why i write essay pdf

Joan Didion: Why I Write

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

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

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

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

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

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

Which was a writer.

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

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

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

It tells you.

You don’t tell it.

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

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

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

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

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

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

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

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

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

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

“I knew about airports.”

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

__________________________________

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

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Sketches For Burmese Days

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

Essays and articles

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

Reviews by Orwell

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

Letters and other material

• BBC Archive: George Orwell
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• George Orwell to Victor Gollancz (9 May 1937)
• George Orwell to Frederic Warburg (22 October 1948, Letters of Note)
• ‘Three parties that mattered’: extract from Homage to Catalonia (1938)
• Voice – a magazine programme , episode 6 (BBC Indian Service, 1942)
• Your Questions Answered: Wigan Pier (BBC Overseas Service)
• The Freedom of the Press: proposed preface to Animal Farm (1945, first published 1972)
• Preface to the Ukrainian edition of Animal Farm  (March 1947)

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How to Write a Paper in APA Format | For Students

When I was a student, I was told to submit my essays in APA format. At the time, I had no idea what that even meant or how to do it. If this sounds familiar to you, don’t worry—I’ve been there, too. In this guide, I’ll show you the easiest way to understand APA format and a simple hack to help you comfortably write your essays and then format them in APA style.

When is APA format used?

APA format is commonly used in the social and behavioral sciences, such as psychology, sociology, anthropology, education, and economics, as well as in fields like business and nursing. This standardized format is adopted by professionals, researchers, and students to structure and present research papers, essays, and other academic documents.

It ensures consistency and clarity in communication within these disciplines by providing specific guidelines for nearly all aspects of manuscript formatting, from font choice to margins and punctuation. By adhering to paper APA format 7th edition style, writers in these fields can effectively share their findings and ideas in a clear and organized manner.

General Guidelines/ Rules of APA Formatting

Understanding the guidelines is key when learning how to write a paper in APA format for students. However, there's one important point that is often missed by many: the APA 7th edition now has different guidelines for students and professionals. So, if you notice a few extra details that might be missing in the guidelines below, it is because we have skipped the APA 7th edition guidelines for professionals to avoid any confusion. Let's review the guidelines:

General Formatting:

Margins: Set 1-inch margins on all sides.

Font: Use a readable font such as Times New Roman (12 pt.).

Line Spacing: Double-space throughout the document, including the title page, abstract, references, and any other sections.

Indentation: Indent the first line of each paragraph by 0.5 inches (use the tab key or the paragraph formatting function).

Alignment: Left-align all text except for headings, which follow specific formats.

Page Numbers: Include page numbers in the top right corner of every page, starting on the title page (which is considered page 1).

Title Page: Follow guidelines for the placement of the title, author information, affiliation (your school), course information, and instructor's name.

Abstract: Include a brief summary of your paper on a separate page after the title page.

Body Text: Write in clear and concise language, avoiding jargon. Use headings to organize your content.

In-text Citations: Cite your sources within the text using the author’s name and publication year in parentheses. There are specific formats for different types of sources.

Reference List: Start a new page for your references, listed alphabetically by the first author's last name. Follow specific formatting guidelines for different types of sources (books, articles, websites, etc.).

Here's what a title page of a reference paper template looks like in APA format:

How to Set up APA Format Paper [Step-by-Step]

After understanding the guidelines, the next step is to apply them effectively to format your paper in APA 7th edition style. To achieve this, we need an efficient writing tool that provides all the necessary formatting tools. Since we're just starting our journey to format essays in APA style, the tool should be easy to use. For these reasons, I'll be using a professional writing tool— WPS Office .

WPS Office not only provides all the necessary tools but also has a major benefit—it's completely free to use. I recommend downloading WPS Office on your system to ensure you can follow the steps smoothly. So, let's begin. I have an example paper that I will format in APA style using WPS Office.

1.Page Margins

Before you begin formatting your essay, let's set the page margins according to APA 7th edition guidelines, which require 1-inch margins on all sides.

Step 1: To set the page margins in WPS Writer, simply go to the Page Layout tab.

Step 2: In the Page Layout ribbon, locate the Margin fields on the left end of the ribbon.

Step 3: Here, set all margins—top, bottom, left, and right—to 1 inch.

Once you've adjusted the margins, we can proceed with formatting the rest of the document.

