floss because my friend taught him. Now he kisses college girls with fresh breath. A boy married to my friend who doesn’t know how to pack his own suitcase. She “likes to do it for him.” A million boys who know how to touch a woman, who go to therapy because they were pushed, who learned fidelity, boundaries, decency, manners, to use a top sheet and act humanely beneath it, to call their mothers, match colors, bring flowers to a funeral and inhale, exhale in the face of rage, because some girl, some girl we know, some girl they probably don’t speak to and will never, ever credit, took the time to teach him. All while she was working, raising herself, clawing up the cliff-face of adulthood. Hauling him at her own expense.

I find a post on Reddit where five thousand men try to define “ a woman’s touch .” They describe raised flower beds, blankets, photographs of their loved ones, not hers, sprouting on the mantel overnight. Candles, coasters, side tables. Someone remembering to take lint out of the dryer. To give compliments. I wonder what these women are getting back. I imagine them like Cinderella’s mice, scurrying around, their sole proof of life their contributions to a more central character. On occasion I meet a nice couple, who grew up together. They know each other with a fraternalism tender and alien to me.  But I think of all my friends who failed at this, were failed at this, and I think, No, absolutely not, too risky . Riskier, sometimes, than an age gap.

My younger brother is in his early 20s, handsome, successful, but in many ways: an endearing disaster. By his age, I had long since wisened up. He leaves his clothes in the dryer, takes out a single shirt, steams it for three minutes. His towel on the floor, for someone else to retrieve. His lovely, same-age girlfriend is aching to fix these tendencies, among others. She is capable beyond words. Statistically, they will not end up together. He moved into his first place recently, and she, the girlfriend, supplied him with a long, detailed list of things he needed for his apartment: sheets, towels, hangers, a colander, which made me laugh. She picked out his couch. I will bet you anything she will fix his laundry habits, and if so, they will impress the next girl. If they break up, she will never see that couch again, and he will forget its story. I tell her when I visit because I like her, though I get in trouble for it: You shouldn’t do so much for him, not for someone who is not stuck with you, not for any boy, not even for my wonderful brother.

Too much work had left my husband, by 30, jaded and uninspired. He’d burned out — but I could reenchant things. I danced at restaurants when they played a song I liked. I turned grocery shopping into an adventure, pleased by what I provided. Ambitious, hungry, he needed someone smart enough to sustain his interest, but flexible enough in her habits to build them around his hours. I could. I do: read myself occupied, make myself free, materialize beside him when he calls for me. In exchange, I left a lucrative but deadening spreadsheet job to write full-time, without having to live like a writer. I learned to cook, a little, and decorate, somewhat poorly. Mostly I get to read, to walk central London and Miami and think in delicious circles, to work hard, when necessary, for free, and write stories for far less than minimum wage when I tally all the hours I take to write them.

At 20, I had felt daunted by the project of becoming my ideal self, couldn’t imagine doing it in tandem with someone, two raw lumps of clay trying to mold one another and only sullying things worse. I’d go on dates with boys my age and leave with the impression they were telling me not about themselves but some person who didn’t exist yet and on whom I was meant to bet regardless. My husband struck me instead as so finished, formed. Analyzable for compatibility. He bore the traces of other women who’d improved him, small but crucial basics like use a coaster ; listen, don’t give advice. Young egos mellow into patience and generosity.

