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Definition of essay

 (Entry 1 of 2)

Definition of essay  (Entry 2 of 2)

transitive verb

• composition

attempt , try , endeavor , essay , strive mean to make an effort to accomplish an end.

attempt stresses the initiation or beginning of an effort.

try is often close to attempt but may stress effort or experiment made in the hope of testing or proving something.

endeavor heightens the implications of exertion and difficulty.

essay implies difficulty but also suggests tentative trying or experimenting.

strive implies great exertion against great difficulty and specifically suggests persistent effort.

Examples of essay in a Sentence

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'essay.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Word History

Middle French essai , ultimately from Late Latin exagium act of weighing, from Latin ex- + agere to drive — more at agent

14th century, in the meaning defined at sense 4

14th century, in the meaning defined at sense 2

Phrases Containing essay

• essay question
• photo - essay

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Cite this entry.

“Essay.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/essay. Accessed 8 Jun. 2024.

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Home ➔ What's an Essay?

What Is an Essay and Its Features?

The are various definitions for “essay.” But here, we will focus on the meaning of this word, which has become a significant element of education in countries such as the United States, Canada, the United Kingdom, and Australia.

If summarized in simple terms within the academic context, the essay’s definition would be the following:

An essay is a short, nonfictional piece of formal writing assigned to students to improve their writing skills or assess their knowledge of a given subject.

Alternative Essay Definitions

Here are some of the many definitions of an essay:

• According to Frederick Crews, professor of English at the University of California at Berkeley, an essay is “a fairly brief piece of nonfiction that tries to make a point in an interesting way.”
• A famous essayist, Aldous Huxley, notes that “the essay is a literary device for saying almost everything about almost anything” and divides essays into personal-biographical, objectively-factual, and abstract-universal.
• The Oxford Dictionary defines it as “a short piece of writing on a particular subject.”

Essays can be broadly categorized into formal essays and informal essays. Formal essays are characterized by their structured nature, employing a more formal language, and having a clearly defined purpose, contrasting with the more free-form and personal tone of informal essays.

Note: Apart from the secondary and tertiary education purpose, essays (also called papers reports) are often required when applying to colleges and universities to help them select the best applicants during the admissions.

If you study the word’s origin and history, you might better understand its purpose. The word “essay” comes from the Middle French word essayer, which in turn comes from Latin exigere, meaning “to test,” “examine,” and “drive out.”

This “archaeological” linguistic journey reveals the idea behind essays, encouraging learners to examine their ideas concerning a particular topic in-depth and test them. By nature, essays are short and require a clearly defined purpose of writing that you must adhere to in your paper.

There’s a lot to be learned from essay writing: critical analysis, observation, interpretation, narration, persuasion, close reading, preparation, and time management. All these skills can be valuable even beyond the school walls.

Lastly, in the visual arts, creative works can also be called essays if they present a personal reflection on a particular matter. So, film essays or photo essays fall into the general category of essays.

What is an essay structure like?

An essay is generally composed of three parts and has the following structure :

• Introduction (hook, background information, and your thesis statement) – provides context for the reader and gives an argument in the form of a thesis statement.
• Body section (usually, one paragraph for each main idea) – the main section where evidence is presented to persuade the reader to adopt the writer’s point of view or prove something.
• Conclusion – the last section that summarizes everything you have discussed in your essay and provides the final perspective on the subject.

Generally, an essay must focus on the author’s argument and supporting evidence. However, the variety of essay types involves many other forms and styles. Argumentative and expository essays are particularly common in university-level education, known for their structured approach to presenting information and making clear points.

Common Essay Types

Understanding the different types of essays is pretty important for your academic success. Each essay type serves its own purpose and requires a different approach, so here’s a brief look at some of the most common essay types you might encounter during your school times.

Argumentative Essay

An argumentative essay demands you to present a viewpoint on a (usually) controversial issue. Your task would generally be to persuade the reader through some solid logical reasoning and credible evidence with relevant examples. All that will involve creating a very clear thesis statement, presenting well-researched evidence, and addressing opposing views and ideas, if there are such. Getting an argumentative essay as an assignment is common in subjects like politics, ethics, and social sciences, where there’s a lot of debate on different topics. An example of a common topic for this essay would be something like “Should the death penalty be abolished?”

Expository Essay

An expository essay focuses more on explaining a topic in a straightforward and logical manner. In such an essay, you will be presenting facts, statistics, and examples without any kind of your personal opinion. It’s usually built around a clear thesis statement and uses logical transitions to connect ideas from one paragraph to another. In general, expository essays are often used in academic settings to test students’ understanding of a subject or to explain complex ideas in a simple way. A common topic would be “The process of photosynthesis in plants.”, for example.

Narrative Essay

Narrative essays tell a story. These are often personal and can be both factual (based on a true story) and fictional. The key elements of this essay include a plot, characters, setting, and a climax. Unlike other essays, a narrative essay is much more creative and allows you to express your experiences or a story imaginatively and without some kind of rigid structure to follow. It’s often used in high school and college writing courses to develop storytelling skills. You would write about something like “A memorable trip to the mountains.”

Descriptive Essay

A descriptive essay aims to paint a picture but with words. This essay uses vivid descriptions and sensory details to engage the reader’s senses and emotions and is more focused on the details and nuances of the subject, whether it’s a person, place, object, or event. Descriptive essays are great for creative writing classes and help develop one’s ability to describe something in great detail. One of the possible topics here might be “The bustling atmosphere of a city market.”

Critical Essay

A critical essay evaluates a text, piece of art, or performance. It involves a thorough analysis and interpretation of the work, supported by credible evidence. The goal when writing this one is to provide a critical perspective, assessing the subject’s strengths and weaknesses. This type of essay is a common assignment in literature, film studies, and art history courses, where critical thinking and analytical skills are essential for the subject. A common topic here would be ‘An analysis of the themes in “To Kill a Mockingbird.”‘

History Essay

A history essay examines historical events and their impact. This type requires extensive research and a deep understanding of historical context. When writing it, you will be analyzing various historical sources, presenting a clear argument on the topic, and supporting it with historical evidence. History essays are obviously assigned in history courses and help develop research and analytical skills, as well as the ability to construct coherent historical narratives. Something like “The causes and effects of the French Revolution.” would be a common topic here.

10 Characteristics of a Good Essay

The structure and characteristics vary, but there are criteria you can apply to almost any academic essay. Below are ten characteristics that make a good essay.

You can find many works like Victor Segalen’s “Essay on Exoticism: An Aesthetics of Diversity” spanning many pages. But, as an academic assignment, essays are usually concise and range from 200 to 500 words.

Note: To learn more about essay length, check this article — How Long Should My Paper Be?

A narrowed-down topic

Because of the word count limit, your topic cannot be extensive and should focus on one aspect of the subject.

A subject is a broad concept: gun control, US history, WWII, Napoleonic Wars, business ethics, academic dishonesty, school dress code, etc. Those are not topics because you can write books on them.

Choose a more specific topic to cover. Ask yourself “Who? What? Where? When? Why? and How?” questions about the subject matter. That strategy will allow you to limit the number of choices and pick something you like.

For instance, let’s narrow down the gun control subject . Something like “Video games are not the problem, but poor gun control policies are” can be your topic.

Well-structured body paragraphs

In a nutshell, an essay’s body can be described as a series of paragraphs. But they all have a uniform structure you must maintain in the paper. It goes as follows:

1. Topic sentence

This is the first sentence, and it expresses the paragraph’s main idea. It acts like a mini-hook that attracts the reader’s attention.

Let’s say you’re working on a descriptive essay about your brother’s room.

Bad topic sentence:

My brother’s room is a mess.

Good topic sentence:

If they gave me one dollar every time I walked into my brother’s room and thought it was clean, I would be dead broke.

2. The main part

Here, you develop your topic sentence further, and there are many ways to do that:

• Provide facts or statistics
• Give reasons
• Illustrate with examples
• Use relevant quotes
• Present your opinion
• Share experiences
• Leverage human senses

Note: Make sure to cite your sources properly. Learn more here: How to Cite Sources (MLA and APA styles) .

3. Conclusion with a transition

If you had to write only one paragraph, this is where you would end the narrative. But, in academic essays, this last sentence transitions to the next idea — the next paragraph.

Clear thesis statement

A thesis is the main idea of your paper. It’s usually one sentence that shows the reader what your essay is about. The challenging part is to squeeze the purpose of your writing into one sentence and in such a way that would make the reader want to debate it.

To check if your thesis statement is correct, make sure:

• It’s not just an announcement of purpose that starts with “In this paper.”
• It’s not a question because thesis statements answer, not ask.
• It’s not a mere fact.
• It’s not a broad topic without a challenging opinion.
• It’s not a vague thought — make it more focused.
• It’s not disconnected from the main paragraphs.

Personal motivation

This one seems quite simple, but you won’t always find the answer to the “Why do I want to write about this topic” question easily. Even if the subject feels like the last thing you’d be interested in, there’s always something that can motivate you to write.

The reader would notice if you had zero motivation while writing the essay.

There’s no trick — just start writing . Once you are working on it, brainstorm all the ideas related to the subject. If you find it challenging to organize your thoughts right away, try freewriting — start writing everything that comes to your mind. Yes, there will be a lot of ideas not connected with one another, but you can choose the ones making sense and work with them further.

Evidence and examples support claims

Each of your topic sentences in the main paragraphs should be supported. You can:

• Explain what you meant by defining the main terms or phenomena.
• Provide more details about the topic sentence.
• Illustrate with examples, facts, or statistics.
• Cite field experts who support your opinion.
• Share your relevant experience, if any.

Use the method you believe is the most appropriate in your case.

Evidence is analyzed

Just facts, statistics, or quotations are not enough. You must analyze the proof and show how you can compare data and establish causal links.

Note: Use cohesive devices like transition words and conjunctions to hold your essay together as one unit.

No grammar mistakes

The last period is placed, and you think, “Finally, it’s done! Now, back to the fun stuff.” By doing so, you will hand in an essay riddled with mistakes.

Proofreading matters. After the first draft, double-check it for all possible mistakes: grammar, punctuation, word usage, logic flow, etc.

• Read it out loud.
• Ask your friend or family member to give their opinion.
• Put it away for some time to proofread it later.

The structure is consistent

Ensure your paper follows the structure described before. Check if your conclusion and introduction are about the same — the same applies to the body paragraphs.

Note: This article will give you valuable insights into the structure — How to Write an Essay .

It is coherent

Another criterion they use to grade your essay is its coherence (unity). To check this point, ask yourself:

• Are all ideas related to the essay’s topic and thesis statement?
• Are all my evidence, arguments, and conclusions connected to my thesis statement?
• Are all ideas arranged in a logical order?
• Are there enough linking words? Or is it too many of them?
• Are there enough pronouns and synonyms so that the essay isn’t repetitive?

The last tip on essay writing: always check your assignment sheet and clarify anything you don’t understand with your tutor or professor. Your college might have some special requirements regarding the content or style. So, make sure you studied all the instructions for the task thoroughly.

Why do we have to write essays in school?

Writing essays in school is a crucial component of academic writing, serving as a foundational practice for developing skills in various types of essays, such as argumentative, descriptive, narrative, expository, and more. Through the process of essay writing, students learn to articulate their ideas and thoughts more coherently, practice forming main and alternative arguments backed up by evidence, and enhance their ability to present clear explanations, craft creative descriptions, and structure narratives effectively. This practice not only helps build strong academic writing skills but also prepares students for writing research papers, submission essays, and contributing to academic journals, thereby playing a significant role in their academic and professional growth.

How are essays evaluated?

In schools, essays are typically evaluated based on a combination of criteria such as quality of your argument, evidence you presented, structure and organization, grammar and vocabulary accuracy, adherence to formatting requirements (if any), creativity, originality, critical thinking skills displayed, etc. The evaluator (usually your teacher or professor) will look at all these aspects to assess the essay’s overall quality.

How many paragraphs should there be in an essay?

The number of paragraphs in an essay will vary depending on its length and purpose. In general, a standard essay should have at least 3-4 paragraphs: an introduction paragraph to provide background information and set out your main argument; 2-3 body paragraphs where you flesh out your argument with evidence; and a conclusion paragraph summarizing your key points or drawing conclusions from your evidence.

The list of references

• What is an essay? — Bow Valley College
• Overview of the Academic Essay — Harvard University
• Essay Writing — Purdue University
• Basic Essay and Paragraph Format — Utah Valley University

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essay , an analytic , interpretative, or critical literary composition usually much shorter and less systematic and formal than a dissertation or thesis and usually dealing with its subject from a limited and often personal point of view.

Some early treatises—such as those of Cicero on the pleasantness of old age or on the art of “divination,” Seneca on anger or clemency , and Plutarch on the passing of oracles—presage to a certain degree the form and tone of the essay, but not until the late 16th century was the flexible and deliberately nonchalant and versatile form of the essay perfected by the French writer Michel de Montaigne . Choosing the name essai to emphasize that his compositions were attempts or endeavours, a groping toward the expression of his personal thoughts and experiences, Montaigne used the essay as a means of self-discovery. His Essais , published in their final form in 1588, are still considered among the finest of their kind. Later writers who most nearly recall the charm of Montaigne include, in England, Robert Burton , though his whimsicality is more erudite , Sir Thomas Browne , and Laurence Sterne , and in France, with more self-consciousness and pose, André Gide and Jean Cocteau .

At the beginning of the 17th century, social manners, the cultivation of politeness, and the training of an accomplished gentleman became the theme of many essayists. This theme was first exploited by the Italian Baldassare Castiglione in his Il libro del cortegiano (1528; The Book of the Courtier ). The influence of the essay and of genres allied to it, such as maxims, portraits, and sketches, proved second to none in molding the behavior of the cultured classes, first in Italy, then in France, and, through French influence, in most of Europe in the 17th century. Among those who pursued this theme was the 17th-century Spanish Jesuit Baltasar Gracián in his essays on the art of worldly wisdom.

Keener political awareness in the 18th century, the age of Enlightenment , made the essay an all-important vehicle for the criticism of society and religion. Because of its flexibility, its brevity , and its potential both for ambiguity and for allusions to current events and conditions, it was an ideal tool for philosophical reformers. The Federalist Papers in America and the tracts of the French Revolutionaries are among the countless examples of attempts during this period to improve the human condition through the essay.

The genre also became the favoured tool of traditionalists of the 18th and 19th centuries, such as Edmund Burke and Samuel Taylor Coleridge , who looked to the short, provocative essay as the most potent means of educating the masses. Essays such as Paul Elmer More’s long series of Shelburne Essays (published between 1904 and 1935), T.S. Eliot ’s After Strange Gods (1934) and Notes Towards the Definition of Culture (1948), and others that attempted to reinterpret and redefine culture , established the genre as the most fitting to express the genteel tradition at odds with the democracy of the new world.

Whereas in several countries the essay became the chosen vehicle of literary and social criticism, in other countries the genre became semipolitical, earnestly nationalistic, and often polemical, playful, or bitter. Essayists such as Robert Louis Stevenson and Willa Cather wrote with grace on several lighter subjects, and many writers—including Virginia Woolf , Edmund Wilson , and Charles du Bos —mastered the essay as a form of literary criticism .

What is an Essay?

10 May, 2020

11 minutes read

Author:  Tomas White

Well, beyond a jumble of words usually around 2,000 words or so - what is an essay, exactly? Whether you’re taking English, sociology, history, biology, art, or a speech class, it’s likely you’ll have to write an essay or two. So how is an essay different than a research paper or a review? Let’s find out!

Defining the Term – What is an Essay?

The essay is a written piece that is designed to present an idea, propose an argument, express the emotion or initiate debate. It is a tool that is used to present writer’s ideas in a non-fictional way. Multiple applications of this type of writing go way beyond, providing political manifestos and art criticism as well as personal observations and reflections of the author.

An essay can be as short as 500 words, it can also be 5000 words or more.  However, most essays fall somewhere around 1000 to 3000 words ; this word range provides the writer enough space to thoroughly develop an argument and work to convince the reader of the author’s perspective regarding a particular issue.  The topics of essays are boundless: they can range from the best form of government to the benefits of eating peppermint leaves daily. As a professional provider of custom writing, our service has helped thousands of customers to turn in essays in various forms and disciplines.

Origins of the Essay

Over the course of more than six centuries essays were used to question assumptions, argue trivial opinions and to initiate global discussions. Let’s have a closer look into historical progress and various applications of this literary phenomenon to find out exactly what it is.

Today’s modern word “essay” can trace its roots back to the French “essayer” which translates closely to mean “to attempt” .  This is an apt name for this writing form because the essay’s ultimate purpose is to attempt to convince the audience of something.  An essay’s topic can range broadly and include everything from the best of Shakespeare’s plays to the joys of April.

The essay comes in many shapes and sizes; it can focus on a personal experience or a purely academic exploration of a topic.  Essays are classified as a subjective writing form because while they include expository elements, they can rely on personal narratives to support the writer’s viewpoint.  The essay genre includes a diverse array of academic writings ranging from literary criticism to meditations on the natural world.  Most typically, the essay exists as a shorter writing form; essays are rarely the length of a novel.  However, several historic examples, such as John Locke’s seminal work “An Essay Concerning Human Understanding” just shows that a well-organized essay can be as long as a novel.