2.Font Settings and Line Spacing

Next, let's adjust the font and line spacing according to APA style requirements.

Step 1: Go to the Home tab in WPS Writer and change the font to “Times New Roman” in the “Fonts” field.

Step 2: To change the font size, enter "12" in the "Font size" field.

Step 3: For adjusting line spacing, simply click on the "Line spacing" icon in the Home ribbon and select "2.0" to apply double spacing in your essay.

Once we've completed setting the general formatting of our entire essay according to APA style, we now need to prepare the header.

Step 1: To set the header, double-click on the header area to enter the header in WPS Writer.

The header in APA style for students includes only the page number on the top right.

Step 2: To insert the page number, click on the "Page Number" button in the Header/Footer ribbon.

Step 3: From the Page Number drop-down menu, select the "Header right" option to insert the page number on the top right.

Step 4: Next, we need to set the header height to "0.5 in" in the "Header height" field.

 4.Title Page

Sure! Let's start formatting each page of your essay, beginning with the title page. The title page should include the title of your paper, your name (as the author), the professor's name, course details, university name, and the due date. Each of these headings should start on a new line with 3-4 blank lines at the top of the page. This formatting ensures that your essay's title page follows APA style guidelines accurately.

Step 1: Press the "Enter" key on the keyboard to leave 3-4 blank lines at the top of the page.

Step 2: Type the title of your essay and center align it by clicking on the "Center" icon in the Home ribbon.

Step 3: Make the title bold by selecting the title text and clicking on the "Bold" icon in the Home ribbon.

Step 4: Press the "Enter" key twice to create a blank line between the title and the essay details. Then, enter the essay details in the following order, each on a separate line:

Your name (Author)

Department, University

Course Name, Course code

Professor's name

Step 5: After entering the essay details as described, ensure that each detail is centered on the page by selecting all the text with your mouse. Then, click on the "Center" icon in the Home ribbon to center-align the selected text.

Step 1: To insert a new blank page after the title page, place the cursor at the end of the due date on the title page and go to the Insert tab.

Step 2: In the Insert ribbon, click on "Breaks" and then select "Page Break" from the drop-down menu. This will create a new blank page where we will enter our abstract.

Step 3: Enter the heading "Abstract" in bold font style and center align it.

Step 4: Type the body of the abstract with no indentation. Simply start typing the abstract text.

After completing the abstract, insert another page break to start the next section of your essay.

6.Headings and Subheadings

To ensure your paper adheres to APA style guidelines for headings and paragraph indentation, here's how you can format them:

Step 1: On a new blank page, enter the Level 1 heading and ensure it is centered and in bold.

Step 2: For the body of the headings, indent the first line of each new paragraph by “0.5 in” by pressing the “Tab” key on your keyboard

Level 1 Heading: Centered and bold. It is used for main sections, like "Methods" or "Results".

Level 2 Heading: Left-aligned and bold. It is used to divide the main sections into subsections.

Level 3 Heading: Left-aligned, bold, and italicized. It further divides subsections into smaller parts.

Level 4 Heading: Indented, bold, and ends with a period. Text immediately follows this period, and it continues with lowercase text.

Level 5 Heading: Indented, bold, and in italics. Similar to Level 4, it also continues with lowercase text..

7.Table of contents

Essays can be lengthy, so including a table of contents can help make navigation easier. Let's take a look at how we can add a table of contents in WPS Writer.

Step 1: The Table of Contents is placed right after the title page, so the first step is to create a blank space after the title page using a Page Break.

Step 2: Now, on the blank page, go to the References tab and click on the Table of Contents button.

Step 3: From the Table of Contents drop-down menu, select any of the default templates available. I prefer using the 3rd template as it allows coverage of 3 levels of headings.

Step 4: Once the Table of Contents has been added, ensure that its heading is set to "Table of Contents", and it is formatted in bold and centered alignment.

Step 5: Additionally, ensure that the font settings of the Table of Contents are set to Times New Roman and 12-point font size.

8.Reference page

Before completing our essay, it's important to insert references that were helpful during the research process. For this, the end of your essay will include a separate References page.

Step 1: On a blank page at the end of your essay, enter the heading "References". Center align the heading and make it bold.

Step 2: List all the works cited in your essay. You can use the free Scribbr citation generator to generate APA 7th edition citations, which makes the process easier and ensures accuracy.