My husband isn’t my partner. He’s my mentor, my lover, and, only in certain contexts, my friend. I’ll never forget it, how he showed me around our first place like he was introducing me to myself: This is the wine you’ll drink, where you’ll keep your clothes, we vacation here, this is the other language we’ll speak, you’ll learn it, and I did. Adulthood seemed a series of exhausting obligations. But his logistics ran so smoothly that he simply tacked mine on. I moved into his flat, onto his level, drag and drop, cleaner thrice a week, bills automatic. By opting out of partnership in my 20s, I granted myself a kind of compartmentalized, liberating selfishness none of my friends have managed. I am the work in progress, the party we worry about, a surprising dominance. When I searched for my first job, at 21, we combined our efforts, for my sake. He had wisdom to impart, contacts with whom he arranged coffees; we spent an afternoon, laughing, drawing up earnest lists of my pros and cons (highly sociable; sloppy math). Meanwhile, I took calls from a dear friend who had a boyfriend her age. Both savagely ambitious, hyperclose and entwined in each other’s projects. If each was a start-up , the other was the first hire, an intense dedication I found riveting. Yet every time she called me, I hung up with the distinct feeling that too much was happening at the same time: both learning to please a boss; to forge more adult relationships with their families; to pay bills and taxes and hang prints on the wall. Neither had any advice to give and certainly no stability. I pictured a three-legged race, two people tied together and hobbling toward every milestone.

I don’t fool myself. My marriage has its cons. There are only so many times one can say “thank you” — for splendid scenes, fine dinners — before the phrase starts to grate. I live in an apartment whose rent he pays and that shapes the freedom with which I can ever be angry with him. He doesn’t have to hold it over my head. It just floats there, complicating usual shorthands to explain dissatisfaction like, You aren’t being supportive lately . It’s a Frenchism to say, “Take a decision,” and from time to time I joke: from whom? Occasionally I find myself in some fabulous country at some fabulous party and I think what a long way I have traveled, like a lucky cloud, and it is frightening to think of oneself as vapor.

Mostly I worry that if he ever betrayed me and I had to move on, I would survive, but would find in my humor, preferences, the way I make coffee or the bed nothing that he did not teach, change, mold, recompose, stamp with his initials, the way Renaissance painters hid in their paintings their faces among a crowd. I wonder if when they looked at their paintings, they saw their own faces first. But this is the wrong question, if our aim is happiness. Like the other question on which I’m expected to dwell: Who is in charge, the man who drives or the woman who put him there so she could enjoy herself? I sit in the car, in the painting it would have taken me a corporate job and 20 years to paint alone, and my concern over who has the upper hand becomes as distant as the horizon, the one he and I made so wide for me.

To be a woman is to race against the clock, in several ways, until there is nothing left to be but run ragged.

We try to put it off, but it will hit us at some point: that we live in a world in which our power has a different shape from that of men, a different distribution of advantage, ours a funnel and theirs an expanding cone. A woman at 20 rarely has to earn her welcome; a boy at 20 will be turned away at the door. A woman at 30 may find a younger woman has taken her seat; a man at 30 will have invited her. I think back to the women in the bathroom, my husband’s classmates. What was my relationship if not an inconvertible sign of this unfairness? What was I doing, in marrying older, if not endorsing it? I had taken advantage of their disadvantage. I had preempted my own. After all, principled women are meant to defy unfairness, to show some integrity or denial, not plan around it, like I had. These were driven women, successful, beautiful, capable. I merely possessed the one thing they had already lost. In getting ahead of the problem, had I pushed them down? If I hadn’t, would it really have made any difference?

When we decided we wanted to be equal to men, we got on men’s time. We worked when they worked, retired when they retired, had to squeeze pregnancy, children, menopause somewhere impossibly in the margins. I have a friend, in her late 20s, who wears a mood ring; these days it is often red, flickering in the air like a siren when she explains her predicament to me. She has raised her fair share of same-age boyfriends. She has put her head down, worked laboriously alongside them, too. At last she is beginning to reap the dividends, earning the income to finally enjoy herself. But it is now, exactly at this precipice of freedom and pleasure, that a time problem comes closing in. If she would like to have children before 35, she must begin her next profession, motherhood, rather soon, compromising inevitably her original one. The same-age partner, equally unsettled in his career, will take only the minimum time off, she guesses, or else pay some cost which will come back to bite her. Everything unfailingly does. If she freezes her eggs to buy time, the decision and its logistics will burden her singly — and perhaps it will not work. Overlay the years a woman is supposed to establish herself in her career and her fertility window and it’s a perfect, miserable circle. By midlife women report feeling invisible, undervalued; it is a telling cliché, that after all this, some husbands leave for a younger girl. So when is her time, exactly? For leisure, ease, liberty? There is no brand of feminism which achieved female rest. If women’s problem in the ’50s was a paralyzing malaise, now it is that they are too active, too capable, never permitted a vacation they didn’t plan. It’s not that our efforts to have it all were fated for failure. They simply weren’t imaginative enough.