The Essay in Literature

The essay enjoys a long and renowned history in literature.  They first began gaining in popularity in the early 16 th century, and their popularity has continued today both with original writers and ghost writers.  Many readers prefer this short form in which the writer seems to speak directly to the reader, presenting a particular claim and working to defend it through a variety of means.  Not sure if you’ve ever read a great essay? You wouldn’t believe how many pieces of literature are actually nothing less than essays, or evolved into more complex structures from the essay. Check out this list of literary favorites:

• The Book of My Lives by Aleksandar Hemon
• Notes of a Native Son by James Baldwin
• Against Interpretation by Susan Sontag
• High-Tide in Tucson: Essays from Now and Never by Barbara Kingsolver
• Slouching Toward Bethlehem by Joan Didion
• Naked by David Sedaris
• Walden; or, Life in the Woods by Henry David Thoreau

Pretty much as long as writers have had something to say, they’ve created essays to communicate their viewpoint on pretty much any topic you can think of!

The Essay in Academics

Not only are students required to read a variety of essays during their academic education, but they will likely be required to write several different kinds of essays throughout their scholastic career.  Don’t love to write?  Then consider working with a ghost essay writer !  While all essays require an introduction, body paragraphs in support of the argumentative thesis statement, and a conclusion, academic essays can take several different formats in the way they approach a topic.  Common essays required in high school, college, and post-graduate classes include:

Five paragraph essay

This is the most common type of a formal essay. The type of paper that students are usually exposed to when they first hear about the concept of the essay itself. It follows easy outline structure – an opening introduction paragraph; three body paragraphs to expand the thesis; and conclusion to sum it up.

Argumentative essay

These essays are commonly assigned to explore a controversial issue.  The goal is to identify the major positions on either side and work to support the side the writer agrees with while refuting the opposing side’s potential arguments.

Compare and Contrast essay

This essay compares two items, such as two poems, and works to identify similarities and differences, discussing the strength and weaknesses of each.  This essay can focus on more than just two items, however.  The point of this essay is to reveal new connections the reader may not have considered previously.

Definition essay

This essay has a sole purpose – defining a term or a concept in as much detail as possible. Sounds pretty simple, right? Well, not quite. The most important part of the process is picking up the word. Before zooming it up under the microscope, make sure to choose something roomy so you can define it under multiple angles. The definition essay outline will reflect those angles and scopes.

Descriptive essay

Perhaps the most fun to write, this essay focuses on describing its subject using all five of the senses.  The writer aims to fully describe the topic; for example, a descriptive essay could aim to describe the ocean to someone who’s never seen it or the job of a teacher.  Descriptive essays rely heavily on detail and the paragraphs can be organized by sense.

Illustration essay

The purpose of this essay is to describe an idea, occasion or a concept with the help of clear and vocal examples. “Illustration” itself is handled in the body paragraphs section. Each of the statements, presented in the essay needs to be supported with several examples. Illustration essay helps the author to connect with his audience by breaking the barriers with real-life examples – clear and indisputable.

Informative Essay

Being one the basic essay types, the informative essay is as easy as it sounds from a technical standpoint. High school is where students usually encounter with informative essay first time. The purpose of this paper is to describe an idea, concept or any other abstract subject with the help of proper research and a generous amount of storytelling.

Narrative essay

This type of essay focuses on describing a certain event or experience, most often chronologically.  It could be a historic event or an ordinary day or month in a regular person’s life. Narrative essay proclaims a free approach to writing it, therefore it does not always require conventional attributes, like the outline. The narrative itself typically unfolds through a personal lens, and is thus considered to be a subjective form of writing.

Persuasive essay

The purpose of the persuasive essay is to provide the audience with a 360-view on the concept idea or certain topic – to persuade the reader to adopt a certain viewpoint. The viewpoints can range widely from why visiting the dentist is important to why dogs make the best pets to why blue is the best color.  Strong, persuasive language is a defining characteristic of this essay type.

The Essay in Art

Several other artistic mediums have adopted the essay as a means of communicating with their audience.  In the visual arts, such as painting or sculpting, the rough sketches of the final product are sometimes deemed essays.  Likewise, directors may opt to create a film essay which is similar to a documentary in that it offers a personal reflection on a relevant issue.  Finally, photographers often create photographic essays in which they use a series of photographs to tell a story, similar to a narrative or a descriptive essay.

Drawing the line – question answered

“What is an Essay?” is quite a polarizing question. On one hand, it can easily be answered in a couple of words. On the other, it is surely the most profound and self-established type of content there ever was. Going back through the history of the last five-six centuries helps us understand where did it come from and how it is being applied ever since.

If you must write an essay, follow these five important steps to works towards earning the “A” you want:

• Understand and review the kind of essay you must write
• Brainstorm your argument
• Find research from reliable sources to support your perspective
• Cite all sources parenthetically within the paper and on the Works Cited page
• Follow all grammatical rules

Generally speaking, when you must write any type of essay, start sooner rather than later!  Don’t procrastinate – give yourself time to develop your perspective and work on crafting a unique and original approach to the topic.  Remember: it’s always a good idea to have another set of eyes (or three) look over your essay before handing in the final draft to your teacher or professor.  Don’t trust your fellow classmates?  Consider hiring an editor or a ghostwriter to help out!

If you are still unsure on whether you can cope with your task – you are in the right place to get help. HandMadeWriting is the perfect answer to the question “Who can write my essay?”

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• Tags: Academic Writing , Essay , Essay Writing

Writing an effective and impactful essay is crucial to your academic or professional success. Whether it’s getting into the college of your dreams or scoring high on a major assignment, writing a well-structured essay will help you achieve it all. But before you learn how to write an essay , you need to know its basic components.

In this article, we will understand what an essay is, how long it should be, and its different parts and types. We will also take a detailed look at relevant examples to better understand the essay structure.

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What is an essay?

An essay is a concise piece of nonfiction writing that aims to either inform the reader about a topic or argue a particular perspective. It can either be formal or informal in nature. Most academic essays are highly formal, whereas informal essays are commonly found in journal entries, social media, or even blog posts.

As we can see from this essay definition, the beauty of essays lies in their versatility. From the exploration of complex scientific concepts to the history and evolution of everyday objects, they can cover a vast range of topics.

How long is an essay?

The length of an essay can vary from a few hundred to several thousand words but typically falls between 500–5,000 words. However, there are exceptions to this norm, such as Joan Didion and David Sedaris who have written entire books of essays.

Let’s take a look at the different types of essays and their lengths with the help of the following table:

How many paragraphs are in an essay?

Typically, an essay has five paragraphs: an introduction, a conclusion, and three body paragraphs. However, there is no set rule about the number of paragraphs in an essay.

The number of paragraphs can vary depending on the type and scope of your essay. An expository or argumentative essay may require more body paragraphs to include all the necessary information, whereas a narrative essay may need fewer.

Structure of an essay

To enhance the coherence and readability of your essay, it’s important to follow certain rules regarding the structure. Take a look:

1. Arrange your information from the most simple to the most complex bits. You can start the body paragraph off with a general statement and then move on to specifics.

2. Provide the necessary background information at the beginning of your essay to give the reader the context behind your thesis statement.

3. Select topic statements that provide value, more information, or evidence for your thesis statement.

There are also various essay structures , such as the compare and contrast structure, chronological structure, problem method solution structure, and signposting structure that you can follow to create an organized and impactful essay.

Parts of an essay

An impactful, well-structured essay comes down to three important parts: the introduction, body, and conclusion.

1. The introduction sets the stage for your essay and is typically a paragraph long. It should grab the reader’s attention and give them a clear idea of what your essay will be about.

2. The body is where you dive deeper into your topic and present your arguments and evidence. It usually consists of two paragraphs, but this can vary depending on the type of essay you’re writing.

3. The conclusion brings your essay to a close and is typically one paragraph long. It should summarize the main points of the essay and leave the reader with something to think about.

The length of your paragraphs can vary depending on the type of essay you’re writing. So, make sure you take the time to plan out your essay structure so each section flows smoothly into the next.

Introduction

When it comes to writing an essay, the introduction is a critical component that sets the tone for the entire piece. A well-crafted introduction not only grabs the reader’s attention but also provides them with a clear understanding of what the essay is all about. An essay editor can help you achieve this, but it’s best to know the brief yourself!

Let’s take a look at how to write an attractive and informative introductory paragraph.

1. Construct an attractive hook

To grab the reader’s attention, an opening statement or hook is crucial. This can be achieved by incorporating a surprising statistic, a shocking fact, or an interesting anecdote into the beginning of your piece.

For example, if you’re writing an essay about water conservation you can begin your essay with, “Clean drinking water, a fundamental human need, remains out of reach for more than one billion people worldwide. It deprives them of a basic human right and jeopardizes their health and wellbeing.”

2. Provide sufficient context or background information

An effective introduction should begin with a brief description or background of your topic. This will help provide context and set the stage for your discussion.

For example, if you’re writing an essay about climate change, you start by describing the current state of the planet and the impact that human activity is having on it.

3. Construct a well-rounded and comprehensive thesis statement

A good introduction should also include the main message or thesis statement of your essay. This is the central argument that you’ll be making throughout the piece. It should be clear, concise, and ideally placed toward the end of the introduction.

By including these elements in your introduction, you’ll be setting yourself up for success in the rest of your essay.

Let’s take a look at an example.

Essay introduction example

• Background information
• Thesis statement

The Wright Brothers’ invention of the airplane in 1903 revolutionized the way humans travel and explore the world. Prior to this invention, transportation relied on trains, boats, and cars, which limited the distance and speed of travel. However, the airplane made air travel a reality, allowing people to reach far-off destinations in mere hours. This breakthrough paved the way for modern-day air travel, transforming the world into a smaller, more connected place. In this essay, we will explore the impact of the Wright Brothers’ invention on modern-day travel, including the growth of the aviation industry, increased accessibility of air travel to the general public, and the economic and cultural benefits of air travel.

Body paragraphs

You can persuade your readers and make your thesis statement compelling by providing evidence, examples, and logical reasoning. To write a fool-proof and authoritative essay, you need to provide multiple well-structured, substantial arguments.

Let’s take a look at how this can be done:

1. Write a topic sentence for each paragraph

The beginning of each of your body paragraphs should contain the main arguments that you’d like to address. They should provide ground for your thesis statement and make it well-rounded. You can arrange these arguments in several formats depending on the type of essay you’re writing.

2. Provide the supporting information

The next point of your body paragraph should provide supporting information to back up your main argument. Depending on the type of essay, you can elaborate on your main argument with the help of relevant statistics, key information, examples, or even personal anecdotes.

3. Analyze the supporting information

After providing relevant details and supporting information, it is important to analyze it and link it back to your main argument.

4. Create a smooth transition to the next paragraph

End one body paragraph with a smooth transition to the next. There are many ways in which this can be done, but the most common way is to give a gist of your main argument along with the supporting information with transitory words such as “however” “in addition to” “therefore”.

Here’s an example of a body paragraph.

Essay body paragraph example

• Topic sentence
• Supporting information
• Analysis of the information
• Smooth transition to the next paragraph

The Wright Brothers’ invention of the airplane revolutionized air travel. They achieved the first-ever successful powered flight with the Wright Flyer in 1903, after years of conducting experiments and studying flight principles. Despite their first flight lasting only 12 seconds, it was a significant milestone that paved the way for modern aviation. The Wright Brothers’ success can be attributed to their systematic approach to problem-solving, which included numerous experiments with gliders, the development of a wind tunnel to test their designs, and meticulous analysis and recording of their results. Their dedication and ingenuity forever changed the way we travel, making modern aviation possible.

A powerful concluding statement separates a good essay from a brilliant one. To create a powerful conclusion, you need to start with a strong foundation.

Let’s take a look at how to construct an impactful concluding statement.

1. Restructure your thesis statement

To conclude your essay effectively, don’t just restate your thesis statement. Instead, use what you’ve learned throughout your essay and modify your thesis statement accordingly. This will help you create a conclusion that ties together all of the arguments you’ve presented.

2. Summarize the main points of your essay

The next point of your conclusion consists of a summary of the main arguments of your essay. It is crucial to effectively summarize the gist of your essay into one, well-structured paragraph.

3. Create a lasting impression with your concluding statement

Conclude your essay by including a key takeaway, or a powerful statement that creates a lasting impression on the reader. This can include the broader implications or consequences of your essay topic.

Here’s an example of a concluding paragraph.

Essay conclusion example

• Restated thesis statement
• Summary of the main points
• Broader implications of the thesis statement

The Wright Brothers’ invention of the airplane forever changed history by paving the way for modern aviation and countless aerospace advancements. Their persistence, innovation, and dedication to problem-solving led to the first successful powered flight in 1903, sparking a revolution in transportation that transformed the world. Today, air travel remains an integral part of our globalized society, highlighting the undeniable impact of the Wright Brothers’ contribution to human civilization.

Types of essays

Most essays are derived from the combination or variation of these four main types of essays . let’s take a closer look at these types.

1. Narrative essay

A narrative essay is a type of writing that involves telling a story, often based on personal experiences. It is a form of creative nonfiction that allows you to use storytelling techniques to convey a message or a theme.

2. Descriptive essay

A descriptive essay aims to provide an immersive experience for the reader by using sensory descriptors. Unlike a narrative essay, which tells a story, a descriptive essay has a narrower scope and focuses on one particular aspect of a story.

3. Argumentative essays

An argumentative essay is a type of essay that aims to persuade the reader to adopt a particular stance based on factual evidence and is one of the most common forms of college essays.

4. Expository essays

An expository essay is a common format used in school and college exams to assess your understanding of a specific topic. The purpose of an expository essay is to present and explore a topic thoroughly without taking any particular stance or expressing personal opinions.

While this article demonstrates what is an essay and describes its types, you may also have other doubts. As experts who provide essay editing and proofreading services , we’re here to help. 

Our team has created a list of resources to clarify any doubts about writing essays. Keep reading to write engaging and well-organized essays!

• How to Write an Essay in 8 Simple Steps
• How to Write an Essay Header
• How to Write an Essay Outline

Frequently Asked Questions

What is the difference between an argumentative and an expository essay, what is the difference between a narrative and a descriptive essay, what is an essay format, what is the meaning of essay, what is the purpose of writing an essay.

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Meaning of essay in English

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• I want to finish off this essay before I go to bed .
• His essay was full of spelling errors .
• Have you given that essay in yet ?
• Have you handed in your history essay yet ?
• I'd like to discuss the first point in your essay.
• boilerplate
• composition
• corresponding author
• dissertation
• essay question
• peer review
• go after someone
• go all out idiom
• go down swinging/fighting idiom
• go for it idiom
• go for someone
• shoot for the moon idiom
• shoot the works idiom
• smarten (someone/something) up
• smarten up your act idiom
• square the circle idiom

essay | Intermediate English

Examples of essay, collocations with essay.

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Translations of essay

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to move the pedals (= parts you operate with your feet) backwards on a bicycle

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[ noun es -ey es -ey , e- sey verb e- sey ]

• a short literary composition on a particular theme or subject, usually in prose and generally analytic, speculative, or interpretative.

a picture essay.

• an effort to perform or accomplish something; attempt.
• Philately. a design for a proposed stamp differing in any way from the design of the stamp as issued.
• Obsolete. a tentative effort; trial; assay.

verb (used with object)

• to try; attempt.
• to put to the test; make trial of.
• a short literary composition dealing with a subject analytically or speculatively
• an attempt or endeavour; effort
• a test or trial
• to attempt or endeavour; try
• to test or try out
• A short piece of writing on one subject, usually presenting the author's own views. Michel de Montaigne , Francis Bacon (see also Bacon ), and Ralph Waldo Emerson are celebrated for their essays.

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Other words from.

• es·sayer noun
• prees·say verb (used without object)
• unes·sayed adjective
• well-es·sayed adjective

Word History and Origins

Origin of essay 1

Example Sentences

As several of my colleagues commented, the result is good enough that it could pass for an essay written by a first-year undergraduate, and even get a pretty decent grade.

GPT-3 also raises concerns about the future of essay writing in the education system.

This little essay helps focus on self-knowledge in what you’re best at, and how you should prioritize your time.

As Steven Feldstein argues in the opening essay, technonationalism plays a part in the strengthening of other autocracies too.

He’s written a collection of essays on civil engineering life titled Bridginess, and to this day he and Lauren go on “bridge dates,” where they enjoy a meal and admire the view of a nearby span.

I think a certain kind of compelling essay has a piece of that.

The current attack on the Jews,” he wrote in a 1937 essay, “targets not just this people of 15 million but mankind as such.

The impulse to interpret seems to me what makes personal essay writing compelling.

To be honest, I think a lot of good essay writing comes out of that.

Someone recently sent me an old Joan Didion essay on self-respect that appeared in Vogue.

There is more of the uplifted forefinger and the reiterated point than I should have allowed myself in an essay.

Consequently he was able to turn in a clear essay upon the subject, which, upon examination, the king found to be free from error.

It is no part of the present essay to attempt to detail the particulars of a code of social legislation.

But angels and ministers of grace defend us from ministers of religion who essay art criticism!

It is fit that the imagination, which is free to go through all things, should essay such excursions.

Related Words

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What Are the Different Types and Characteristics of Essays?