Step 3: Ensure the references are formatted with hanging indents using the Ruler in WPS Writer. To access the ruler, go to the View tab and check the "Ruler" checkbox in the ribbon.

Step 4: Drag the arrow on the ruler to half an inch to set the hanging indent .

Step 5: Then, drag the rectangle (below the ruler) back to 0 to reset the left indent for the subsequent lines of each reference.

And here is our APA 7th edition formatted essay from scratch. As you may have noticed, the whole process can be lengthy without an outline, but formatting your essay step by step makes the process clearer and easier to complete. I've used a few other writing tools for formatting, but I recommend WPS Writer because of its ease of navigation—all formatting tools are readily available in the tab, with no need to navigate through extra menus or open additional guides to learn additional steps. Try using WPS Writer for your essay assignments and experience the difference.

Bonus Tips: How to Convert Word to PDF without losing Format

WPS Office not only provides the necessary tools for students to efficiently format their essays according to APA 7th edition, but it also offers tools to easily convert these papers to PDF format within the WPS Writer application. Therefore, because submitting your work promptly is the next step after writing, ensure that your submission doesn't cost you any marks due to formatting issues after putting in so much effort.

To convert your essay documents to PDF using WPS PDF without quality loss, simply follow these steps:

Step 1: Open your document in WPS Writer.

Step 2: Click on the Menu button at the top left corner of the screen.

Step 3: Select "Export to PDF" from the menu that appears.

Step 4: Adjust any settings, such as the output path, in the Export to PDF window.

Step 5: After configuring the settings, click on "Export to PDF" to save your essay document as a PDF.

FAQs about writing a paper in APA format

1. how should i format tables and figures in apa style.

To correctly format a table in APA style, follow these guidelines:

Boldly label the table number above the table.

Provide a brief, italicized title in the title case just below the table number.

Avoid using vertical lines in the table design.

Use horizontal lines sparingly, only where necessary for clarity.

Ensure column and row headings are clearly labeled and concise.

Maintain consistent number formatting, such as decimal places.

Include any necessary notes below the table to explain details or sources.

To correctly format a figure in APA style, follow these guidelines:

Place the figure number in bold above the figure.

Provide a brief, italicized title in the title case beneath the figure number.

Include clear labels and legends within the image if needed.

Add any pertinent notes below the figure.

2. How to cite a Journal article in APA Style?

An APA Style citation for a journal article includes the author's name(s), the year of publication (in round brackets), the title of the article, the name of the journal in italics, the volume (in italics) and issue number, the page range of the article, and a DOI (if available).

APA format:

Author's last name, First name initial. (Year of publication). Title of article. Journal Title, Volume(Issue), Page range. DOI or URL

Johnson, M. (2023). Explore with us. Journal of random discoveries, 5(2), 123-135. https://doi.org/10.1234/jes.2023.5.2.123

3. How to cite a website in APA style?

APA website citations include the author's name, publication date, the title of the page or article in italics, the website name, and the URL. If no author is known, begin with the title of the article. If updates to the content are possible, include a retrieval date.

Author's Last Name, First initial. (Year, Month Date of publication). Title of the page. Name of the Website. URL

Johnson, M. (2024, March 12). Explore with us. Random Discoveries. https://www.randomdiscoveries.com/explore-with-us

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Why I Write Movies

A few words on screenwriting from Robert Towne, author of Chinatown and Shampoo , script doctor on Bonnie & Clyde and The Godfather .

Several years ago my five-year-old daughter bounced into my study and found me hunched and miserable over my typewriter, feeling like a housewife who couldn’t get her stove to boil water. Kate wanted to know why I wouldn’t play with her. “Because I’m stuck.” She wanted to know why I was stuck. “Because it’s hard.” She thought about this for a minute and said, “Then why do it, Dad? Why don’t you cease this activity and become an artist?”

By artist she meant painter, of course, but despite its surprising diction, her question was not an unfamiliar one. It was, in fact, a question I’d heard posed all my life, and not just to me. Writers in every generation since screenplays went off the cuff of the director and onto paper have been asked to respond to it. Generally they have done so with wit, shame, and cynicism—the wisdom of wags and writers from Anita Loos and Ben Hecht to Fitzgerald and Parker has been distilled and codified into Woody Allen’s phrase about screenwriting: Take the money and run. Write the great American novel, the Pulitzer Prize-winning play, live well, and don’t take screenwriting too seriously. Like parking-lot attendants and waiters in Los Angeles, do it on the way to being an actor or a grown-up or an artist, do it as a means to an end—but never as an end in itself. This is a continuing attitude about screenwriting. As Vincent Canby observed not long ago, “I can’t imagine why any person who took himself seriously as an artist would pursue it for more than five minutes.”

