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Step-by-step guide on writing a captivating descriptive essay about a place.

How to write a descriptive essay about a place

When it comes to descriptive writing, there is an ocean of possibilities that lies before us like an uncharted territory waiting to be discovered. One such avenue that beckons us to embark on a literary journey is the realm of describing a place. In this captivating genre, we have the opportunity to transport our readers to a specific location, immerse them in its sights, sounds, and sensations, and create an experience that will linger in their minds long after they put down our words.

Perhaps you have stumbled upon a tucked-away village nestled amidst rolling hills, or chanced upon a bustling metropolis pulsating with energy. Maybe it is a secluded beach, where the soft sand caresses your feet and the salty breeze carries the whispers of the waves. Regardless of the place, to paint a vivid picture with words, we must utilize our skills to evoke the atmosphere, bring out the essence, and capture the essence of the locale.

Throughout this step-by-step guide, we will delve into the art of writing a descriptive essay about a place. We will uncover the secrets of choosing the ideal location, gathering sensory details, and employing vivid language that will transport our readers and ignite their imaginations. So, let us begin this adventure and uncover the hidden treasures that await us in the enchanting world of descriptive writing.

Choosing the Perfect Setting

One of the key factors in writing a descriptive essay is selecting the ideal setting to portray. The setting serves as the backdrop for the events and experiences that will be described in the essay. It plays a vital role in creating a vivid image in the reader’s mind and capturing their interest.

When choosing the perfect setting, it is essential to consider the specific details that will help bring the place to life. These details can include the location, time of day, weather, and the overall ambiance of the place. By carefully selecting these elements, the writer can create a sensory experience that allows the reader to feel as if they are truly present in the described location.

Choosing the perfect setting is a crucial step in writing a descriptive essay. It sets the stage, creates a visual image, and immerses the reader in the described location. By carefully considering the location, time of day, weather, and ambiance, the writer can craft a compelling and sensory experience for their audience.

Gathering Research and Inspiration

Exploring the essence of a specific location requires careful research and a keen eye for detail. Before you start writing a descriptive essay about a place, it is essential to gather relevant research and seek inspiration to create a vivid and engaging portrayal.

Start by delving into books, articles, and online resources that offer information about your chosen place. Look for historical facts, geographical details, and anecdotes that can add depth and context to your essay. Note down interesting tidbits and unique features that make the place stand out.

Additionally, immerse yourself in the experiences of others. Read travel blogs, watch documentaries or interviews, and browse through personal experiences shared by people who have visited or lived in the place you are describing. Pay attention to their descriptive language and how they capture the atmosphere and essence of the location.

While conducting your research, take the opportunity to gather visual inspiration as well. Look for photographs, paintings, or sketches that depict the place. Study the colors, textures, and overall composition, and think about how these visual elements can help you convey the atmosphere and mood in your writing.

Don’t limit yourself to online research alone – visit the place if possible or explore through virtual means such as online tours or interactive maps. Immerse yourself in the sounds, sights, and smells of the place, and pay attention to the small details that often go unnoticed.

By gathering research and seeking inspiration, you will have a solid foundation to create a descriptive essay that transports your readers to the place you are describing. It will allow you to paint a vivid picture with words and evoke a strong sense of familiarity and connection in your readers.

Describing the Senses: Sight, Sound, Smell, and More

When it comes to writing a descriptive essay about a place, it is important to engage the reader’s senses and create a vivid image in their mind. By skillfully incorporating descriptive language, you can effectively convey the sights, sounds, smells, and other details that make a place unique and memorable.

The sense of sight plays a crucial role in bringing a place to life on the page. Describe the vibrant colors that dominate the landscape, the architectural details that catch the eye, and the play of light and shadow that creates an atmosphere in the place. Paint a picture with words and immerse your reader in the visual experience of being there.

Sound is another sense that can transport your reader to the place you are describing. Capture the cacophony of a busy city street, the rhythmic crashing of waves on a beach, or the melodic chirping of birds in a tranquil forest. By using descriptive language to convey the soundscape of a place, you can make the reader feel like they are standing right there, immersed in the auditory environment.

In addition to sight and sound, smell is a powerful sense that can evoke strong emotions and memories. Describe the pungent aroma of exotic spices wafting through a bustling market, the earthy scent of freshly fallen rain in a forest, or the intoxicating fragrance of flowers in a lush garden. By bringing the sense of smell to the forefront of your description, you can transport your reader to a place in a way that is both visceral and emotionally resonant.

But the senses don’t stop there. Consider incorporating tactile sensations, such as the rough texture of weathered stone or the softness of a sandy beach. Taste can also play a role, as you describe the flavors of local cuisine or the tang of salt in the air near the ocean. By engaging multiple senses in your description, you create a more immersive and rich experience for your reader.

Describing the senses is a powerful tool in writing a descriptive essay about a place. By skillfully using language to convey the sights, sounds, smells, and other sensory details, you can transport your reader to the place you are describing and create a lasting impression.

Concluding with Impact: Emotions and Reflections

As we reach the end of our journey through the process of writing a descriptive essay about a place, it is important to consider the lasting impact that a well-crafted conclusion can have on the reader. The conclusion is the final opportunity to leave a lasting impression, and by evoking emotions and prompting reflection, we can ensure that our essay resonates with the reader long after they have finished reading.

One effective way to conclude with impact is to appeal to the reader’s emotions. By using descriptive language and vivid imagery, we can paint a final picture that elicits specific emotions in the reader. Whether it is a sense of awe and wonder, nostalgia and longing, or even fear and suspense, tapping into the reader’s emotions can create a powerful connection and leave a lasting impression.