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• Ph.D., Rhetoric and English, University of Georgia
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The term essay comes from the French for "trial" or "attempt." French author Michel de Montaigne coined the term when he assigned the title Essais to his first publication in 1580. In "Montaigne: A Biography" (1984), Donald Frame notes that Montaigne "often used the verb essayer (in modern French, normally to try ) in ways close to his project, related to experience, with the sense of trying out or testing."

An essay is a short work of nonfiction , while a writer of essays is called an essayist. In writing instruction, essay is often used as another word for composition . In an essay, an authorial voice  (or narrator ) typically invites an implied reader  (the audience ) to accept as authentic a certain textual mode of experience. 

Definitions and Observations

• "[An essay is a] composition , usually in prose .., which may be of only a few hundred words (like Bacon's "Essays") or of book length (like Locke's "Essay Concerning Human Understanding") and which discusses, formally or informally, a topic or a variety of topics." (J.A. Cuddon, "Dictionary of Literary Terms". Basil, 1991)
• " Essays are how we speak to one another in print — caroming thoughts not merely in order to convey a certain packet of information, but with a special edge or bounce of personal character in a kind of public letter." (Edward Hoagland, Introduction, "The Best American Essays : 1999". Houghton, 1999)
• "[T]he essay traffics in fact and tells the truth, yet it seems to feel free to enliven, to shape, to embellish, to make use as necessary of elements of the imaginative and the fictive — thus its inclusion in that rather unfortunate current designation ' creative nonfiction .'" (G. Douglas Atkins, "Reading Essays: An Invitation". University of Georgia Press, 2007)

Montaigne's Autobiographical Essays "Although Michel de Montaigne, who fathered the modern essay in the 16th century, wrote autobiographically (like the essayists who claim to be his followers today), his autobiography was always in the service of larger existential discoveries. He was forever on the lookout for life lessons. If he recounted the sauces he had for dinner and the stones that weighted his kidney, it was to find an element of truth that we could put in our pockets and carry away, that he could put in his own pocket. After all, Philosophy — which is what he thought he practiced in his essays, as had his idols, Seneca and Cicero, before him — is about 'learning to live.' And here lies the problem with essayists today: not that they speak of themselves, but that they do so with no effort to make their experience relevant or useful to anyone else, with no effort to extract from it any generalizable insight into the human condition." (Cristina Nehring, "What’s Wrong With the American Essay." Truthdig, Nov. 29, 2007)

The Artful Formlessness of the Essay "[G]ood essays are works of literary art. Their supposed formlessness is more a strategy to disarm the reader with the appearance of unstudied spontaneity than a reality of composition. . . . "The essay form as a whole has long been associated with an experimental method. This idea goes back to Montaigne and his endlessly suggestive use of the term essai for his writing. To essay is to attempt, to test, to make a run at something without knowing whether you are going to succeed. The experimental association also derives from the other fountain-head of the essay, Francis Bacon , and his stress on the empirical inductive method, so useful in the development of the social sciences." (Phillip Lopate, "The Art of the Personal Essay". Anchor, 1994)

Articles vs. Essays "[W]hat finally distinguishes an essay from an article may just be the author's gumption, the extent to which personal voice, vision, and style are the prime movers and shapers, even though the authorial 'I' may be only a remote energy, nowhere visible but everywhere present." (Justin Kaplan, ed. "The Best American Essays: 1990". Ticknor & Fields, 1990) "I am predisposed to the essay with knowledge to impart — but, unlike journalism, which exists primarily to present facts, the essays transcend their data, or transmute it into personal meaning. The memorable essay, unlike the article, is not place or time-bound; it survives the occasion of its original composition. Indeed, in the most brilliant essays, language is not merely the medium of communication ; it is communication." (Joyce Carol Oates, quoted by Robert Atwan in "The Best American Essays, College Edition", 2nd ed. Houghton Mifflin, 1998) "I speak of a 'genuine' essay because fakes abound. Here the old-fashioned term poetaster may apply, if only obliquely. As the poetaster is to the poet — a lesser aspirant — so the average article is to the essay: a look-alike knockoff guaranteed not to wear well. An article is often gossip. An essay is reflection and insight. An article often has the temporary advantage of social heat — what's hot out there right now. An essay's heat is interior. An article can be timely, topical, engaged in the issues and personalities of the moment; it is likely to be stale within the month. In five years it may have acquired the quaint aura of a rotary phone. An article is usually Siamese-twinned to its date of birth. An essay defies its date of birth — and ours, too. (A necessary caveat: some genuine essays are popularly called 'articles' — but this is no more than an idle, though persistent, habit of speech. What's in a name? The ephemeral is the ephemeral. The enduring is the enduring.)" (Cynthia Ozick, "SHE: Portrait of the Essay as a Warm Body." The Atlantic Monthly, September 1998)

The Status of the Essay "Though the essay has been a popular form of writing in British and American periodicals since the 18th century, until recently its status in the literary canon has been, at best, uncertain. Relegated to the composition class, frequently dismissed as mere journalism, and generally ignored as an object for serious academic study, the essay has sat, in James Thurber's phrase, ' on the edge of the chair of Literature.' "In recent years, however, prompted by both a renewed interest in rhetoric and by poststructuralist redefinitions of literature itself, the essay — as well as such related forms of 'literary nonfiction' as biography , autobiography , and travel and nature writing — has begun to attract increasing critical attention and respect." (Richard Nordquist, "Essay," in "Encylopedia of American Literature", ed. S. R. Serafin. Continuum, 1999)

The Contemporary Essay "At present, the American magazine essay , both the long feature piece and the critical essay, is flourishing, in unlikely circumstances... "There are plenty of reasons for this. One is that magazines, big and small, are taking over some of the cultural and literary ground vacated by newspapers in their seemingly unstoppable evaporation. Another is that the contemporary essay has for some time now been gaining energy as an escape from, or rival to, the perceived conservatism of much mainstream fiction... "So the contemporary essay is often to be seen engaged in acts of apparent anti-novelization: in place of plot , there is drift or the fracture of numbered paragraphs; in place of a frozen verisimilitude, there may be a sly and knowing movement between reality and fictionality; in place of the impersonal author of standard-issue third-person realism, the authorial self pops in and out of the picture, with a liberty hard to pull off in fiction." (James Wood, "Reality Effects." The New Yorker, Dec. 19 & 26, 2011)

The Lighter Side of Essays: "The Breakfast Club" Essay Assignment "All right people, we're going to try something a little different today. We are going to write an essay of not less than a thousand words describing to me who you think you are. And when I say 'essay,' I mean 'essay,' not one word repeated a thousand times. Is that clear, Mr. Bender?" (Paul Gleason as Mr. Vernon) Saturday, March 24, 1984 Shermer High School Shermer, Illinois 60062 Dear Mr. Vernon, We accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. What we did was wrong. But we think you're crazy to make us write this essay telling you who we think we are. What do you care? You see us as you want to see us — in the simplest terms, in the most convenient definitions. You see us as a brain, an athlete, a basket case, a princess and a criminal. Correct? That's the way we saw each other at seven o'clock this morning. We were brainwashed... But what we found out is that each one of us is a brain and an athlete and a basket case, a princess, and a criminal. Does that answer your question? Sincerely yours, The Breakfast Club (Anthony Michael Hall as Brian Johnson, "The Breakfast Club", 1985)

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The writer of the academic essay aims to persuade readers of an idea based on evidence. The beginning of the essay is a crucial first step in this process. In order to engage readers and establish your authority, the beginning of your essay has to accomplish certain business. Your beginning should introduce the essay, focus it, and orient readers.

Introduce the Essay.  The beginning lets your readers know what the essay is about, the  topic . The essay's topic does not exist in a vacuum, however; part of letting readers know what your essay is about means establishing the essay's  context , the frame within which you will approach your topic. For instance, in an essay about the First Amendment guarantee of freedom of speech, the context may be a particular legal theory about the speech right; it may be historical information concerning the writing of the amendment; it may be a contemporary dispute over flag burning; or it may be a question raised by the text itself. The point here is that, in establishing the essay's context, you are also limiting your topic. That is, you are framing an approach to your topic that necessarily eliminates other approaches. Thus, when you determine your context, you simultaneously narrow your topic and take a big step toward focusing your essay. Here's an example.

The paragraph goes on. But as you can see, Chopin's novel (the topic) is introduced in the context of the critical and moral controversy its publication engendered.

Focus the Essay.  Beyond introducing your topic, your beginning must also let readers know what the central issue is. What question or problem will you be thinking about? You can pose a question that will lead to your idea (in which case, your idea will be the answer to your question), or you can make a thesis statement. Or you can do both: you can ask a question and immediately suggest the answer that your essay will argue. Here's an example from an essay about Memorial Hall.

The fullness of your idea will not emerge until your conclusion, but your beginning must clearly indicate the direction your idea will take, must set your essay on that road. And whether you focus your essay by posing a question, stating a thesis, or combining these approaches, by the end of your beginning, readers should know what you're writing about, and  why —and why they might want to read on.

Orient Readers.  Orienting readers, locating them in your discussion, means providing information and explanations wherever necessary for your readers' understanding. Orienting is important throughout your essay, but it is crucial in the beginning. Readers who don't have the information they need to follow your discussion will get lost and quit reading. (Your teachers, of course, will trudge on.) Supplying the necessary information to orient your readers may be as simple as answering the journalist's questions of who, what, where, when, how, and why. It may mean providing a brief overview of events or a summary of the text you'll be analyzing. If the source text is brief, such as the First Amendment, you might just quote it. If the text is well known, your summary, for most audiences, won't need to be more than an identifying phrase or two:

Often, however, you will want to summarize your source more fully so that readers can follow your analysis of it.

Questions of Length and Order.  How long should the beginning be? The length should be proportionate to the length and complexity of the whole essay. For instance, if you're writing a five-page essay analyzing a single text, your beginning should be brief, no more than one or two paragraphs. On the other hand, it may take a couple of pages to set up a ten-page essay.

Does the business of the beginning have to be addressed in a particular order? No, but the order should be logical. Usually, for instance, the question or statement that focuses the essay comes at the end of the beginning, where it serves as the jumping-off point for the middle, or main body, of the essay. Topic and context are often intertwined, but the context may be established before the particular topic is introduced. In other words, the order in which you accomplish the business of the beginning is flexible and should be determined by your purpose.

Opening Strategies.  There is still the further question of how to start. What makes a good opening? You can start with specific facts and information, a keynote quotation, a question, an anecdote, or an image. But whatever sort of opening you choose, it should be directly related to your focus. A snappy quotation that doesn't help establish the context for your essay or that later plays no part in your thinking will only mislead readers and blur your focus. Be as direct and specific as you can be. This means you should avoid two types of openings:

• The history-of-the-world (or long-distance) opening, which aims to establish a context for the essay by getting a long running start: "Ever since the dawn of civilized life, societies have struggled to reconcile the need for change with the need for order." What are we talking about here, political revolution or a new brand of soft drink? Get to it.
• The funnel opening (a variation on the same theme), which starts with something broad and general and "funnels" its way down to a specific topic. If your essay is an argument about state-mandated prayer in public schools, don't start by generalizing about religion; start with the specific topic at hand.

Remember.  After working your way through the whole draft, testing your thinking against the evidence, perhaps changing direction or modifying the idea you started with, go back to your beginning and make sure it still provides a clear focus for the essay. Then clarify and sharpen your focus as needed. Clear, direct beginnings rarely present themselves ready-made; they must be written, and rewritten, into the sort of sharp-eyed clarity that engages readers and establishes your authority.

Copyright 1999, Patricia Kain, for the Writing Center at Harvard University

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“What Is an Academic Essay?”

Overview (a.k.a. TLDR)

• Different professors define the academic essay differently.
• Thesis (main point)
• Supporting evidence (properly cited)
• Counterarguments
• Your academic essay is knowledge that you create for the learning community of which you’re a member (a.k.a. the academy).

As a student in Core classes, especially in COR 102, you can expect that at least some of the major work in the course will entail writing academic essays. That term, academic essay , might sound as if it’s referring to a specific writing genre. That’s because it is. An academic essay is not a short story, an electronic game design document, a lesson plan, or a scientific lab report. It’s something else. What exactly is it, though? That depends, to some extent, on how the professor who has asked you to write an academic essay has chosen to define it. As Kathy Duffin posits in an essay written for the Writing Center at Harvard University, while an academic essay may “vary in expression from discipline to discipline,” it “should show us a mind developing a thesis, supporting that thesis with evidence, deftly anticipating objections or counterarguments, and maintaining the momentum of discovery.”

Even though Duffin’s essay is more than 20 years old, I still find her description interesting for a few reasons, one of which being the way that she has sandwiched, so to speak, some established content requirements of academic essays in between two broad intellectual functions of the academic essay. Here’s what I see:

When Duffin writes that an academic essay “should show us a mind,” she is identifying an important quality in many essay forms, not just academic essays: a sense of a mind at work. This is an important consideration, as it frames an academic essay as an attempt to understand something and to share that understanding. Essay is, in fact, also a verb; to essay is to try or attempt.

The established content requirements are as follows:

• a thesis (which Duffin describes also as a “purpose” and “motive”)
• evidence in support of the thesis, and
• an anticipation of objections or counterarguments

Duffin caps this all off with something about “maintaining the momentum of discovery.” Honestly, I’m not positive that I know what this means, but my guess is that it means an academic essay will construct and advance a new way of knowing the essay topic, a way that makes this process seem worth the writer’s and the reader’s time.

Again, your professor may or may not define academic essays as Duffin does. The only thing I would add to the above is a reminder that the academic essays you write in COR 102 and other courses represent knowledge that you’re creating within and for the academy —another word for Champlain College, an academic institution. You’re creating knowledge for a community of learners, a community of which you, your professor, and your peers are members. Keeping this conceptualization of your academic essay in mind may help you appreciate such other common elements of academic essays as voice , citations , and essay format.

Duffin, Kathy. “Overview of the Academic Essay.” Harvard College Writing Center, Harvard U., 1998, https://writingcenter.fas.harvard.edu/pages/overview-academic-essay Accessed 29 July 2020.

Quick tip about citing sources in MLA style

What’s a thesis, sample mla essays.

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The Donald Trump I Saw on The Apprentice

For 20 years, i couldn’t say what i watched the former president do on the set of the show that changed everything. now i can..

On Jan. 8, 2004, just more than 20 years ago, the first episode of The Apprentice aired. It was called “Meet the Billionaire,” and 18 million people watched. The episodes that followed climbed to roughly 20 million each week. A staggering 28 million viewers tuned in to watch the first season finale. The series won an Emmy nomination for Outstanding Reality-Competition Program, and the Television Critics Association called it one of the best TV shows of the year, alongside The Sopranos and Arrested Development . The series—alongside its bawdy sibling, The Celebrity Apprentice —appeared on NBC in coveted prime-time slots for more than a decade.

The Apprentice was an instant success in another way too. It elevated Donald J. Trump from sleazy New York tabloid hustler to respectable household name. In the show, he appeared to demonstrate impeccable business instincts and unparalleled wealth, even though his businesses had barely survived multiple bankruptcies and faced yet another when he was cast. By carefully misleading viewers about Trump—his wealth, his stature, his character, and his intent—the competition reality show set about an American fraud that would balloon beyond its creators’ wildest imaginations.

I should know. I was one of four producers involved in the first two seasons. During that time, I signed an expansive nondisclosure agreement that promised a fine of $5 million and even jail time if I were to ever divulge what actually happened. It expired this year.

No one involved in The Apprentice —from the production company or the network, to the cast and crew—was involved in a con with malicious intent. It was a TV show , and it was made for entertainment . I still believe that. But we played fast and loose with the facts, particularly regarding Trump, and if you were one of the 28 million who tuned in, chances are you were conned.

As Trump answers for another of his alleged deception schemes in New York and gears up to try to persuade Americans to elect him again, in part thanks to the myth we created, I can finally tell you what making Trump into what he is today looked like from my side. Most days were revealing. Some still haunt me, two decades later.

Nearly everything I ever learned about deception I learned from my friend Apollo Robbins. He’s been called a professional pickpocket, but he’s actually a “perceptions expert.” Apollo has spent his life studying the psychology of how we distort other people’s perceptions of reality and has done so by picking pockets onstage for the entertainment of others. He is a master of deception, a skill that made him, back in the day, the so-called best-kept secret in Las Vegas. After “fanning” his marks with casual, unobtrusive touch designed to make them feel safe or at ease, Apollo determines where the items reside—the wallet inside a breast pocket, the Rolex fastened to a wrist—and he removes these items without detection. He’ll even tell you what he intends to steal before he does it. He does this not to hurt people or bewilder them with a puzzle but to challenge their maps of reality. The results are marvelous. A lot of magic is designed to appeal to people visually, but what he’s trying to affect is your mind, your moods, your perceptions.

As a producer working in unscripted, or “reality,” television, I have the same goal. Like Apollo, I want to entertain, make people joyful, maybe even challenge their ways of thinking. But because I often lack the cinematic power of a movie, with its visual pyrotechnics or rehearsed dialogue, I rely on shaping the perceptions of viewers, manipulating their maps of reality toward something I want them to think or feel.