.css-f6drgc:before{margin:-0.99rem auto 0 -1.33rem;left:50%;width:2.1875rem;border:0.3125rem solid #FF3A30;height:2.1875rem;content:'';display:block;position:absolute;border-radius:100%;} .css-bugj92{margin:0rem;font-size:1.625rem;line-height:1.2;font-family:Lausanne,Lausanne-fallback,Lausanne-roboto,Lausanne-local,Arial,sans-serif;}@media(max-width: 48rem){.css-bugj92{font-size:1.75rem;line-height:1.2;}}@media(min-width: 64rem){.css-bugj92{font-size:2.375rem;line-height:1.2;}}.css-bugj92 em,.css-bugj92 i{font-style:italic;font-family:inherit;}.css-bugj92 b,.css-bugj92 strong{font-family:inherit;font-weight:bold;}.css-bugj92:before{content:'＂';display:block;padding:0.3125rem 0.875rem 0 0;font-size:3.5rem;line-height:0.8;font-style:italic;font-family:Lausanne,Lausanne-fallback,Lausanne-styleitalic-roboto,Lausanne-styleitalic-local,Arial,sans-serif;} I think movies best communicate whatever I have to say and show; or to put it another way, when what you want to show is what you have to say, you are pretty much stuck with movies as a way of saying it.

There is only one other thing I can recall being treated with anything like the amusement and contempt and condescension reserved for screenwriters—and that is the city of Los Angeles itself. Since I can remember, it’s been called crass, cultish, “the nowhere city,” full of vegetation and people and architecture from any- and everywhere else on earth. Some called it “southern cafeteria” because of the proliferation of eating establishments where the old and the odd and the ill would sit tray-by-tray, spooning their Waldorf salads and dreaming about the future they had come to seek. No one, I suppose, embodied the spirit of contempt and frustration and loathing about Los Angeles more dramatically than Nathanael West. In him, love and hate for Los Angeles collided and finally died in a head-on traffic accident at Sunset and Sepulveda—or so I had been brought up to believe. (Actually, West died on the highway in El Centro, just north of Tijuana, purportedly in a hurry to make it to L.A. in time for his buddy Scott Fitzgerald’s funeral.) Whether it’s Nathanael West or David Susskind or Woody Allen, the varying skills of the observer notwithstanding, the observation is likely to be the same: The only good thing about Los Angeles is that you can turn right on red (but not always, and particularly not at Sunset and Sepulveda).

This confluence of opinion about Los Angeles and screenwriting—bogus representations of life and literature, respectively—is something I remember vividly about growing up in that city. The Santa Anas brought hot air from the desert, ocean breezes brought cold air from the Pacific, and the prevailing wind from the east brought the same message over and over: I lived in a world that was, if possible, phonier than the movies it produced.

Even as a child—especially as a child—this name-calling bothered me. I knew that the fishermen I would watch going out to sea in San Pedro were not phony. Their beards would scratch your face, there was red wine on their breath, and they made you feel safe when they lifted you off the boat and onto the docks before they cast off into the open sea. They were very real.

The only good thing about Los Angeles is that you can turn right on red (but not always, and particularly not at Sunset and Sepulveda).

At the same time, certain things in the movies I watched while growing up began to strike me as increasingly unreal. For instance: I’d never been to New York, but I found it unlikely that you could pull up in front of the Waldorf-Astoria at any hour of the day or night and find a parking space; I would get faintly indignant that no one waited for change when they paid a check in a restaurant; I found it hard to swallow that every married couple slept in twin beds, that the husband always wore pajamas and the wife always woke up without her lipstick smeared; I knew it was a flat-out lie when the movie was set in Los Angeles and the men wore hats and overcoats. This misrepresentation of native dress was a serious violation of reality. It rankled me the way James Fenimore Cooper’s Indians rankled Mark Twain—when six of them jump out of a sapling barely six feet tall and somehow miss a barge 150 feet long passing beneath them at less than one mile an hour. Moreover, these hats in L.A. weren’t merely noted on the printed page; they were being shown on a huge screen, the offending item much larger than life. I’m sure I figured somewhere back then that sooner or later, when I grew up, I would try to do it differently. I’d make it “real.” Particularly because I grew up in a place outsiders claimed was unreal, and because I looked at representations of that world onscreen that I thought were unreal, I suppose I saw movies as a way of redressing a wrong. I would use one illusion—movies—in order to make another illusion—Los Angeles—real.