For me, my relationship, with its age gap, has alleviated this rush , permitted me to massage the clock, shift its hands to my benefit. Very soon, we will decide to have children, and I don’t panic over last gasps of fun, because I took so many big breaths of it early: on the holidays of someone who had worked a decade longer than I had, in beautiful places when I was young and beautiful, a symmetry I recommend. If such a thing as maternal energy exists, mine was never depleted. I spent the last nearly seven years supported more than I support and I am still not as old as my husband was when he met me. When I have a child, I will expect more help from him than I would if he were younger, for what does professional tenure earn you if not the right to set more limits on work demands — or, if not, to secure some child care, at the very least? When I return to work after maternal upheaval, he will aid me, as he’s always had, with his ability to put himself aside, as younger men are rarely able.

Above all, the great gift of my marriage is flexibility. A chance to live my life before I become responsible for someone else’s — a lover’s, or a child’s. A chance to write. A chance at a destiny that doesn’t adhere rigidly to the routines and timelines of men, but lends itself instead to roomy accommodation, to the very fluidity Betty Friedan dreamed of in 1963 in The Feminine Mystique , but we’ve largely forgotten: some career or style of life that “permits year-to-year variation — a full-time paid job in one community, part-time in another, exercise of the professional skill in serious volunteer work or a period of study during pregnancy or early motherhood when a full-time job is not feasible.” Some things are just not feasible in our current structures. Somewhere along the way we stopped admitting that, and all we did was make women feel like personal failures. I dream of new structures, a world in which women have entry-level jobs in their 30s; alternate avenues for promotion; corporate ladders with balconies on which they can stand still, have a smoke, take a break, make a baby, enjoy themselves, before they keep climbing. Perhaps men long for this in their own way. Actually I am sure of that.

Once, when we first fell in love, I put my head in his lap on a long car ride; I remember his hands on my face, the sun, the twisting turns of a mountain road, surprising and not surprising us like our romance, and his voice, telling me that it was his biggest regret that I was so young, he feared he would lose me. Last week, we looked back at old photos and agreed we’d given each other our respective best years. Sometimes real equality is not so obvious, sometimes it takes turns, sometimes it takes almost a decade to reveal itself.

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NCAA Tournament 2024: Final Four TV schedule; Sunday’s Elite Eight results (updated bracket)

The Final Four is set.

Alabama is making its first appearance in the Final Four.

Purdue is in for the first time since 1980.

North Carolina State has advanced this far for the first time since winning the national title in 1983. Its run as a No. 11 seed is as improbable now as its historic run was 40 years ago under Jim Valvano.

And Connecticut is in for the first time since ... last year.

The Huskies are considered the favorite to cut down the nets in Phoenix.

<< Ultimate March Madness betting guide >>

STREAM:  March Madness on DirecTV Stream (free trial)

The national semifinals are scheduled to be played Saturday night at State Farm Stadium, where Purdue-N.C. State tip off at 6:09 p.m. UConn-Alabama is scheduled to tip at 9:20 p.m. Both semifinals will air on Turner (TBS/TNT/TruTV).

The winners will face off in the national championship game Monday night.

Here’s a look at the updated bracket:

Saturday’s Final Four TV schedule

(1) Purdue vs. (11) N.C. State | 6:09 p.m. ET | TBS/TNT/tru TV

(1) Connecticut vs. (4) Alabama | 9:20 p.m. ET | TBS/TNT/tru TV

Monday’s national championship game TV info

Purdue/N.C. State winner vs. Connecticut/Alabama winner | 9:20 p.m. | TBS/TNT/TruTV

Sunday’s Elite Eight results

(1) Purdue 72, (2) Tennessee 66

(11) N.C. State 76, (4) Duke 64

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