The presumption is that reality TV is scripted. What actually happens is the illusion of reality by staging situations against an authentic backdrop. The more authentic it is to, say, have a 40-foot wave bearing down on a crab boat in the Bering Sea for Deadliest Catch , the more we can trick you into thinking a malevolent Russian trawler is out there messing with the crabber’s bait. There is a trick to it, and when it works, you feel as if you’re watching a scripted show. Although very few programs are out-and-out fake, there is deception at play in every single reality program. The producers and editors are ostensibly con artists, distracting you with grand notions while we steal from you your precious time.

But the real con that drove The Apprentice is far older than television. The “pig in the poke” comes from an idiom dating to 1555: “I’ll never buy a pig in a poke / There’s many a foul pig in a fair cloak.” It refers to the time-honored scam of selling a suckling pig at market but handing over a bag (the poke) to the purchaser, who never looks inside it. Eventually, he discovers he’s purchased something quite different.

Our show became a 21 st -century version. It’s a long con played out over a decade of watching Trump dominate prime time by shouting orders, appearing to lead, and confidently firing some of the most capable people on television, all before awarding one eligible person a job. Audiences responded to Trump’s arrogance, his perceived abilities and prescience, but mostly his confidence . The centerpiece to any confidence game is precisely that— confidence .

As I walk into my interview for The Apprentice , I inadvertently learn how important it is for every one of us involved to demonstrate confidence above all else.

I sit down with Jay Bienstock, the showrunner, who has one last producer position to fill and needs somebody capable and hardworking. His office is sparse, and the desk is strategically placed directly across from the couch, with a noticeable angle downward from his desk to whomever is seated across from him. (I’m recalling all of the quoted conversations here to the best of my ability; they are not verbatim.)

He is smiling and even laughing throughout the interview, but from the steep angle at which he gazes down on me, there is no mistaking who is in charge. He seems to like what he hears and offers to follow up with my agent. “But I have to check your references before I can hire you,” he says. “You’d be crazy not to,” I reply. He laughs, claps his hands together, and grins. “ THAT’S what I’m talking about,” he says. “That’s the confidence this show needs!”

I sit there, several inches below eyeline, and ponder what just happened. What, I wonder, is so “confident” about suggesting he’d be crazy to not check my references? Then it dawns on me. He thinks I meant “You’d be crazy not to hire me.” The signal to noise begins.

Listen to Bill Pruitt discuss this story on What Next , Slate’s daily news podcast:

Before I leave, I have to ask: Why Trump? Bienstock discovers that we both lived in New York for a time. Knowing what we know about Trump, selling the idea that intelligent people would compete to land a job working for him will be a challenge.

“The idea is to have a new and different billionaire every season—just like there’s a new and different island on Survivor . We reached out to Spielberg, Katzenberg, Geffen, among others,” he says. “Trump is the only one who agreed to sign on.” (Bienstock didn’t respond to a request for comment.)

“We’ll make it work,” Bienstock says confidently. I rise, shake his hand, and leave, and head over to Dutton’s bookstore to pick up a used copy of Trump’s The Art of the Deal . It is filled with takeaways about branding and strategizing but conveniently omits Trump bluffing his way through meetings with contractors, stiffing them when it is convenient to do so, and betraying his most trusted colleagues to get what he wants. (The book’s ghostwriter, Tony Schwartz, has since tried to get the bestseller recategorized in the Library of Congress as a work of fiction.)

Another show of confidence is the budget the series commands. It’s not as expensive as a scripted series, but for a reality show, the price is high. Never have I worked on a series with this level of funding, but the cost is justified. This needs to feel real.

New York City is the perfect—though expensive—backdrop. Trump’s actual offices are, however, less than telegenic. They are cramped, and a lot of the wood furniture is chipped or peeling. None of it is suitable to appear on camera. We need what grifters call the Big Store: a fake but authentic-looking establishment in which the con goes down. Trump Tower, at the time, is mostly condos and some offices situated in the high-rise. The mezzanine comprises vacant and overpriced retail space, all of it unfinished. Trump offers the space to the production—at a premium, naturally—and it is inside this location that we create our own “reception area” with doors leading to a fake, dimly lit, and appropriately ominous-feeling “boardroom.”

Next door, there’s the “suite” where the contestants will live, which is made to look like a trendy loft-style apartment they all share. The lodgings are made up of partitions surrounding tiny, hard bunks upon which the candidates sleep; the illusion comes from elegantly appointed common areas, where most of the interplay will go down.

During a tour of the set, I have my first encounter with Trump. I leave the suite and enter the gear room, the only vacant retail space that will remain unfinished. It is filled with equipment and crew members milling about. In walks a trio of men. In the middle is Trump, in a navy blue suit and scarlet tie. He’s surprisingly tall, and not just because of the hair. He is flanked by two even taller men. Bienstock makes introductions, and I watch as Trump shakes hands with everyone. I’d been told he would never do this, something about fearing unwanted germs. When it is my turn, I decide on the convivial two-hander and place my right hand into his and my left onto his wrist as we shake. His eye contact is limited but thorough. He is sizing me up. He looks like a wolf about to rip my throat out before turning away, offering me my first glimpse at the superstructure—his hairstyle—buttressed atop his head with what must be gallons of Aqua Net.

I watch as Trump saunters around the room, snatches up a fistful of M&Ms from the craft service table set aside for the crew, and shoves them into his mouth. Then he is gone, ushered away toward some important meeting he must attend, as if to say, to one and all present, This is unimportant .

Eventually, it’s time to roll cameras. When Trump is called to perform, we are filming the first scene of the first episode on the floor of the New York Stock Exchange, and he is about to deliver the first task. Filming inside this beacon of capitalism and wealth gives the series the legitimacy it needs. A con artist would call staging the scam inside a legitimate institution “playing a man against the wall.”

From the balcony overlooking the famed trading room floor, Trump will set up the entire premise of the show on camera and engage in a little banter with the other participants. This includes introducing his advisers, George Ross, an older, grouchy attorney devoted to Trump’s legal affairs, and Carolyn Kepcher, a perpetual skeptic who runs his hospitality units and one of his golf clubs. (They might be called “the shills,” others in on the con who will act as Trump’s eyes and ears.)

The contestants are there, lined up and zeroed in on by camera operators getting reaction shots to whatever it is Trump says. Although they mostly just stand and wait, they patiently go along with the proceedings. They are not in on the con. They act as “the little blind mice,” who, in fraudster terms, convey a sense of authenticity by reacting to the goings-on, like lab rats caught in a maze.

Nothing is scripted—except for what Trump needs to say. Cue cards are present, but mostly it is Bienstock running up, coaching Trump, tossing out suggestions from the script he has written for the man. The feeling is that while doing a fair job of repeating the necessary words verbatim, Trump also appears to be inadvertently shouting at the contestants. His hands shuttle back and forth as if holding an invisible accordion, a gesture now famous in memes .

Each episode is filmed over three days. For the first episode, the two teams of contestants, divided by gender, take to the streets to carry out the initial task of trying to sell lemonade for the most money. The women pulverize the men.

Having won, the women are invited upstairs for a direct look at Trump’s very own apartment in Trump Tower, a reward designed specifically to introduce viewers to the gaudy but elevated world of Donald Trump at home. The men, who lost, go back to the loft to await their fate at the hands of Trump. He will be sending one of them home.

Inside the now-empty boardroom set, a meeting with the producers is called for the first briefing of Trump before the anticipated firing. With Trump are his cronies, Ross and Kepcher. Trump is “too busy,” so they have each observed both teams in the field and make an assessment of who prevailed and who fell behind.

Now, this is important. The Apprentice is a game show regulated by the Federal Communications Commission. In the 1950s, scandals arose when producers of quiz shows fed answers to likable, ratings-generating contestants while withholding those answers from unlikable but truly knowledgeable players. Any of us involved in The Apprentice swinging the outcome of prize money by telling Trump whom to fire is forbidden.

Considering this, Bienstock wisely chooses to record these off-camera briefings in case the FCC ever rolls up on us. Rather than blurt out who they think should get canned, the two producers of that week’s episode—each following one team—are coached to equitably share with Trump the virtues and deficiencies of each member of the losing team. This renders a balanced depiction of how and why they lost. There are obvious choices of whom to fire, but we want it to be something of a horse race, to sustain the drama and keep people watching.

Satisfied he has what he needs, Trump dismisses the prefiring discussion with the wave of a hand, claiming he has places to be, let’s get on with it, etc. We proceed to set up for what will be our first boardroom.

The producers retreat to the adjacent control room to watch the event unfold. Per the show’s format, the losing team is summoned in anticipation of one of its members being sent home. Leaving their luggage in the reception area, the men walk into the boardroom, where Trump is flanked by Ross and Kepcher, waiting for them solemnly. Trump just frowns from a gigantic red leather chair, his eyeline noticeably well above those sitting across from him.

The men proceed to verbally go after one another like gladiators jousting before the emperor. Trump takes the conversation into potentially dangerous terrain, asking one contestant, who is Jewish, whether he believes in “the genetic pool.” The contestant’s retort is swift and resolute: He tells Trump that he does, in fact, have the genes, “just like you got from your father, Fred Trump, and your mother, Mary Trump.” It pours out of him. It is dramatic. It is good reality TV.

The project manager must then choose two of the men to come back to the boardroom with him while everyone else is dismissed. An off-camera prefiring consultation with Trump takes place (and is recorded), right before the three men are brought back for the eventual firing. We film Trump, Ross, and Kepcher deliberating and giving the pluses and minuses of each, remarking on how risky it was for one of the contestants to stand up for himself the way that he did. Trump turns back and forth to each, listening. His cronies stick to their stories and give added deferential treatment toward Trump, with Ross strategically reminding him, “You’ve been taking risks your entire life.”

Trump summons the three men back into the boardroom for final judging. Trump grills one and says, “I will let you stay.” ( Wow! we think. A benevolent leader. ) When he turns his attention to the other man—the one he asked about genetics—it looks clear. He is doomed. So much so that the man stands when Trump tells him, “It seems unanimous.” Trump then offhandedly tells him to sit down, calling him “a wild card,” echoing Ross’ earlier observation of the boss, Trump.

After this comes an unwieldy moment when, at the behest of Bienstock, Trump fumbles through a given line. “We have an elevator,” he says to the remaining contestant, named David, “that goes up to the suite and an elevator that goes down”—he pauses to recall the exact wording—“to the street. And, David, I’m going to ask you to take the down elevator.”

The men react and awkwardly rise. It is an unsatisfactory conclusion, given all the preceding drama.

From the control room, we all watch as the three men depart the boardroom. A quick huddle takes place between the producers and the executive from NBC. We bolt from the control room out into the boardroom and confer with Trump, telling him we will need him to say something more direct to conclude the moment when David is let go.

“Well, I’d probably just fire him,” Trump says. “Why not just say that?” Bienstock asks. “Fine,” Trump says.

We return to the control room. The three men from the losing team are brought back into the boardroom, and Trump repeats his line about the elevator, then turns to David, who already knows his fate, and adds, “David, you’re fired.”

The line insertion happened in a perilously scripted way, but it is deemed satisfactory. “You’re fired” becomes the expression we will stick with. It works. Trump comes off as decisive and to the point.

Later, Trump will try to trademark “You’re fired.” He is not successful.

Trump’s appearances make up so little of our shooting schedule that whenever he shows up to film, it isn’t just the wild-card on-camera moments we both hope for and are terrified of that put everyone on edge. It is the way he, the star (and half owner) of the show, targets people on the crew with the gaze of a hungry lion.

While leering at a female camera assistant or assessing the physical attributes of a female contestant for whoever is listening, he orders a female camera operator off an elevator on which she is about to film him. “She’s too heavy,” I hear him say.

Another female camera operator, who happens to have blond hair and blue eyes, draws from Trump comparisons to his own Ivanka Trump. “There’s a beautiful woman behind that camera,” he says toward a line of 10 different operators set up in the foyer of Trump Tower one day. “That’s all I want to look at.”

Trump corners a female producer and asks her whom he should fire. She demurs, saying something about how one of the contestants blamed another for their team losing. Trump then raises his hands, cupping them to his chest: “You mean the one with the …?” He doesn’t know the contestant’s name. Trump eventually fires her.

(In response to detailed questions about this and other incidents reported in this article, Steven Cheung, a spokesman for the Trump 2024 campaign, wrote, “This is a completely fabricated and bullshit story that was already peddled in 2016.” He said that it is surfacing now because Democrats are “desperate.”)

Trump goes about knocking off every one of the contestants in the boardroom until only two remain. The finalists are Kwame Jackson, a Black broker from Goldman Sachs, and Bill Rancic, a white entrepreneur from Chicago who runs his own cigar business. Trump assigns them each a task devoted to one of his crown-jewel properties. Jackson will oversee a Jessica Simpson benefit concert at Trump Taj Mahal Casino in Atlantic City, while Rancic will oversee a celebrity golf tournament at Trump National Golf Club in Briarcliff Manor, New York.

Viewers need to believe that whatever Trump touches turns to gold. These properties that bear his name are supposed to glitter and gleam. All thanks to him.

Reality is another matter altogether. The lights in the casino’s sign are out. Hong Kong investors actually own the place—Trump merely lends his name. The carpet stinks, and the surroundings for Simpson’s concert are ramshackle at best. We shoot around all that.

Both Rancic and Jackson do a round-robin recruitment of former contestants, and Jackson makes the fateful decision to team up with the notorious Omarosa, among others, to help him carry out his final challenge.

With her tenure on the series nearly over, Omarosa launches several simultaneous attacks on her fellow teammates in support of her “brother” Kwame. For the fame-seeking beauty queen, it is a do-or-die play for some much-coveted screen time. As on previous tasks, Ross and Kepcher will observe both events.

Over at Trump National Golf Club, where I am stationed, it is sunny and bright, set against luscious fall colors. I am driven up to the golf club from Manhattan to scout. With me are the other producers, all of whom are men. We meet Trump at one of the homes he keeps for himself on the grounds of the club.

“Melania doesn’t even know about this place,” he says out loud to us, snickering, implying that the home’s function is as his personal lair for his sexual exploits, all of which are unknown to his then-fiancée Melania Knauss.

We are taken around the rest of the club’s property and told what to feature on camera and what to stay away from. The clubhouse is a particularly necessary inclusion, and it is inside these luxurious confines where I have the privilege of meeting the architect. Finding myself alone with him, I make a point of commending him for what I feel is a remarkable building. The place is genuinely spectacular. He thanks me.

“It’s bittersweet,” he tells me. “I’m very proud of this place, but …” He hesitates. “I wasn’t paid what was promised,” he says. I just listen. “Trump pays half upfront,” he says, “but he’ll stiff you for the rest once the project is completed.”

“He stiffed you?”

“If I tried to sue, the legal bills would be more than what I was owed. He knew that. He basically said Take what I’m offering ,” and I see how heavy this is for the man, all these years later. “So, we sent the invoice. He didn’t even pay that,” he says. None of this will be in the show. Not Trump’s suggested infidelities, nor his aversion toward paying those who work for him.

When the tasks are over, we are back in the boardroom, having our conference with Trump about how the two finalists compare—a conversation that I know to be recorded. We huddle around him and set up the last moments of the candidates, Jackson and Rancic.

Trump will make his decision live on camera months later, so what we are about to film is the setup to that reveal. The race between Jackson and Rancic should seem close, and that’s how we’ll edit the footage. Since we don’t know who’ll be chosen, it must appear close, even if it’s not.

We lay out the virtues and deficiencies of each finalist to Trump in a fair and balanced way, but sensing the moment at hand, Kepcher sort of comes out of herself. She expresses how she observed Jackson at the casino overcoming more obstacles than Rancic, particularly with the way he managed the troublesome Omarosa. Jackson, Kepcher maintains, handled the calamity with grace.

“I think Kwame would be a great addition to the organization,” Kepcher says to Trump, who winces while his head bobs around in reaction to what he is hearing and clearly resisting.

“Why didn’t he just fire her?” Trump asks, referring to Omarosa. It’s a reasonable question. Given that this the first time we’ve ever been in this situation, none of this is something we expected.

“That’s not his job,” Bienstock says to Trump. “That’s yours.” Trump’s head continues to bob.

“I don’t think he knew he had the ability to do that,” Kepcher says. Trump winces again.

“Yeah,” he says to no one in particular, “but, I mean, would America buy a n— winning?”

Kepcher’s pale skin goes bright red. I turn my gaze toward Trump. He continues to wince. He is serious, and he is adamant about not hiring Jackson.

Bienstock does a half cough, half laugh, and swiftly changes the topic or throws to Ross for his assessment. What happens next I don’t entirely recall. I am still processing what I have just heard. We all are. Only Bienstock knows well enough to keep the train moving. None of us thinks to walk out the door and never return. I still wish I had. (Bienstock and Kepcher didn’t respond to requests for comment.)

Afterward, we film the final meeting in the boardroom, where Jackson and Rancic are scrutinized by Trump, who, we already know, favors Rancic. Then we wrap production, pack up, and head home. There is no discussion about what Trump said in the boardroom, about how the damning evidence was caught on tape. Nothing happens.

We go home and face the next phase of our assignment, the editing. In stitching the footage together, the swindle we are now involved in ascends to new levels.