But then why not address and redress these views of Los Angeles through novels and plays? Why choose screenwriting, so often spoken of as a collaborative business? In this context, collaboration is akin to what happened in occupied France, and business means that you sell whatever writing skills you have for whatever money you can get.

I guess it’s like I said to my daughter, I really am stuck....There are no novels or plays I’m itching to write and there never have been. I love movies. I think movies best communicate whatever I have to say and show; or to put it another way, when what you want to show is what you have to say, you are pretty much stuck with movies as a way of saying it.

Consider this: In Lawrence of Arabia , Lawrence, in flowing white robes, sits on a truck in the middle of the desert giving a press conference. He’s ten feet tall on the screen and overwhelmingly immaculate. He faces a grimy-looking reporter who scratches his beard and asks snidely, “Just what is it, Colonel Lawrence, that attracts you to the desert?” Lawrence glances distastefully at the dirty reporter and offers a three-word reply: “Because it’s clean.” It is not the text but the context that gives this reply its full force. Those three words in a novel or even on the stage would be mildly amusing at best, but on the screen the effect is as overwhelming as the figure of Lawrence and the desert looming behind him. Those three words are the scene. There is no speech, long or short, about Lawrence’s need to seek remote places of the earth in order to avoid the corruption inevitably found in its more populated areas. Only a clean man, a dirty reporter, a big desert, and three little words—“Because it’s clean.”

It’s a movie. What else do you need?

@media(max-width: 73.75rem){.css-1ktbcds:before{margin-right:0.4375rem;color:#FF3A30;content:'_';display:inline-block;}}@media(min-width: 64rem){.css-1ktbcds:before{margin-right:0.5625rem;color:#FF3A30;content:'_';display:inline-block;}} Movies

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Watch CBS News

What is Project 2025? What to know about the conservative blueprint for a second Trump administration

By Melissa Quinn , Jacob Rosen

Updated on: July 11, 2024 / 9:40 AM EDT / CBS News

Washington — Voters in recent weeks have begun to hear the name "Project 2025" invoked more and more by President Biden and Democrats, as they seek to sound the alarm about what could be in store if former President Donald Trump wins a second term in the White House.

Overseen by the conservative Heritage Foundation, the multi-pronged initiative includes a detailed blueprint for the next Republican president to usher in a sweeping overhaul of the executive branch.

Trump and his campaign have worked to distance themselves from Project 2025, with the former president going so far as to call some of the proposals "abysmal." But Democrats have continued to tie the transition project to Trump, especially as they find themselves mired in their own controversy over whether Mr. Biden should withdraw from the 2024 presidential contest following his startling debate performance last month.

Here is what to know about Project 2025:

What is Project 2025?

Project 2025 is a proposed presidential transition project that is composed of four pillars: a policy guide for the next presidential administration; a LinkedIn-style database of personnel who could serve in the next administration; training for that pool of candidates dubbed the "Presidential Administration Academy;" and a playbook of actions to be taken within the first 180 days in office.

It is led by two former Trump administration officials: Paul Dans, who was chief of staff at the Office of Personnel Management and serves as director of the project, and Spencer Chretien, former special assistant to Trump and now the project's associate director.

Project 2025 is spearheaded by the Heritage Foundation, but includes an advisory board consisting of more than 100 conservative groups.

Much of the focus on — and criticism of — Project 2025 involves its first pillar, the nearly 900-page policy book that lays out an overhaul of the federal government. Called "Mandate for Leadership 2025: The Conservative Promise," the book builds on a "Mandate for Leadership" first published in January 1981, which sought to serve as a roadmap for Ronald Reagan's incoming administration.

The recommendations outlined in the sprawling plan reach every corner of the executive branch, from the Executive Office of the President to the Department of Homeland Security to the little-known Export-Import Bank. 

The Heritage Foundation also created a "Mandate for Leadership" in 2015 ahead of Trump's first term. Two years into his presidency, it touted that Trump had instituted 64% of its policy recommendations, ranging from leaving the Paris Climate Accords, increasing military spending, and increasing off-shore drilling and developing federal lands. In July 2020, the Heritage Foundation gave its updated version of the book to then-White House Chief of Staff Mark Meadows. 

The authors of many chapters are familiar names from the Trump administration, such as Russ Vought, who led the Office of Management and Budget; former acting Defense Secretary Chris Miller; and Roger Severino, who was director of the Office of Civil Rights at the Department of Health and Human Services.

Vought is the policy director for the 2024 Republican National Committee's platform committee, which released its proposed platform on Monday. 

John McEntee, former director of the White House Presidential Personnel Office under Trump, is a senior advisor to the Heritage Foundation, and said that the group will "integrate a lot of our work" with the Trump campaign when the official transition efforts are announced in the next few months.

Candidates interested in applying for the Heritage Foundation's "Presidential Personnel Database" are vetted on a number of political stances, such as whether they agree or disagree with statements like "life has a right to legal protection from conception to natural death," and "the President should be able to advance his/her agenda through the bureaucracy without hindrance from unelected federal officials."

The contributions from ex-Trump administration officials have led its critics to tie Project 2025 to his reelection campaign, though the former president has attempted to distance himself from the initiative.

What are the Project 2025 plans?

Some of the policies in the Project 2025 agenda have been discussed by Republicans for years or pushed by Trump himself: less federal intervention in education and more support for school choice; work requirements for able-bodied, childless adults on food stamps; and a secure border with increased enforcement of immigration laws, mass deportations and construction of a border wall. 

But others have come under scrutiny in part because of the current political landscape. 

Abortion and social issues

In recommendations for the Department of Health and Human Services, the agenda calls for the Food and Drug Administration to reverse its 24-year-old approval of the widely used abortion pill mifepristone. Other proposed actions targeting medication abortion include reinstating more stringent rules for mifepristone's use, which would permit it to be taken up to seven weeks into a pregnancy, instead of the current 10 weeks, and requiring it to be dispensed in-person instead of through the mail.

The Alliance Defending Freedom, a conservative legal group that is on the Project 2025 advisory board, was involved in a legal challenge to mifepristone's 2000 approval and more recent actions from the FDA that made it easier to obtain. But the Supreme Court rejected the case brought by a group of anti-abortion rights doctors and medical associations on procedural grounds.

The policy book also recommends the Justice Department enforce the Comstock Act against providers and distributors of abortion pills. That 1873 law prohibits drugs, medicines or instruments used in abortions from being sent through the mail.

Now that the Supreme Court has overturned Roe v. Wade , the volume states that the Justice Department "in the next conservative administration should therefore announce its intent to enforce federal law against providers and distributors of such pills."

The guide recommends the next secretary of Health and Human Services get rid of the Reproductive Healthcare Access Task Force established by the Biden administration before Roe's reversal and create a "pro-life task force to ensure that all of the department's divisions seek to use their authority to promote the life and health of women and their unborn children."

In a section titled "The Family Agenda," the proposal recommends the Health and Human Services chief "proudly state that men and women are biological realities," and that "married men and women are the ideal, natural family structure because all children have a right to be raised by the men and women who conceived them."

Further, a program within the Health and Human Services Department should "maintain a biblically based, social science-reinforced definition of marriage and family."

During his first four years in office, Trump banned transgender people from serving in the military. Mr. Biden reversed that policy , but the Project 2025 policy book calls for the ban to be reinstated.

Targeting federal agencies, employees and policies

The agenda takes aim at longstanding federal agencies, like the National Oceanic and Atmospheric Administration, or NOAA. The agency is a component of the Commerce Department and the policy guide calls for it to be downsized. 

NOAA's six offices, including the National Weather Service and National Marine Fisheries Service, "form a colossal operation that has become one of the main drivers of the climate change alarm industry and, as such, is harmful to future U.S. prosperity," the guide states. 

The Department of Homeland Security, established in 2002, should be dismantled and its agencies either combined with others, or moved under the purview of other departments altogether, the policy book states. For example, immigration-related entities from the Departments of Homeland Security, Justice and Health and Human Services should form a standalone, Cabinet-level border and immigration agency staffed by more than 100,000 employees, according to the agenda.

If the policy recommendations are implemented, another federal agency that could come under the knife by the next administration, with action from Congress, is the Consumer Financial Protection Bureau.