Editing in a reality TV show is what script writing is to a narrative series. A lot of effort goes into the storytelling because, basically, in every single unscripted series—whether it’s a daytime talk show, an adventure documentary, or a shiny floor dance-off—there are three versions: There’s what happens, there’s what gets filmed, and there’s what gets cut down into 43 minutes squeezed between commercial breaks. Especially for a competition series, it’s important that the third version represent the first as much as possible. A defeated contestant could show up in the press and cry foul if they’re misrepresented. Best to let people fail of their own accord. That said, we look after our prized possessions in how we edit the series, and some people fare better than others.

We attend to our thesis that only the best and brightest deserve a job working for Donald Trump. Luckily, the winner, Bill Rancic, and his rival, Kwame Jackson, come off as capable and confident throughout the season. If for some reason they had not, we would have conveniently left their shortcomings on the cutting room floor. In actuality, both men did deserve to win.

Without a doubt, the hardest decisions we faced in postproduction were how to edit together sequences involving Trump. We needed him to sound sharp, dignified, and clear on what he was looking for and not as if he was yelling at people. You see him today: When he reads from a teleprompter, he comes off as loud and stoic. Go to one of his rallies and he’s the off-the-cuff rambler rousing his followers into a frenzy. While filming, he struggled to convey even the most basic items. But as he became more comfortable with filming, Trump made raucous comments he found funny or amusing—some of them misogynistic as well as racist. We cut those comments. Go to one of his rallies today and you can hear many of them.

If you listen carefully, especially to that first episode, you will notice clearly altered dialogue from Trump in both the task delivery and the boardroom. Trump was overwhelmed with remembering the contestants’ names, the way they would ride the elevator back upstairs or down to the street, the mechanics of what he needed to convey. Bienstock instigated additional dialogue recording that came late in the edit phase. We set Trump up in the soundproof boardroom set and fed him lines he would read into a microphone with Bienstock on the phone, directing from L.A. And suddenly Trump knows the names of every one of the contestants and says them while the camera cuts to each of their faces. Wow , you think, how does he remember everyone’s name? While on location, he could barely put a sentence together regarding how a task would work. Listen now, and he speaks directly to what needs to happen while the camera conveniently cuts away to the contestants, who are listening and nodding. He sounds articulate and concise through some editing sleight of hand.

Then comes the note from NBC about the fact that after Trump delivers the task assignment to the contestants, he disappears from the episode after the first act and doesn’t show up again until the next-to-last. That’s too long for the (high-priced) star of the show to be absent.

There is a convenient solution. At the top of the second act, right after the task has been assigned but right before the teams embark on their assignment, we insert a sequence with Trump, seated inside his gilded apartment, dispensing a carefully crafted bit of wisdom. He speaks to whatever the theme of each episode is—why someone gets fired or what would lead to a win. The net effect is not only that Trump appears once more in each episode but that he also now seems prophetic in how he just knows the way things will go right or wrong with each individual task. He comes off as all-seeing and all-knowing. We are led to believe that Donald Trump is a natural-born leader.

Through the editorial nudge we provide him, Trump prevails. So much so that NBC asks for more time in the boardroom to appear at the end of all the remaining episodes. (NBC declined to comment for this article.)

When it comes to the long con, the cherry on top is the prologue to the premiere. It’s a five-minute-long soliloquy delivered by Trump at the beginning of the first episode, the one titled “Meet the Billionaire.” Over a rousing score, it features Trump pulling out all the stops, calling New York “ my city” and confessing to crawling out from under “billions of dollars in debt.” There’s Trump in the back of limousines. Trump arriving before throngs of cheering crowds outside Trump Tower. Trump in his very own helicopter as it banks over midtown—the same helicopter with the Trump logo that, just like the airplane, is actually for sale to the highest bidder. The truth is, almost nothing was how we made it seem.

So, we scammed. We swindled. Nobody heard the racist and misogynistic comments or saw the alleged cheating, the bluffing, or his hair taking off in the wind. Those tapes, I’ve come to believe, will never be found.

No one lost their retirement fund or fell on hard times from watching The Apprentice . But Trump rose in stature to the point where he could finally eye a run for the White House, something he had intended to do all the way back in 1998. Along the way, he could now feed his appetite for defrauding the public with various shady practices.

In 2005 thousands of students enrolled in what was called Trump University, hoping to gain insight from the Donald and his “handpicked” professors. Each paid as much as $35,000 to listen to some huckster trade on Trump’s name. In a sworn affidavit, salesman Ronald Schnackenberg testified that Trump University was “fraudulent.” The scam swiftly went from online videoconferencing courses to live events held by high-pressure sales professionals whose only job was to persuade attendees to sign up for the course. The sales were for the course “tuition” and had nothing whatsoever to do with real estate investments. A class action suit was filed against Trump.

That same year, Trump was caught bragging to Access Hollywood co-host Billy Bush that he likes to grab married women “by the pussy,” adding, “When you’re a star, they let you do it.” He later tried to recruit porn actor Stormy Daniels for The Apprentice despite her profession and, according to Daniels, had sex with her right after his last son was born. (His alleged attempt to pay off Daniels is, of course, the subject of his recent trial.)

In October 2016—a month before the election—the Access Hollywood tapes were released and written off as “locker room banter.” Trump paid Daniels to keep silent about their alleged affair. He paid $25 million to settle the Trump University lawsuit and make it go away.

He went on to become the first elected president to possess neither public service nor military experience. And although he lost the popular vote, Trump beat out Hillary Clinton in the Electoral College, winning in the Rust Belt by just 80,000 votes.

Trump has been called the “reality TV president,” and not just because of The Apprentice . The Situation Room, where top advisers gathered, became a place for photo-ops, a bigger, better boardroom. Trump swaggered and cajoled, just as he had on the show. Whom would he listen to? Whom would he fire? Stay tuned. Trump even has his own spinoff, called the House of Representatives, where women hurl racist taunts and body-shame one another with impunity. The State of the Union is basically a cage fight. The demands of public office now include blowhard buffoonery.

I reached out to Apollo, the Vegas perceptions expert, to discuss all of this. He reminded me how if a person wants to manipulate the signal, they simply turn up the noise. “In a world that is so uncertain,” he said, “a confidence man comes along and fills in the blanks. The more confident they are, the more we’re inclined to go along with what they suggest.”

A reality TV show gave rise to an avaricious hustler, and a deal was made: Subvert the facts, look past the deficiencies, deceive where necessary, and prevail in the name of television ratings and good, clean fun.

Trump is making another run at the White House and is leading in certain polls. People I know enthusiastically support him and expect he’ll return to office. It’s not just hats, sneakers, a fragrance, or Bibles. Donald Trump is selling his vision of the world, and people are buying it.

Knowing all they know, how could these people still think he’s capable of being president of the United States?

Perhaps they watched our show and were conned by the pig in the poke.

• world affairs

A Modi Win Will Only Mean More Trouble for Indian Muslims

M ore than two years have passed since a picture of me, picked up from my personal social media handles, was put up with a price tag for auction on the internet. It was part of a website called Bulli Bai , a religious slur used for Muslim women in India. 

Why was I targeted? Likely because of my reporting. The perpetrators wanted to shame and humiliate a journalist who was determined to expose the failures of the ruling Hindu nationalist Bharatiya Janata Party’s gender, caste, and religion-based violence. But more importantly, they wanted to shut up a Muslim woman who had dared to be vocal in Modi’s India.

When the photo was posted, I wondered how the main perpetrator , a 21-year-old student from Assam, who created Bulli Bai could be so consumed by his hatred that he felt compelled to auction Muslim women online for their outspoken criticism of the BJP—journalists, social workers, actors, and politicians. A recent meeting with my lawyer about my case against the Bulli Bai creators, who are still being investigated by the Delhi police, was a painful reminder of the targeted harassment faced by outspoken Muslim voices critical of the ruling BJP. 

As the ongoing election in India is set to finish on June 1, it has once again offered deeper insight into how political dialogue is fueling this culture of hate. 

Particularly, the political campaign of Prime Minister Narendra Modi’s BJP has leaned into anti-Muslim sentiment, progressively making Islamophobia one of the defining features of this election.

It was most prominently on display when Modi, in a thinly veiled reference to Muslims, referred to the 200 million Indian Muslim population as “infiltrators” at a BJP campaign rally while addressing voters in the Western state of Rajasthan on April 21. The Prime Minister also accused the opposition Congress party of planning to distribute the country’s wealth to Muslims.

Modi, in his speech, asked, “Earlier, when his [ former Prime Minister and Congress Party member Manmohan Singh’s] government was in power , he had said that Muslims have the first right on the country’s property, which means who they will collect this property and distribute it to—those who have more children, will distribute it to the infiltrators. Will the money of your hard work be given to the infiltrators? Do you approve of this?”

Read More: How India’s Hindu Nationalists Are Weaponizing History Against Muslims

This 2006 statement by former Prime Minister Manmohan Singh emphasizing that minorities, particularly Muslims , should have the first claim on resources to help uplift their socio-economic status, has been often quoted out of context in political rhetoric, distorting its original intent to uplift marginalized communities.

The reemergence of conspiracy theories like “Love Jihad,” alleging a covert agenda by Muslim men to ensnare and convert Hindu women, by Modi, has surged back into public attention, prominently surfacing at an election rally on May 28, days before the seventh and last phase of the ongoing elections, in the Eastern state of Jharkhand . 

The alarming rhetoric about Muslim population growth too have dominated the election discourse, fueled by the BJP's top leader, Modi, who has been criticized for his Islamophobic remarks, evoking memories of Gujarat's 2002 riots. While he later denied singling out Muslims in an interview with an Indian news channel, his history of linking them to population growth fuels a Hindu-majoritarian conspiracy theory.

Following the 2002 anti-Muslim riots in Gujarat during his tenure as chief minister, Modi faced scrutiny regarding his administration's lack of assistance to relief camps, predominantly established by non-profit organizations and Muslim communities. During a campaign rally, Modi then insinuated that these camps might transform into "baby factories," implying that Muslims could potentially have families as large as 25 children.

In his Jharkhand rally in May of this year, Modi spoke of "unseen enemies" working to divide society and claimed that the opposition parties were playing into the hands of “infiltrators”. He warned against "Zalim (cruel) love," alluding to Love Jihad. 

As the elections progressed, Modi’s speeches transformed slowly from issues such as “development” to anti-Muslim rhetoric. Unlike previous elections, Modi's campaign strategy this time has shifted towards overt Hindu-Muslim politics, drawing attention to his past record and raising concerns among Indian Muslims, as evidenced by the Election Commission's intervention in a campaign video by the BJP inciting hatred against Muslims. 

The video, shared by BJP Karnataka wing with a cautionary message in Kannada, depicted a cartoon version of Congress’s Rahul Gandhi placing an egg marked "Muslims" into a nest alongside smaller eggs labeled with categories such as "Scheduled Castes," "Scheduled Tribes," and "Other Backward Castes.” The narrative unfolds as the "Muslim" hatchling is shown being nourished with financial resources, eventually growing larger and displacing the other hatchlings from the nest—implying that a Congress government will give away all resources to Muslims. 

This came days after another animated video shared by the BJP’s official Instagram handle was removed on May 1 after a large number of users of the platform reported the video for “false information” and “hate speech.” The video repeats the BJP’s rhetoric on the Congress party, who they allege are“empowering people who belong to the very same community [of] invaders, terrorists, robbers and thieves [who] used to loot all our treasures” while the voice-over says, “If Congress comes to power, it will snatch all the money and wealth from non-Muslims and distribute them among Muslims, their favorite community.” 

Despite its controversial content, the video amassed over 100 thousand likes before being removed.

Both videos come after claims by Modi during his campaign speeches that Congress was planning to “steal” reservations in educational institutes and government jobs among other benefits from Scheduled Castes, Scheduled Tribes, and Other Backward Castes and redistribute them to Muslims.

Modi may be the foremost leader, but he's not alone in setting the tone; other top-tier BJP leaders are also walking in his footsteps. Home Affairs Minister Amit Shah's remarks linking voting for the Congress party to "jihad" in the South Indian state of Telangana have also stirred controversy.

Read More: The Modi-fication of India Is Almost Complete

The India Hate Lab, a Washington D.C.-based group that documents hate speech against India’s religious minorities, in its report of 2023 paints a grim picture of rising hate speech incidents against Muslims, totaling 668 documented cases. 

These incidents, often featuring calls for violence and spreading divisive theories, were predominantly concentrated in regions governed by the BJP, particularly during key election periods like in Rajasthan, Madhya Pradesh, Telangana, and Chhattisgarh. Additionally, the report highlighted stark differences in hate speech content between BJP and non-BJP-governed areas, with BJP leaders more frequently involved in non-BJP territories as they strive to expand political footholds.

When leaders resort to fear-mongering, it legitimizes the dehumanization of minorities, creating a fertile ground for extremists. This often isn’t just about one app or incident. It’s about the pervasive atmosphere of intolerance that such rhetoric by the BJP leaders breeds. And those who oppose this type of hate speech want to ensure that no one—regardless of their faith, gender, or caste—has to live in fear of being targeted for who they are. 

Modi’s statement received widespread criticism from the opposition, the intelligentsia community including authors, writers, scholars, academics, and the minority Muslim population of India. The Congress party even filed a complaint with the Election Commission, alleging that Modi's remarks violate electoral laws that prohibit appeals to religious sentiments. Despite public outcry and demands from activists and citizens for action, the Election Commission has so far taken no appropriate action. 

Modi's Islamophobic statements, which have fueled fears over and over again among India's Muslim population, must be viewed within the broader context of his party's strategies—which often invoke religious and communal sentiments to galvanize their voter base. And this time, the aim is to break all previous records by securing 400 plus seats in the 543 seat parliament.

If the BJP is able to secure such a huge majority in the parliament, Hindu majoritarianism will remain unchecked. The hostility towards the minorities could escalate even more, and opposition parties may bear the brunt of state agencies and crackdowns if they ask questions. 

During Modi’s previous terms, Muslims have seen an increased marginalization and discrimination fueled by Hindu nationalist agendas—ranging from difficulty in securing a rented accommodation in urban cities, erasure of Muslim names from roads, cities and railway stations, to the underrepresentation in government jobs and discrimination and vandalism of shops of small Muslim vendors. 

Today, India, a country which once took pride in its ganga-jamuni tehzeeb —a term used to refer to the fusion of Hindu-Muslim cultures—has become a global epicenter of divisive politics. While elections will come and go, the impact of the irresponsible words of Modi and the BJP will stay with the 200 million plus Muslims in the country.

These words have real and dangerous implications for the safety and security of India's Muslim population. Muslims in India currently face increased social ostracism, economic boycotts, and even physical violence. And another victory with an overwhelming majority will only mean more trouble.

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History of Now

What Does George Orwell’s ‘1984’ Mean in 2024?

Now 75 years old, the dystopian novel still rings alarm bells about totalitarian rule

Anne Wallentine

In recent years, some conservative American groups have adopted the slogan “Make Orwell fiction again,” a line that suggests the dystopian depictions of totalitarianism, historical revisionism and misinformation found in George Orwell ’s 1984 are now reality. Liberal groups may agree with some of those concepts—but would likely apply them to different events.

Seventy-five years after its publication on June 8, 1949, Orwell’s novel has attained a level of prominence enjoyed by few other books across academic, political and popular culture. 1984 ’s meaning has been co-opted by groups across the political spectrum, and it consequently serves as a kind of political barometer. It has been smuggled behind the Iron Curtain during the Cold War and used as counterpropaganda by the CIA; at moments of political crisis, it has skyrocketed to the top of best-seller lists.

The language and imagery in the novel—which Anthony Burgess, author of A Clockwork Orange , once called “an apocalyptical codex of our worst fears”—have also been reinterpreted in music, television, advertisements and films, shaping how people view and discuss the terror of political oppression. The terms the book introduced into the English language, like “Big Brother” and “thought police,” are common parlance today. “ Big Brother ” is now a long-running reality TV show. 1984 -like surveillance is possible through a range of tracking technologies. And the contortion of truth is realizable via artificial intelligence deepfakes . In a world that is both similar to and distinct from Orwell’s imagined society, what does 1984 mean today?

Jean Seaton , director of the Orwell Foundation and a historian at the University of Westminster in England, says that 1984 has become a way to “take the temperature” of global politics. “It goes up and down because people reinvent it [and] because people turn to it … to refresh [their] grasp on the present. It’s useful because you think, ‘How bad are we in comparison to this?’”

In 1984 , three totalitarian states rule the world in a détente achieved by constant war. The all-seeing Party dominates a grimly uniform society in the bloc called Oceania. As a low-level Party member, protagonist Winston Smith’s job is to rewrite historical records to match the ever-changing official version of events. As a Party slogan puts it , “Who controls the past controls the future: Who controls the present controls the past.”

Winston begins to document his contrarian thoughts and starts an illicit affair with a woman named Julia, but the two are soon caught and tortured into obedience by the regime. Ultimately, Smith’s individuality and attempt to rebel are brutally suppressed. While most contemporary societies are nothing like the book’s dystopia, in the context of today’s proliferating misinformation and disinformation , the Party’s primary propaganda slogans—“War is peace,” “Freedom is slavery” and “Ignorance is strength”—don’t seem all that far-fetched.

According to Orwell’s son, Richard Blair , the writer thought his novel would “either be a best seller or the world [would] ignore it. He wasn’t quite sure which of the two it would be.” But soon after its publication, 1984 ’s best-seller status became clear. The book has since sold around 30 million copies. It most recently returned to the top of the American best-seller list in January 2017, after a Trump administration adviser coined the doublespeak term “alternative facts.”

“It’s a very relevant book … to the world of today,” Blair says. “The broad issue [is] the manipulation of truth, something that large organizations and governments are very good at.”

Many other dystopian novels carry similar warnings. So why does 1984 have such staying power? Orwell’s novels “all have exactly the same plot,” says the author’s biographer D.J. Taylor . “They are all about solitary, ground-down individuals trying to change the nature of their lives … and ultimately being ground down by repressive authority.”

1984 , Taylor adds, is the apotheosis of Orwell’s fears and hypotheses about surveillance and manipulation: “It takes all the essential elements of Orwell’s fiction and then winds them up another couple of notches to make something really startling.” Orwell’s precise, nightmarish vision contains enough familiar elements to map onto the known world, giving it a sense of alarming plausibility.

The novel traces the dystopian future onto recognizable London landmarks. “The really scary thing for the original readers in 1949 was that although it was set in 1984, it’s there: It’s bomb-cratered, war-torn, postwar England,” says Taylor. The University of London’s Senate House inspired the novel’s “ Ministry of Truth ,” as it had housed the Ministry of Information during World War II’s propaganda push.

Born Eric Blair in 1903, Orwell had a short but prolific writing career, chronicling politics, poverty and social injustice before his early death from tuberculosis in January 1950, just seven months after 1984 ’s publication. Though an accomplished essayist, Orwell is best known for 1984 and Animal Farm , his 1945 satire of Stalinist Russia.

Born in Bengal when the region was under British colonial rule, Orwell studied at Eton College but left the school to follow his father into the civil service. He became disillusioned with the colonial British Raj while serving in the Indian Imperial Police in Burma, an experience that inspired his first novel, Burmese Days . In 1927, Orwell returned to England and Europe, where he immersed himself in working-class poverty to write Down and Out in Paris and London and The Road to Wigan Pier . He fought against fascism in the Spanish Civil War, almost dying from a throat wound. The conflict reinforced his socialist politics : “Everything he wrote after that was against totalitarianism [and] for democracy,” Blair says.

Orwell wrote 1984 while battling tuberculosis on the Isle of Jura in Scotland, aware that his condition was deteriorating as he wrote the novel, Taylor says. Upon finishing the manuscript, he went to a London hospital for treatment, where he married editorial assistant Sonia Brownell from his hospital bed. The writer died three months later at age 46. Blair, whom Orwell had adopted with his first wife, Eileen O’Shaughnessy, shortly before her death in 1945, was 5 years old at the time.

Though Orwell described 1984 as a warning rather than a prophecy, scholars have demonstrated significant interest in mapping the author’s imaginings onto the modern world. “When I started writing, what I was involved in was something you could call ‘Orwell Studies.’ And now there's an Orwell industry,” says Taylor, who has published two biographies of the author. (His latest , released in 2023, was informed by new primary source material.)

Taylor attributes this popularity to Orwell’s “uncanny ability … to predict so many of the things that trouble us here in the 2020s.” He notes that in the United Kingdom, Orwell mainly draws political and literary audiences, while in the United States, scientific circles are increasingly curious about Orwell’s foreshadowing of modern technology and surveillance methods.

“There’s something about his work that keeps getting reinvented and reactivated” in relation to events that happened well after Orwell’s death, says Alex Woloch , a literary scholar at Stanford University. “I think of Orwell as a text that people can turn to in confronting many different kinds of political problems, and particularly propaganda, censorship and political duplicity.”

Orwell’s “main relevance in the U.S. was forged during the Cold War,” Woloch says. A democratic socialist and anti-Stalinist, Orwell was able to “represent the contradictions of the communist ideology, the gap between its self-image and its reality.” 1984 and Animal Farm “were understood as the exemplary anti-communist texts ,” embedded in U.S. curriculums and widely taught in the decades since.

“With the end of the Cold War,” Woloch adds, “Orwell’s writing could be claimed by many different people who were arguing against what they saw as various forms of political deceptiveness,” from the Marxist Black Panther Party to the ultraconservative John Birch Society .

“It’s very difficult to think of another writer who’s so much admired across all parts of the political spectrum,” Taylor says. “He’s almost unique in that way.”

Adapted to the needs of a broad range of readers, 1984 took on a life beyond its author and its pages. In her forthcoming book, George Orwell and Communist Poland: Émigré, Official and Clandestine Receptions , Krystyna Wieszczek , a research fellow at Columbia University, explores the use of 1984 as a tool of resistance. The novel “provided an easy-to-use vocabulary … that [readers] could use to name the phenomenon” of oppression, Wieszczek says. Copies were smuggled into Poland and other countries behind the Iron Curtain that divided Eastern Europe from Western Europe, some even in the diplomatic bag of a secretary to the French Embassy in Warsaw.

In the 1950s, a CIA operation sent Animal Farm and other “printed matter from the West [into communist countries] in gas-filled balloons,” Wieszczek says. But many Poles objected to this tactic, fearing a reprise of the devastating and unsuccessful 1944 Warsaw Uprising . Through distribution points across Europe, the U.S. also sent millions of copies of anti-communist literature, including 1984 , to Poland. According to Wieszczek, surveys suggest that as much as 26 percent of Poland’s adult population—around seven million people—had some access to clandestine publications in the 1980s. Polish émigré imprint s like Kultura in Paris also ensured banned publications reached audiences in the Eastern bloc during the Cold War. Cheekily, one of Kultura’s editions of 1984 even used a “Soviet militant poster as a cover,” Wieszczek says.

“Many people read 1984 as a very negative, pessimistic book, but … it had a kind of liberating impact … for some readers,” she explains. They were reading a banned book about banned books that reflected, to an extent, their own circumstances.

“ 1984 is a horrible book,” Wieszczek adds. “You never forget—it stays with you, this big pressure on the chest and the stomach. But somehow, it brought hope. There was this man on other side of the Iron Curtain who understood us. … There is hope because people understand.”

A protean text for political, intellectual and underground movements, 1984 has also resonated in popular culture. Its myriad artistic interpretations are explored in Dorian Lynskey’s The Ministry of Truth: The Biography of George Orwell’s 1984 . The novel inspired television shows, films , plays, a David Bowie album (though Orwell’s widow, Sonia, turned down the artist’s offer to create a 1984 musical) and even a “ Victory gin ” based on the grim spirits described in the novel. It was cited in songs by John Lennon and Stevie Wonder and named by assassin Lee Harvey Oswald as one of his favorite books. And its imagery continues to inform the public’s perception of what might happen if 1984 weren’t fiction after all.

In January 1984, an Apple Macintosh ad directed by Ridley Scott aired during the Super Bowl. It depicted a maverick woman smashing a Big Brother-esque screen that was broadcasting to the subordinate masses, and it ended with the tagline , “You’ll see why 1984 won’t be like ‘1984.’” The implication was that buying Apple products would set people apart from the crowd. In an Orwellian twist, although the ad positioned Apple as the underdog against the dominant IBM, the company actually had a competitive market share, claiming 25 percent to IBM’s 24 percent at the end of 1983.

While the term “Orwellian” can be used to describe Orwell’s style, “the classic use … is for politicians [who] grotesquely misuse language for ideological purposes and use language to disguise or pervert reality rather than to expose it,” Woloch says. Today, the phrase has become a “floating signifier,” Taylor says. “It’s so regularly used it doesn’t actually mean anything.” He cites a politician misusing “Orwellian” to complain about a perceived personal injustice (a canceled book contract).

“[Orwell’s] books have such widespread currency that you can use him to describe anything, really,” Taylor adds. “The word can mean anything and nothing at the same time.”

This is ironic, given how precise Orwell was about language. The reduction of language and creative thought to “ Newspeak ” in the novel figures largely in the population’s oppression. Orwell “was passionately committed to language as a contract crucial to all our other contracts,” writes Rebecca Solnit in Orwell’s Roses . He is “an exemplar of writing as the capacity to communicate other people’s experience,” Seaton says, “… so to read Orwell is, in a sense, to defend language and writing.”

Orwell’s main question, according to Woloch, “is how, as a thinking person and a fair-minded person, … do you confront the genuine pervasiveness of political problems that make up the world that we’re in?” The scholar quotes Orwell’s famous line from a 1938 New Leader essay : “It is not possible for any thinking person to live in such a society as our own without wanting to change it.”

“The big three themes [of 1984 ] that people ought to bear in mind,” Taylor suggests, “are the denial of objective truth, which we see everywhere about us, every war that’s currently taking place anywhere in the world and in quite a lot of domestic political situations, too; the manipulation of language … and the use of words to bamboozle people; and the rise of the surveillance society. … That to me, is the definition of the adjective ‘Orwellian’ in the 21st century.”

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Anne Wallentine | | READ MORE

Anne Wallentine is a writer and art historian with a focus on the intersections of art, culture and health. A graduate of Washington University in St. Louis and the Courtauld Institute of Art, she writes for outlets that include the Financial Times , the Economist , the Art Newspaper  and Hyperallergic .

Masks Strongly Recommended but Not Required in Maryland, Starting Immediately

Due to the downward trend in respiratory viruses in Maryland, masking is no longer required but remains strongly recommended in Johns Hopkins Medicine clinical locations in Maryland. Read more .

• Vaccines  
• Masking Guidelines
• Visitor Guidelines  

COVID-19 Vaccine: What You Need to Know

The COVID-19 vaccine is very good at preventing serious illness, hospitalization and death. Because the virus that causes COVID-19 continues to change, vaccines are updated to help fight the disease. It is important to check the Centers for Disease Control and Prevention (CDC) COVID-19 vaccine information for the latest details. (Posted 11/22/23)

What is the COVID-19 vaccine?

The COVID-19 vaccine lessens the severity of COVID-19 by teaching the immune system to recognize and fight the virus that causes the disease.

For fall/winter 2023–2024, the updated COVID-19 vaccine is based on the XBB.1.5 variant. The updated vaccine is made by Pfizer-BioNTech, Moderna and Novavax. This season, only one shot of the vaccine is needed for most people, and there are no boosters. (People who are immunocompromised or ages 6 months to 4 years may need more than one 2023–2024 vaccine.)

How is the 2023–2024 COVID-19 vaccine different from previous COVID-19 vaccines?

The 2023–2024 COVID-19 vaccine targets XBB.1.5, a subvariant of Omicron. While none of the variants currently circulating are exact matches to the vaccine, they are all closely related to the XBB.1.5 strain. Studies show that the updated vaccine is effective against the  variants currently causing the majority of COVID-19 cases  in the U.S.

Who should get a COVID-19 vaccine?

Because the 2023–2024 vaccine is effective for recent strains of COVID-19, it is recommended that everyone stay up to date with this vaccine. Previous vaccines or boosters were not developed to target the more recent strains. For 2023–2024, the CDC recommends:

• Everyone age 5 and older receive one shot of the updated vaccine.
• Children ages 6 months to 4 years may need more than one shot to be up to date.
• People who are moderately or severely immunocompromised may need more than one shot.

You can review the full recommendations on the CDC’s Stay Up to Date with COVID-19 Vaccines webpage . Be sure to talk to your primary care doctor or pediatrician if you are unsure about vaccine recommendations.

What are the side effects of the COVID-19 vaccine?

Side effects vary and may last one to three days. Common side effects are:

• Soreness at the injection site

COVID-19 Vaccine and Pregnancy

COVID-19 vaccines approved by the Food and Drug Administration (FDA) are safe and recommended for people who are pregnant or lactating, as well as for those r intending to become pregnant.

People who are pregnant or were recently pregnant are at a greater risk for severe COVID-19. Having a severe case of COVID-19 while pregnant is linked to a higher risk of pre-term birth and stillbirth and might increase the risk of other pregnancy complications.

What should parents know about the COVID-19 vaccine and children?

The CDC recommends the 2023–2024 vaccine for adolescents and teenagers ages 12 and older, and for children ages 6 months through 11 years.

• Children age 5 and older need one shot of the updated vaccine.

Children are less likely to become seriously ill from COVID-19 than adults, although serious illness can happen. Speak with your pediatrician if you have questions about having your child vaccinated.

If I recently had COVID-19, do I need a 2023–2024 vaccine?

If you recently had COVID-19, the CDC recommends waiting about three months before getting this updated vaccine. If you encounter the virus again, having the updated vaccine will:

• Lessen your risk of severe disease that could require hospitalization
• Reduce the chance that you infect someone else with COVID-19
• Help keep you protected from currently circulating COVID-19 variants

How long should I wait to get this vaccine if I recently had an earlier version of a COVID-19 vaccine or booster?

People age 5 years and older should wait at least two months after getting the last dose of any COVID-19 vaccine before receiving the 2023–2024 vaccine,  according to CDC guidance .

Is natural immunity better than a vaccine?

Natural immunity is the antibody protection your body creates against a germ once you’ve been infected with it. Natural immunity to the virus that causes COVID-19 is no better than vaccine-acquired immunity, and it comes with far greater risks. Studies show that natural immunity to the virus weakens over time and does so faster than immunity provided by COVID-19 vaccination.

Do I need a COVID-19 booster?

The 2023–2024 vaccine is a one-shot vaccine for most people, and there is no booster this season. (People who are immunocompromised or ages 6 months to 4 years may need more than one 2023–2024 vaccine.)

The FDA calls this an updated vaccine (not a “booster” like previous shots) because it builds a new immune response to variants that are currently circulating. This change reflects the current approach of treating COVID-19 similarly to the flu, with preventive measures such as an annual vaccination.

When should I get a COVID-19 vaccine?

Like the flu and other respiratory diseases, COVID-19 tends to be more active in the fall and winter, so getting a vaccine in the fall is recommended.

How quickly does the COVID-19 vaccine become effective?

It usually takes about two weeks for the vaccine to become effective. The CDC website provides more information on how the COVID-19 vaccines work .

How long does the COVID-19 vaccine last?

Studies suggest that COVID-19 vaccines are most effective during the first three months after vaccination.

Is it safe to get a flu and COVID-19 vaccine at the same time?

Yes, it safe to get both shots at the same time. Keep in mind that each has similar side effects and you may experience side effects from both.

Is the COVID-19 vaccine safe?

Yes. COVID-19 vaccines approved by the FDA meet rigorous testing criteria and are safe and effective at preventing serious illness, hospitalization and death. Millions of people have received the vaccines, and the CDC continues to monitor their safety and effectiveness as well as rare adverse events.

Where can I get a COVID-19 vaccine?

The COVID-19 vaccine is available at pharmacies. See vaccines.gov to find a convenient location.

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An “America First” World

What trump’s return might mean for global order, by hal brands.

What would become of the world if the United States became a normal great power? This isn’t to ask what would happen if the United States retreated into outright isolationism. It’s simply to ask what would happen if the country behaved in the same narrowly self-interested, frequently exploitive way as many great powers throughout history—if it rejected the idea that it has a special responsibility to shape a liberal order that benefits the wider world. That would be an epic departure from 80 years of American strategy. But it’s not an outlandish prospect anymore.

In 2016, Donald Trump won the presidency on an “America first” platform. He sought a United States that would be mighty but aloof, one that would maximize its advantages while minimizing its entanglements. Indeed, the defining feature of Trump’s worldview is his belief that the United States has no obligation to pursue anything larger than its own self-interest, narrowly construed. Today, Trump is again vying for the presidency, as his legion of foreign policy followers within the Republican Party grows. Meanwhile, fatigue with key aspects of American globalism has become a bipartisan affair. Sooner or later, under Trump or another president, the world could face a superpower that consistently puts “America first.”

That version of the United States wouldn’t be a global dropout. On some issues, it might be more aggressive than before. But it would also be far less concerned with defending global norms, providing public goods, and protecting distant allies. Its foreign policy would become less principled, more zero-sum. Most broadly, this version of the United States would wield outsized power absent any outsized ethos of responsibility—so it would decline to bear unequal burdens in pursuit of the real but diffuse benefits the liberal order provides.

The results would not be pretty. A more normal U.S. foreign policy would produce a world that would also be more normal—that is, more vicious and chaotic. An “America first” world could be fatal for Ukraine and other states vulnerable to autocratic aggression. It would release the disorder U.S. hegemony has long contained.

Yet the United States itself might not do so badly—at least for a while—in a world where raw power matters more because the liberal order has been gutted. And even if things really fell apart, Americans would be the last ones to notice. “America first” is so seductive because it reflects a basic truth. The United States would ultimately suffer in a more anarchic world—but between now and then, everyone else would pay the greater price.

A DIFFERENT SORT OF SUPERPOWER

All countries pursue their interests, but not all countries define those interests the same way. The concept of national interest traditionally emphasized the protection of one’s territory, population, wealth, and influence. Since World War II , however, most American leaders and elites have rejected the notion that it should be a normal country acting in normal way. After all, the war had demonstrated how the normal rhythms of international affairs could plunge humanity, and even a distant United States, into horror. It had thereby discredited the original “America First” movement, made up of opponents of U.S. intervention in World War II—and made clear that the world’s mightiest country must radically enlarge its view of what its interests entailed.