The agenda seeks to bring a push by conservatives to target diversity, equity and inclusion, or DEI, initiatives in higher education to the executive branch by wiping away a slew of DEI-related positions, policies and programs and calling for the elimination of funding for partners that promote DEI practices.

It states that U.S. Agency for International Development staff and grantees that "engage in ideological agitation on behalf of the DEI agenda" should be terminated. At the Treasury Department, the guide says the next administration should "treat the participation in any critical race theory or DEI initiative without objecting on constitutional or moral grounds, as per se grounds for termination of employment."

The Project 2025 policy book also takes aim at more innocuous functions of government. It calls for the next presidential administration to eliminate or reform the dietary guidelines that have been published by the Department of Agriculture for more than 40 years, which the authors claim have been "infiltrated" by issues like climate change and sustainability.

Immigration

Trump made immigration a cornerstone of his last two presidential runs and has continued to hammer the issue during his 2024 campaign. Project 2025's agenda not only recommends finishing the wall along the U.S.-Mexico border, but urges the next administration to "take a creative and aggressive approach" to responding to drug cartels at the border. This approach includes using active-duty military personnel and the National Guard to help with arrest operations along the southern border.

A memo from Immigration and Customs Enforcement that prohibits enforcement actions from taking place at "sensitive" places like schools, playgrounds and churches should be rolled back, the policy guide states. 

When the Homeland Security secretary determines there is an "actual or anticipated mass migration of aliens" that presents "urgent circumstances" warranting a federal response, the agenda says the secretary can make rules and regulations, including through their expulsion, for as long as necessary. These rules, the guide states, aren't subject to the Administration Procedure Act, which governs the agency rule-making process.

What do Trump and his advisers say about Project 2025?

In a post to his social media platform on July 5, Trump wrote , "I know nothing about Project 2025. I have no idea who is behind it. I disagree with some of the things they're saying and some of the things they're saying are absolutely ridiculous and abysmal. Anything they do, I wish them luck, but I have nothing to do with them."

Trump's pushback to the initiative came after Heritage Foundation President Kevin Roberts said in a podcast interview that the nation is "in the process of the second American Revolution, which will remain bloodless if the left allows it to be."

The former president continued to disavow the initiative this week, writing in another social media post  that he knows nothing about Project 2025.

"I have not seen it, have no idea who is in charge of it, and, unlike our very well received Republican Platform, had nothing to do with it," Trump wrote. "The Radical Left Democrats are having a field day, however, trying to hook me into whatever policies are stated or said. It is pure disinformation on their part. By now, after all of these years, everyone knows where I stand on EVERYTHING!"

While the former president said he doesn't know who is in charge of the initiative, the project's director, Dans, and associate director, Chretien, were high-ranking officials in his administration. Additionally, Ben Carson, former secretary of Housing and Urban Development under Trump; John Ratcliffe, former director of National Intelligence in the Trump administration; and Peter Navarro, who served as a top trade adviser to Trump in the White House, are listed as either authors or contributors to the policy agenda.

Still, even before Roberts' comments during "The War Room" podcast — typically hosted by conservative commentator Steve Bannon, who reported to federal prison to begin serving a four-month sentence last week — Trump's top campaign advisers have stressed that Project 2025 has no official ties to his reelection bid.

Susie Wiles and Chris LaCivita, senior advisers to the Trump campaign, said in a November statement that 2024 policy announcements will be made by Trump or his campaign team.

"Any personnel lists, policy agendas, or government plans published anywhere are merely suggestions," they said.

While the efforts by outside organizations are "appreciated," Wiles and LaCivita said, "none of these groups or individuals speak for President Trump or his campaign."

In response to Trump's post last week, Project 2025 reiterated that it was separate from the Trump campaign.

"As we've been saying for more than two years now, Project 2025 does not speak for any candidate or campaign. We are a coalition of more than 110 conservative groups advocating policy & personnel recommendations for the next conservative president. But it is ultimately up to that president, who we believe will be President Trump, to decide which recommendations to implement," a statement on the project's X account said.

The initiative has also pushed back on Democrats' claims about its policy proposals and accused them of lying about what the agenda contains.

What do Democrats say?

Despite their attempts to keep some distance from Project 2025, Democrats continue to connect Trump with the transition effort. The Biden-Harris campaign frequently posts about the project on X, tying it to a second Trump term.