The resulting project was unprecedented in scope. It involved forging alliances that circled the globe and protected countries thousands of miles away, rebuilding devastated countries and creating a thriving free world economy, and cultivating democracy in distant lands. Not least, it meant abjuring the policies of conquest and naked exploitation that other great powers had so commonly pursued, and instead defending norms—nonaggression, self-determination, freedom of the commons—that would offer humanity a more peaceful and cooperative path. The United States was now assuming “the responsibility which God Almighty intended,” President Harry Truman declared in 1949, “for the welfare of the world in generations to come.”

This language of “responsibility” was revealing. American policymakers never doubted that their country would benefit from living in a healthier world. But creating that world required Washington to calculate issues of self-interest in a remarkably capacious way. No prior definition of national interest had required the world’s most secure, invulnerable country to risk nuclear war over territories on distant continents, or to rebuild former enemies as industrial dynamos and economic competitors. And no prior definition of national interest required making dramatically unequal contributions to the common security so one’s allies could deliberately underspend on their own defense.

“I see the advantages to the Western world,” President John Kennedy griped, in the early 1960s, of one such arrangement—Washington’s role in stabilizing and lubricating the international economy. “But what is the national, narrow advantage” for the United States? U.S. policy only made sense if one believed that the pursuit of national, narrow advantage had previously consigned the world to carnage—so Washington must create a larger international climate that benefited Americans by benefiting like-minded peoples around the globe. “The pattern of leadership,” Secretary of State Dean Acheson had explained in 1952, “is a pattern of responsibility.” Americans must “take no narrow view of our interests but . . . conceive of them in a broad and understanding way.”

RISE AND SHINE

One doesn’t have to think that everything has been wonderful since 1945 to recognize that history changed fundamentally once this “pattern of responsibility” began to animate American statecraft. Growth exploded and living standards soared—first in the West, and then globally—in the climate of security and economic cooperation that U.S. leadership fostered. War persisted, but great-power war and outright territorial conquest became artifacts of an earlier, darker age. Democracy flourished in the West and radiated outward. The U.S. security blanket smothered the embers that had recently set western Europe and East Asia alight, allowing one-time enemies to reconcile and turning those regions into relative oases of prosperity and peace. Humanity never had it so good, and the United States stood at the center of a liberal order that gradually expanded to cover much of the globe.

Yet Americans were never entirely sold on the idea that they should maintain this order indefinitely. As the Cold War began, the U.S. diplomat George Kennan doubted that Americans were up to the task of global leadership. As that conflict ended, with a stunning Western victory, former U.S. Ambassador to the United Nations Jeane Kirkpatrick wrote that the United States could now become “a normal country in a normal time.”

Kirkpatrick was right that there was no precedent in the first 150 years of American history for the commitments the country had undertaken since 1945. These abnormal commitments had emerged from profoundly abnormal circumstances. American leaders had believed that they must pursue an audaciously global foreign policy because a world left to its own devices had just suffered two cataclysmic crackups in a generation—and the onset of the Cold War threatened a third. They could do so because World War II left the United States with roughly as much economic and military heft as all the other powers combined. This combination of strength and fear transformed U.S. policy. But nowhere is it written that Washington must forever persist in this project as the conditions that produced it fade into the past. And today, there are indications Washington won’t keep doing it indefinitely.

Creating a healthier world required Washington to calculate issues of self-interest in a remarkably capacious way.

The last three U.S. presidents have all aspired to escape the Middle East. As military threats multiply, the Pentagon is struggling to uphold stability in all three key theaters of Eurasia at once. Protectionism is surging; both major parties disdain the major trade deals Washington once used to drive the global economy forward. In late 2023 and early 2024, it took an agonizing six months of delay for Congress to approve life-giving aid for Ukraine. And nowhere is this new mood more palpable than in Trump’s vision of “America first.”

That phrase has obvious echoes of the 1930s, which is why Trump is often called an isolationist. But he isn’t one, and neither were the original “isolationists.” The America Firsters of the 1930s favored U.S. dominance of the Western Hemisphere and supported a strong defense in a dangerous world. What they opposed was the idea that Washington should be responsible for upholding a larger global order, or that it should pick fights with countries that—whatever their crimes—weren’t directly menacing the United States itself.

The crucial link between Trump and this earlier America First movement is that he wants to take the country back to a more conventional view of its interests abroad. Trump has questioned why the United States should risk sparking World War III for the sake of defending small states in Europe or Asia. He has been skeptical of supporting Ukraine against Russia and defending Taiwan from a Chinese assault. (Contrary to what some analysts argue, there isn’t an Indo-Pacific exception in Trump’s version of “America first.”) Trump bemoans the costs and belittles the benefits of U.S. alliances; he bristles at the asymmetries of a global economy Washington has long overseen. He evinces little interest in supporting democracy or protecting important if intangible norms such as nonaggression.

To be sure, under Trump, the United States was hardly a passive superpower. As his trade war with China , ratcheting up of tensions with Iran and North Korea, and economic dustups with U.S. allies between demonstrated, Trump does believe Washington should throw its weight around when its interests are at stake. He just doesn’t believe those interests include the liberal order U.S. power has long sustained.

AMERICA UNBOUND

“America first” never got a full test during Trump’s presidency, thanks to the obstruction of more mainstream advisers, the opposition of Republican internationalists in Congress, and the indiscipline of Trump himself. Yet the first two factors could be less salient if Trump retakes the White House, given his growing ideological sway in the GOP and the care he will take to surround himself with acolytes this time around. And regardless of whether Trump wins in November, his ideas are increasingly central to the U.S. debate. So it’s worth imagining the contours and consequences of an “America first” agenda, consistently applied.

One element of this strategy would be a deglobalized defense. The United States might maintain unmatched military strength. It might invest more heavily in missile defense, cyber-capabilities, and other tools to protect the homeland. It might hit back hard when adversaries attacked its citizens or challenged its sovereignty. Yet Washington wouldn’t keep defending distant states whose survival wasn’t obviously critical to American security or keep providing public goods that were mostly consumed by others. Why should the United States risk war with Russia over Ukraine and the Baltic states, or with China over semi-submerged rocks in the South China Sea? Why must the Pentagon protect Chinese trade with Europe from Houthi attacks? A normal country wouldn’t.

A more normal United States would also be a more reticent ally. Great powers haven’t always viewed alliances as sacred; the history of alliance politics is full of disappointments and double-crosses. At the very least, then, Washington would treat its alliances less as strategic blood oaths than as bargains perpetually ripe for renegotiation. In exchange for continued protection, it might demand much higher defense spending from the Europeans or oil production from the Saudis. Or maybe Washington would simply quit its alliances, leaving Eurasia to the Eurasians—and counting on the United States’s geographic isolation, ability to control its maritime approaches, and nuclear arsenal to keep aggressors away.

Continentalism might thus displace globalism. Even a more restrained United States would strive to dominate the Western Hemisphere. This would become more important as Washington gave up the ability to manage Eurasia’s security affairs. So “America first” would feature a reenergized Monroe Doctrine: U.S. retrenchment from Old World outposts would presage intensified and perhaps heavier-handed efforts to safeguard American influence in the New World, and to prevent rivals from gaining a foothold there.

A more normal United States would also be a more reticent ally.

Economically, an “America first” strategy would feature protectionism and predation. The United States would remain engaged in the global economy. But it would seek to dramatically rebalance the burdens and benefits of that involvement. There would be no more tolerating asymmetric discrimination by trade partners, even democratic allies. Washington would, rather, wield its unmatched power to wring greater benefits out of key relationships. Just as Trump pummeled China and the European Union with tariffs, the United States would get more coercive with allies and adversaries alike. The United States could afford to pull its punches when it accounted for half of global production, the thinking goes, but a more economically competitive world would require a bare-knuckle response.

Not least, the United States would pull back from the liberal aspects of the liberal order. If Trump’s first term is any guide, the United States would invest less in promoting democracy and human rights in faraway, seemingly inhospitable places. It would become more likely to cut explicitly transactional deals with undemocratic regimes. Under a second Trump administration, the United States might even become a model for illiberal behavior, as aspiring strongmen overseas imitated the tactics of the aspiring strongman in the White House. Washington could also deemphasize international law and international organizations, in hopes of loosening the constraints—legal or institutional—the liberal order sometimes placed on American power.

What would all this mean for U.S. relations with rival powers? An “America first” strategy might entail persistent friction with China, especially over trade. Where autocratic aggression impinged directly on U.S. security and prosperity—Iranian attacks that killed American citizens or a Chinese bid that choked off the flow of advanced semiconductors from Taiwan—the tensions could be sharp indeed. Yet a U.S. policy that downgraded liberal values would be reassuring to illiberal leaders, and Washington would be less inclined to confront Beijing, Moscow, or Tehran over violations of international norms or the coercion of small states thousands of miles from American shores. A certain accommodation of autocrats would fit naturally within this foreign policy. Any remaining conflict would be more a matter of traditional great-power rivalry—large, ambitious states clashing for wealth and influence—than something flowing from the American defense of an endangered liberal order.

In fact, the United States would still be a very great power in this scenario. Even if Washington focused only on maintaining primacy in the Western Hemisphere, it would have a sphere of influence larger than any other. In some areas, the United States would seek unilateral advantage less abashedly than before. A less exceptional United States might be less present and more predatory—a combination that could remake the wider world.

POWER WITHOUT PURPOSE?

Critics of “America first” have warned that it would be devastating to global stability, and they’re probably right. The history of world politics before 1945 doesn’t give much hope that things will somehow sort themselves out. American leadership caged the demons—the programs of global expansion, the fratricidal fights within vital regions, the mutually immiserating protectionism, the threat of autocratic ascendancy—that tormented the world before.

Today, the United States is less powerful, relative to its competitors, than it was in 1945 or 1991. But American power still underpins what order the world enjoys. Just ask Ukraine, which would have been crushed by Russia without the arms, intelligence, and money Washington provided. Or ask the European countries clinging to NATO for protection against the Russian threat. In Asia, there is no coalition that can check Chinese power without U.S. participation. In the Middle East, recent events serve as a reminder that only the United States has the ability to defend vital sea-lanes and coordinate a regional defense against Iranian attacks.

This won’t change any time soon. Advocates of restraint may hope that American retrenchment will compel like-minded countries to step forward. But today—as Russia and China churn out arms and too many European and Asian democracies struggle to field minimally capable militaries—it seems a safer bet that the vacuum created by American retrenchment would be filled by the world’s most aggressive states.

In all likelihood, “America first” would be a disaster for frontline states—beginning but not ending with Ukraine—which would lose the support of the superpower that has bolstered them against aggressors next door. It would invite surging instability in global hotspots such as eastern Europe or the South China Sea, where autocratic powers confront weaker rivals. Norms that many people take for granted—the ability of commerce to traverse the seas unhindered, or the idea that conquest is inadmissible—could erode with shocking speed. Countries that have been able to cooperate under American protection might start eyeing one another more suspiciously once again. As disorder deepens, countries throughout Eurasia might arm themselves to the teeth, including with nuclear weapons, to ensure their survival. Or perhaps predation would simply run rampant as American retrenchment reduced the price on malign behavior.

Meanwhile, the global travails of democracy would worsen, particularly where fragile democracies coped with pressure exerted by powerful autocracies nearby. Mercantilism and protectionism might surge as the United States quit defending a positive-sum global economy—or even the relatively cooperative free-world economy the Biden administration has emphasized. States might scramble to lock up resources and markets if they no longer counted on the United States to sustain an open economic and maritime order. It took extraordinary U.S. commitment to turn the state of nature into Pax Americana. The return trip won’t be pleasant.

A WORLD OF REGRET

For the United States itself, though, it might not be so bad. The great irony of post-1945 foreign policy is that the country that created the liberal order is the country that least needs it. After all, the United States remains the world’s strongest actor. It has unrivaled geographic blessings and economic advantages. In a world rendered more anarchic by its policy choices, Washington might do okay, for a time.

The erosion of security around the Eurasian periphery would undo decades of geopolitical progress, but it wouldn’t immediately endanger the physical safety of the United States. In the 1930s, most Americans didn’t want to die for Danzig; in the 2020s, how many would really mind if Narva fell? Likewise, the return of territorial conquest would be tragic for smaller, vulnerable states, but it wouldn’t immediately inconvenience a superpower with nuclear weapons and oceanic moats.

The United States could also ride out the fragmentation of the international economy far better than most countries. Its unmatched power would give it tremendous leverage if commerce turned cutthroat—and its enormous resource endowments, vast internal market, and relatively modest trade dependence would leave it comparatively well suited for a protectionist world.

The United States wouldn’t exactly thrive in this scenario: turbulence that disrupted Middle Eastern oil flows or semiconductor shipments from Taiwan, could create global economic havoc that would not leave Americans unscathed. But perversely, such chaos might still benefit the United States in relative terms, because other countries would fare so much worse.

American power still underpins what order the world enjoys.

Countries in Europe and East Asia would find themselves compelled to make huge new investments in defense, while also contending with resurgent rivalries that might tear their regions apart. The collapse of security in the sea-lanes of the Middle East would primarily affect the European and Asian countries that depended on those trade routes most. Even Washington’s chief rival, China, would suffer tremendous damage if the liberal order collapsed, because—Chinese President Xi Jinping’s drive for self-reliance notwithstanding—it relied so heavily on foreign inputs and export markets.

Eventually, of course, the United States would pay a higher price. If China were someday able to dominate East Asia after American retrenchment, it might gain the power to coerce the United States economically and diplomatically, even if it could never invade militarily. The proliferation of Chinese influence in regions around the world could gradually give Beijing powerful geopolitical and geoeconomic advantages, rendering the United States insecure even within its hemispheric fortress. In the meantime, the international economic friction created by protectionism and chaos would drag down American growth, which could exacerbate social and political conflicts at home. And if democracy receded overseas and powerful autocracies advanced, autocratic voices within the United States might be empowered—as indeed happened in the 1930s.

In the ugliest scenario—but one that historians would immediately recognize—the United States would ultimately decide that the collapse of global order did require it to reengage, but from a significantly worse position, once matters within Eurasia had spun out of control. Yet it might take quite a while for this to happen. When the United States pulled back after World War I, it took a generation for the world to unravel so completely that Washington felt compelled to reengage. Until disaster struck, and the balance of power collapsed in Europe and Asia simultaneously, cascading disorder convinced most Americans to stay out of global affairs, rather than get back in. The same characteristics that insulate the United States from the deterioration of world order in the near term mean that Washington can wait a long time until that deterioration becomes intolerable.

The allure, and the tragedy, of “America first” is that a superpower’s good fortune will shield it—temporarily—from the consequences of its own bad decision-making. In time, the United States, too, would rue the rise of an “America first” world—but only after so many other countries had come to rue it first.

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• HAL BRANDS is Henry A. Kissinger Distinguished Professor of Global Affairs at the Johns Hopkins School of Advanced International Studies and a Senior Fellow at the American Enterprise Institute. He is the author of the forthcoming book The Eurasian Century: Hot Wars, Cold Wars, and the Making of the Modern World .
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What is cloud computing?

With cloud computing, organizations essentially buy a range of services offered by cloud service providers (CSPs). The CSP’s servers host all the client’s applications. Organizations can enhance their computing power more quickly and cheaply via the cloud than by purchasing, installing, and maintaining their own servers.

The cloud-computing model is helping organizations to scale new digital solutions with greater speed and agility—and to create value more quickly. Developers use cloud services to build and run custom applications and to maintain infrastructure and networks for companies of virtually all sizes—especially large global ones. CSPs offer services, such as analytics, to handle and manipulate vast amounts of data. Time to market accelerates, speeding innovation to deliver better products and services across the world.

What are examples of cloud computing’s uses?

Get to know and directly engage with senior mckinsey experts on cloud computing.

Brant Carson is a senior partner in McKinsey’s Vancouver office; Chandra Gnanasambandam and Anand Swaminathan are senior partners in the Bay Area office; William Forrest is a senior partner in the Chicago office; Leandro Santos is a senior partner in the Atlanta office; Kate Smaje is a senior partner in the London office.

Cloud computing came on the scene well before the global pandemic hit, in 2020, but the ensuing digital dash  helped demonstrate its power and utility. Here are some examples of how businesses and other organizations employ the cloud:

• A fast-casual restaurant chain’s online orders multiplied exponentially during the 2020 pandemic lockdowns, climbing to 400,000 a day, from 50,000. One pleasant surprise? The company’s online-ordering system could handle the volume—because it had already migrated to the cloud . Thanks to this success, the organization’s leadership decided to accelerate its five-year migration plan to less than one year.
• A biotech company harnessed cloud computing to deliver the first clinical batch of a COVID-19 vaccine candidate for Phase I trials in just 42 days—thanks in part to breakthrough innovations using scalable cloud data storage and computing  to facilitate processes ensuring the drug’s safety and efficacy.
• Banks use the cloud for several aspects of customer-service management. They automate transaction calls using voice recognition algorithms and cognitive agents (AI-based online self-service assistants directing customers to helpful information or to a human representative when necessary). In fraud and debt analytics, cloud solutions enhance the predictive power of traditional early-warning systems. To reduce churn, they encourage customer loyalty through holistic retention programs managed entirely in the cloud.
• Automakers are also along for the cloud ride . One company uses a common cloud platform that serves 124 plants, 500 warehouses, and 1,500 suppliers to consolidate real-time data from machines and systems and to track logistics and offer insights on shop floor processes. Use of the cloud could shave 30 percent off factory costs by 2025—and spark innovation at the same time.

That’s not to mention experiences we all take for granted: using apps on a smartphone, streaming shows and movies, participating in videoconferences. All of these things can happen in the cloud.

Learn more about our Cloud by McKinsey , Digital McKinsey , and Technology, Media, & Telecommunications  practices.

How has cloud computing evolved?

Going back a few years, legacy infrastructure dominated IT-hosting budgets. Enterprises planned to move a mere 45 percent of their IT-hosting expenditures to the cloud by 2021. Enter COVID-19, and 65 percent of the decision makers surveyed by McKinsey increased their cloud budgets . An additional 55 percent ended up moving more workloads than initially planned. Having witnessed the cloud’s benefits firsthand, 40 percent of companies expect to pick up the pace of implementation.

The cloud revolution has actually been going on for years—more than 20, if you think the takeoff point was the founding of Salesforce, widely seen as the first software as a service (SaaS) company. Today, the next generation of cloud, including capabilities such as serverless computing, makes it easier for software developers to tweak software functions independently, accelerating the pace of release, and to do so more efficiently. Businesses can therefore serve customers and launch products in a more agile fashion. And the cloud continues to evolve.

Introducing McKinsey Explainers : Direct answers to complex questions

Cost savings are commonly seen as the primary reason for moving to the cloud but managing those costs requires a different and more dynamic approach focused on OpEx rather than CapEx. Financial-operations (or FinOps) capabilities  can indeed enable the continuous management and optimization of cloud costs . But CSPs have developed their offerings so that the cloud’s greatest value opportunity is primarily through business innovation and optimization. In 2020, the top-three CSPs reached $100 billion  in combined revenues—a minor share of the global $2.4 trillion market for enterprise IT services—leaving huge value to be captured. To go beyond merely realizing cost savings, companies must activate three symbiotic rings of cloud value creation : strategy and management, business domain adoption, and foundational capabilities.

What’s the main reason to move to the cloud?

The pandemic demonstrated that the digital transformation can no longer be delayed—and can happen much more quickly than previously imagined. Nothing is more critical to a corporate digital transformation than becoming a cloud-first business. The benefits are faster time to market, simplified innovation and scalability, and reduced risk when effectively managed. The cloud lets companies provide customers with novel digital experiences—in days, not months—and delivers analytics absent on legacy platforms. But to transition to a cloud-first operating model, organizations must make a collective effort that starts at the top. Here are three actions CEOs can take to increase the value their companies get from cloud computing :

• Establish a sustainable funding model.
• Develop a new business technology operating model.
• Set up policies to attract and retain the right engineering talent.

How much value will the cloud create?

Fortune 500 companies adopting the cloud could realize more than $1 trillion in value  by 2030, and not from IT cost reductions alone, according to McKinsey’s analysis of 700 use cases.

For example, the cloud speeds up design, build, and ramp-up, shortening time to market when companies have strong DevOps (the combination of development and operations) processes in place; groups of software developers customize and deploy software for operations that support the business. The cloud’s global infrastructure lets companies scale products almost instantly to reach new customers, geographies, and channels. Finally, digital-first companies use the cloud to adopt emerging technologies and innovate aggressively, using digital capabilities as a competitive differentiator to launch and build businesses .

If companies pursue the cloud’s vast potential in the right ways, they will realize huge value. Companies across diverse industries have implemented the public cloud and seen promising results. The successful ones defined a value-oriented strategy across IT and the business, acquired hands-on experience operating in the cloud, adopted a technology-first approach, and developed a cloud-literate workforce.

Learn more about our Cloud by McKinsey and Digital McKinsey practices.

What is the cloud cost/procurement model?

Some cloud services, such as server space, are leased. Leasing requires much less capital up front than buying, offers greater flexibility to switch and expand the use of services, cuts the basic cost of buying hardware and software upfront, and reduces the difficulties of upkeep and ownership. Organizations pay only for the infrastructure and computing services that meet their evolving needs. But an outsourcing model  is more apt than other analogies: the computing business issues of cloud customers are addressed by third-party providers that deliver innovative computing services on demand to a wide variety of customers, adapt those services to fit specific needs, and work to constantly improve the offering.

What are cloud risks?

The cloud offers huge cost savings and potential for innovation. However, when companies migrate to the cloud, the simple lift-and-shift approach doesn’t reduce costs, so companies must remediate their existing applications to take advantage of cloud services.

For instance, a major financial-services organization  wanted to move more than 50 percent of its applications to the public cloud within five years. Its goals were to improve resiliency, time to market, and productivity. But not all its business units needed to transition at the same pace. The IT leadership therefore defined varying adoption archetypes to meet each unit’s technical, risk, and operating-model needs.

Legacy cybersecurity architectures and operating models can also pose problems when companies shift to the cloud. The resulting problems, however, involve misconfigurations rather than inherent cloud security vulnerabilities. One powerful solution? Securing cloud workloads for speed and agility : automated security architectures and processes enable workloads to be processed at a much faster tempo.

What kind of cloud talent is needed?

The talent demands of the cloud differ from those of legacy IT. While cloud computing can improve the productivity of your technology, it requires specialized and sometimes hard-to-find talent—including full-stack developers, data engineers, cloud-security engineers, identity- and access-management specialists, and cloud engineers. The cloud talent model  should thus be revisited as you move forward.

Six practical actions can help your organization build the cloud talent you need :

• Find engineering talent with broad experience and skills.
• Balance talent maturity levels and the composition of teams.
• Build an extensive and mandatory upskilling program focused on need.
• Build an engineering culture that optimizes the developer experience.
• Consider using partners to accelerate development and assign your best cloud leaders as owners.
• Retain top talent by focusing on what motivates them.

How do different industries use the cloud?

Different industries are expected to see dramatically different benefits from the cloud. High-tech, retail, and healthcare organizations occupy the top end of the value capture continuum. Electronics and semiconductors, consumer-packaged-goods, and media companies make up the middle. Materials, chemicals, and infrastructure organizations cluster at the lower end.

Nevertheless, myriad use cases provide opportunities to unlock value across industries , as the following examples show:

• a retailer enhancing omnichannel  fulfillment, using AI to optimize inventory across channels and to provide a seamless customer experience
• a healthcare organization implementing remote heath monitoring to conduct virtual trials and improve adherence
• a high-tech company using chatbots to provide premier-level support combining phone, email, and chat
• an oil and gas company employing automated forecasting to automate supply-and-demand modeling and reduce the need for manual analysis
• a financial-services organization implementing customer call optimization using real-time voice recognition algorithms to direct customers in distress to experienced representatives for retention offers
• a financial-services provider moving applications in customer-facing business domains to the public cloud to penetrate promising markets more quickly and at minimal cost
• a health insurance carrier accelerating the capture of billions of dollars in new revenues by moving systems to the cloud to interact with providers through easier onboarding

The cloud is evolving  to meet the industry-specific needs of companies. From 2021 to 2024, public-cloud spending on vertical applications (such as warehouse management in retailing and enterprise risk management in banking) is expected to grow by more than 40 percent annually. Spending on horizontal workloads (such as customer relationship management) is expected to grow by 25 percent. Healthcare and manufacturing organizations, for instance, plan to spend around twice as much on vertical applications as on horizontal ones.

Learn more about our Cloud by McKinsey , Digital McKinsey , Financial Services , Healthcare Systems & Services , Retail , and Technology, Media, & Telecommunications  practices.

What are the biggest cloud myths?

Views on cloud computing can be clouded by misconceptions. Here are seven common myths about the cloud —all of which can be debunked:

• The cloud’s value lies primarily in reducing costs.
• Cloud computing costs more than in-house computing.
• On-premises data centers are more secure than the cloud.
• Applications run more slowly in the cloud.
• The cloud eliminates the need for infrastructure.
• The best way to move to the cloud is to focus on applications or data centers.
• You must lift and shift applications as-is or totally refactor them.

How large must my organization be to benefit from the cloud?

Here’s one more huge misconception: the cloud is just for big multinational companies. In fact, cloud can help make small local companies become multinational. A company’s benefits from implementing the cloud are not constrained by its size. In fact, the cloud shifts barrier to entry skill rather than scale, making it possible for a company of any size to compete if it has people with the right skills. With cloud, highly skilled small companies can take on established competitors. To realize the cloud’s immense potential value fully, organizations must take a thoughtful approach, with IT and the businesses working together.

For more in-depth exploration of these topics, see McKinsey’s Cloud Insights collection. Learn more about Cloud by McKinsey —and check out cloud-related job opportunities if you’re interested in working at McKinsey.

Articles referenced include:

• “ Six practical actions for building the cloud talent you need ,” January 19, 2022, Brant Carson , Dorian Gärtner , Keerthi Iyengar, Anand Swaminathan , and Wayne Vest
• “ Cloud-migration opportunity: Business value grows, but missteps abound ,” October 12, 2021, Tara Balakrishnan, Chandra Gnanasambandam , Leandro Santos , and Bhargs Srivathsan
• “ Cloud’s trillion-dollar prize is up for grabs ,” February 26, 2021, Will Forrest , Mark Gu, James Kaplan , Michael Liebow, Raghav Sharma, Kate Smaje , and Steve Van Kuiken
• “ Unlocking value: Four lessons in cloud sourcing and consumption ,” November 2, 2020, Abhi Bhatnagar , Will Forrest , Naufal Khan , and Abdallah Salami
• “ Three actions CEOs can take to get value from cloud computing ,” July 21, 2020, Chhavi Arora , Tanguy Catlin , Will Forrest , James Kaplan , and Lars Vinter

Want to know more about cloud computing?

Related articles.

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The Heat Wave Scenario That Keeps Climate Scientists Up at Night

By Jeff Goodell

Mr. Goodell is the author of “The Heat Will Kill You First: Life and Death on a Scorched Planet.”

On a recent Thursday evening, a freakish windstorm called a derecho (Spanish for “straight ahead”) hit Houston, a city of more than two million people that also happens to be the epicenter of the fossil fuel industry in America.

In a matter of minutes, winds of up to 100 miles per hour blew out office building windows, uprooted trees and toppled electric poles and transmission towers. Nearly a million households lost power. Which meant that not only was there no light; there was no air-conditioning. The damage from the storm was so extensive that, five days later, more than 100,000 homes and businesses were still marooned in the heat and darkness.

Luckily, the day the derecho blew in, the temperature in Houston, a city infamous for its swampy summers, was in the low to mid-80s. Hot, to be sure, but for most healthy people, not life-threatening. Of the at least eight deaths reported as a result of the storm, none were from heat exposure.

But if this storm had arrived several days later, perhaps over the Memorial Day weekend, when the temperature in Houston hit 96 degrees, with a heat index as high as 115, it might have been a very different story. “The Hurricane Katrina of extreme heat” is how Mikhail Chester, director of the Metis Center for Infrastructure and Sustainable Engineering at Arizona State University, once put it to me, echoing the memory of the catastrophic 2005 hurricane that struck Louisiana, devastated New Orleans and killed more than 1,300 people.

Most people who died in Louisiana during Katrina died from drownings, injuries or heart conditions. But Dr. Chester was using Katrina as a metaphor for what can happen to a city unprepared for an extreme climate catastrophe. In New Orleans, the levee system was overwhelmed by torrential rains ; eventually, 80 percent of the city was underwater.

What if, instead, the electricity goes out for several days during a blistering summer heat wave in a city that depends on air-conditioning?

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• How to write an essay outline | Guidelines & examples

How to Write an Essay Outline | Guidelines & Examples

Published on August 14, 2020 by Jack Caulfield . Revised on July 23, 2023.

An essay outline is a way of planning the structure of your essay before you start writing. It involves writing quick summary sentences or phrases for every point you will cover in each paragraph , giving you a picture of how your argument will unfold.

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Table of contents

Organizing your material, presentation of the outline, examples of essay outlines, other interesting articles, frequently asked questions about essay outlines.

At the stage where you’re writing an essay outline, your ideas are probably still not fully formed. You should know your topic  and have already done some preliminary research to find relevant sources , but now you need to shape your ideas into a structured argument.

Creating categories

Look over any information, quotes and ideas you’ve noted down from your research and consider the central point you want to make in the essay—this will be the basis of your thesis statement . Once you have an idea of your overall argument, you can begin to organize your material in a way that serves that argument.

Try to arrange your material into categories related to different aspects of your argument. If you’re writing about a literary text, you might group your ideas into themes; in a history essay, it might be several key trends or turning points from the period you’re discussing.

Three main themes or subjects is a common structure for essays. Depending on the length of the essay, you could split the themes into three body paragraphs, or three longer sections with several paragraphs covering each theme.

As you create the outline, look critically at your categories and points: Are any of them irrelevant or redundant? Make sure every topic you cover is clearly related to your thesis statement.

Order of information

When you have your material organized into several categories, consider what order they should appear in.

Your essay will always begin and end with an introduction and conclusion , but the organization of the body is up to you.

Consider these questions to order your material:

• Is there an obvious starting point for your argument?
• Is there one subject that provides an easy transition into another?
• Do some points need to be set up by discussing other points first?

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Within each paragraph, you’ll discuss a single idea related to your overall topic or argument, using several points of evidence or analysis to do so.

In your outline, you present these points as a few short numbered sentences or phrases.They can be split into sub-points when more detail is needed.

The template below shows how you might structure an outline for a five-paragraph essay.

• Thesis statement
• First piece of evidence
• Second piece of evidence
• Summary/synthesis
• Importance of topic
• Strong closing statement

You can choose whether to write your outline in full sentences or short phrases. Be consistent in your choice; don’t randomly write some points as full sentences and others as short phrases.

Examples of outlines for different types of essays are presented below: an argumentative, expository, and literary analysis essay.

Argumentative essay outline

This outline is for a short argumentative essay evaluating the internet’s impact on education. It uses short phrases to summarize each point.

Its body is split into three paragraphs, each presenting arguments about a different aspect of the internet’s effects on education.

• Importance of the internet
• Concerns about internet use
• Thesis statement: Internet use a net positive
• Data exploring this effect
• Analysis indicating it is overstated
• Students’ reading levels over time
• Why this data is questionable
• Video media
• Interactive media
• Speed and simplicity of online research
• Questions about reliability (transitioning into next topic)
• Evidence indicating its ubiquity
• Claims that it discourages engagement with academic writing
• Evidence that Wikipedia warns students not to cite it
• Argument that it introduces students to citation
• Summary of key points
• Value of digital education for students
• Need for optimism to embrace advantages of the internet

Expository essay outline

This is the outline for an expository essay describing how the invention of the printing press affected life and politics in Europe.

The paragraphs are still summarized in short phrases here, but individual points are described with full sentences.

• Claim that the printing press marks the end of the Middle Ages.
• Provide background on the low levels of literacy before the printing press.
• Present the thesis statement: The invention of the printing press increased circulation of information in Europe, paving the way for the Reformation.
• Discuss the very high levels of illiteracy in medieval Europe.
• Describe how literacy and thus knowledge and education were mainly the domain of religious and political elites.
• Indicate how this discouraged political and religious change.
• Describe the invention of the printing press in 1440 by Johannes Gutenberg.
• Show the implications of the new technology for book production.
• Describe the rapid spread of the technology and the printing of the Gutenberg Bible.
• Link to the Reformation.
• Discuss the trend for translating the Bible into vernacular languages during the years following the printing press’s invention.
• Describe Luther’s own translation of the Bible during the Reformation.
• Sketch out the large-scale effects the Reformation would have on religion and politics.
• Summarize the history described.
• Stress the significance of the printing press to the events of this period.

Literary analysis essay outline

The literary analysis essay outlined below discusses the role of theater in Jane Austen’s novel Mansfield Park .

The body of the essay is divided into three different themes, each of which is explored through examples from the book.

• Describe the theatricality of Austen’s works
• Outline the role theater plays in Mansfield Park
• Introduce the research question : How does Austen use theater to express the characters’ morality in Mansfield Park ?
• Discuss Austen’s depiction of the performance at the end of the first volume
• Discuss how Sir Bertram reacts to the acting scheme
• Introduce Austen’s use of stage direction–like details during dialogue
• Explore how these are deployed to show the characters’ self-absorption
• Discuss Austen’s description of Maria and Julia’s relationship as polite but affectionless
• Compare Mrs. Norris’s self-conceit as charitable despite her idleness
• Summarize the three themes: The acting scheme, stage directions, and the performance of morals
• Answer the research question
• Indicate areas for further study

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

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You will sometimes be asked to hand in an essay outline before you start writing your essay . Your supervisor wants to see that you have a clear idea of your structure so that writing will go smoothly.

Even when you do not have to hand it in, writing an essay outline is an important part of the writing process . It’s a good idea to write one (as informally as you like) to clarify your structure for yourself whenever you are working on an essay.

If you have to hand in your essay outline , you may be given specific guidelines stating whether you have to use full sentences. If you’re not sure, ask your supervisor.

When writing an essay outline for yourself, the choice is yours. Some students find it helpful to write out their ideas in full sentences, while others prefer to summarize them in short phrases.

You should try to follow your outline as you write your essay . However, if your ideas change or it becomes clear that your structure could be better, it’s okay to depart from your essay outline . Just make sure you know why you’re doing so.

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