Mr. Biden himself accused his Republican opponent of lying about his connections to the Project 2025 agenda, saying in a statement that the agenda was written for Trump and "should scare every single American." He claimed on his campaign social media account  Wednesday that Project 2025 "will destroy America."

Congressional Democrats have also begun pivoting to Project 2025 when asked in interviews about Mr. Biden's fitness for a second term following his lackluster showing at the June 27 debate, the first in which he went head-to-head with Trump.

"Trump is all about Project 2025," Pennsylvania Sen. John Fetterman told CNN on Monday. "I mean, that's what we really should be voting on right now. It's like, do we want the kind of president that is all about Project '25?"

Rep. Jim Clyburn of South Carolina, one of Mr. Biden's closest allies on Capitol Hill, told reporters Monday that the agenda for the next Republican president was the sole topic he would talk about.

"Project 2025, that's my only concern," he said. "I don't want you or my granddaughter to live under that government."

In a statement reiterating her support for Mr. Biden, Rep. Frederica Wilson of Florida called Project 2025 "MAGA Republicans' draconian 920-page plan to end U.S. democracy, give handouts to the wealthy and strip Americans of their freedoms."

What are Republicans saying about Project 2025?

Two GOP senators under consideration to serve as Trump's running mate sought to put space between the White House hopeful and Project 2025, casting it as merely the product of a think tank that puts forth ideas.

"It's the work of a think tank, of a center-right think tank, and that's what think tanks do," Florida Sen. Marco Rubio told CNN's "State of the Union" on Sunday.

He said Trump's message to voters focuses on "restoring common sense, working-class values, and making our decisions on the basis of that."

Ohio Sen. J.D. Vance raised a similar sentiment in an interview with NBC's "Meet the Press," saying organizations will have good ideas and bad ideas.

"It's a 900-page document," he said Sunday. "I guarantee there are things that Trump likes and dislikes about that 900-page document. But he is the person who will determine the agenda of the next administration."

Jaala Brown contributed to this report.

Melissa Quinn is a politics reporter for CBSNews.com. She has written for outlets including the Washington Examiner, Daily Signal and Alexandria Times. Melissa covers U.S. politics, with a focus on the Supreme Court and federal courts.

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The Kidnapping I Can’t Escape

Fifty years ago, my father’s friend was taken at gunpoint on Long Island. Then he went on with his life — and that’s the part that haunts me.

Jack Teich in the driveway of his home in Westchester County, N.Y., in June. Credit... Dina Litovsky for The New York Times

Supported by

By Taffy Brodesser-Akner

Taffy Brodesser-Akner is a staff writer for the magazine. The kidnapping that begins her new novel, “Long Island Compromise,” was inspired by the Jack Teich kidnapping in 1974.

• Published July 7, 2024 Updated July 8, 2024

On Nov. 12, 1974, my father’s childhood friend Jack Teich was kidnapped out of his driveway in the nicest part of the nicest part of Long Island. He was arriving home from work at Acme Steel Partition and Door, the steel-fabrication company that his family owned in Greenpoint, Brooklyn. It was 6:40 p.m., and it was raining. He pulled up to the house and killed the engine of his Lincoln coupe but saw that the white exterior of the garage door still glowed even though he had turned his high beams off. He twisted around in the driver’s seat and saw another car in the driveway, its headlights blinding him.

Listen to this article, read by Gabra Zackman

“Excuse me,” a man called. He was now outside the car, but Jack could see him only in silhouette because of how bright the headlights were. “You know how to get to Northern Boulevard?”

Jack stepped out of his car. He was surprised. His street was so far off the commuter path that it would be hard to get lost and end up there looking for Northern Boulevard. In fact, when Jack saw headlights in his rearview mirror as he approached the house that night, he thought how strange and rare it was to be on that same road with anyone.

“Excuse me?” Jack asked.

But now the man was approaching. As he grew closer, Jack saw that he was wearing a ski mask and holding a long-barrel silver pistol. That’s when he also saw a second man, taller, this one holding a shotgun and also wearing a ski mask.

“You’re coming with us,” the first man said. “Get over here or we’re going to blow your head off!”

Jack froze for a moment. He considered running behind the house, into the thicket of trees there, but he thought about his wife, Janet, and his two small sons, 6-year-old Marc and 2-year-old Michael, who were in the house right then, how running might put them in danger.

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