In addition to evoking emotions, the conclusion should also provide an opportunity for reflection. By summarizing the main points and themes discussed throughout the essay, the reader is encouraged to take a step back and consider the broader implications of the place being described. This reflection can deepen the reader’s understanding and create a sense of resonance as they contemplate the significance of the place in their own lives.

Finally, it is important to remember that the conclusion should leave the reader with a sense of closure. This can be achieved by circling back to the introduction, perhaps referencing a key detail or anecdote mentioned at the beginning of the essay. By creating a sense of full circle, the reader is left with a satisfying conclusion and a lasting impression.

In conclusion, the final section of a descriptive essay about a place is a crucial opportunity to make an impact on the reader. By appealing to emotions, prompting reflection, and providing closure, we can ensure that our essay has a lasting effect and leaves the reader with a sense of connection and resonance.

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How To Write A Descriptive Essay About A Place (Step By Step)

Table of Contents

Descriptive essay about a place

Descriptive essay focus on specific details about an object, a place or an event. It presents an object to the reader using vivid language for the reader to have a mental picture of what the writer is describing. When composing a detailed essay about a particular place, the paper needs to present clear descriptions about the location to the reader. Writing an essay about a familiar place gives the writer an opportunity to present his personal experience and feelings the place invokes in him.

How to start a descriptive essay

Before presenting the beautiful scenery, the author needs to be observant of the surroundings because the essay would require detailed explanations and the vibrant experiences about the place. The author needs to identify all the important items that make the place worth describing. A good essay should be based on personal experience whereby the author can easily reflect about his experience.

The first step of developing an essay is to start with a brief introduction, a descriptive introduction would determine whether the reader would want to continue reading the article or not. The author needs to use words that would attract the reader’s attention at the beginning of the essay. An introduction should start with a strong statement, and in the end, the writer needs to present the thesis statement by relating it to what is being described. The thesis statement reveals why the place is important to the author.

A good introduction can start with an anecdote, the author can narrate an interesting story to heighten the reader’s curiosity. A good anecdote sets a good tone for the essay and acts as a transition sentence from the introduction to the body of the essay. An introductory paragraph needs to mention the name, the exact address, and other exciting things that makes to reader wants to visit the location.

How to write main part

The essay body should express feelings, the taste, the smell, the sights and sounds of the place. The author describes the different aspects of the location for the reader to develop a mental picture of how the place looks like. For instance, when describing your grandmother’s home, the body essay describes how beautiful the place looks like, including the lovely trees, her tasty cookies, the most soil around the nearby river, the dishes clicking in the kitchen and how you feel the about the particles of the wood on the staircase. The author can also talk about the people living nearby and any unique features around the home .

Apart from detailed descriptions, the author needs to reflect about the place and make important connections to it. For instance, the essay needs to highlight why the place is a safe haven from everyday stress. The author can also present some of the feeling associated with the location, this will make the readers aware why the place is important to the author.

How to conclude a descriptive essay

The concluding paragraph should rephrase the inspiration of the essay providing detail and personal feelings and also make recommendations for the readers. A good conclusion should describe why the place is significant. Even though the descriptive language used can provoke the reader’s emotion, the audience wants to know why the author spent a lot of time describing the place. Apart from just highlighting the good experience about the place, a good conclusion explains the significance of the essay theme. The conclusion simply confirms to the audience what was already presented, but using selected sensory language for the readers to believe that the place is amazing. A good paper should end on a strong note, leaving the audience feeling satisfied in the concluding paragraph. A good descriptive essay should create excitement for its readers.

Outline example

Introduction

Hook sentence with detailed descriptions that grabs the reader’s attention
Brief background about the place
Sensory descriptions of the place.

Body paragraph

Topic sentence that supports the thesis statement
Describe the place by the name and the exact location
Description about the feelings the place invokes
Provide additional sensory descriptions about the place, including the surrounding areas.
Opening sentence justifying why the place is significant
The facts that support the descriptions using attractive descriptions.
Explain intensely about the place
Describe the important details for the readers
Present emotional background
Present the author’s emotional response based on the place being described.
Expand the feelings described in the above paragraphs
Provide additional emotional details using a decisive factor statement
Restate the feeling of the location.
Restate the main thesis ideas described in the paragraphs
Repeat to the reader why this particular location is important
Review the major things that the author vividly recalls
The feeling and the difference the location makes in the author’s life.

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How to Write a Profile Essay on a Place

December 27, 2023

Choosing a Place

Selecting the right place for your profile essay is crucial as it sets the foundation for everything that follows. When deciding on a place, consider your familiarity with it and the level of access you have to relevant information. Opt for a location that holds personal significance to you or one that you find intriguing, as it will make the writing process more engaging. Additionally, make sure the place is unique and has distinct features or qualities that can be explored in detail. Researching potential places will help you assess their suitability and determine if there is enough material to write a comprehensive profile. Whether it’s a bustling city, a serene natural setting, or a historic landmark, choose a place that you can authentically connect with and that will captivate your readers.

Gathering Information

Before you start writing your profile essay, it is crucial to gather as much information as possible about the chosen place. Begin by conducting thorough research using reliable sources such as books, articles, and websites. Look for historical facts, background information, and any notable events or developments related to the place. Take time to visit the location in person and observe its surroundings, paying attention to sensory details and the overall atmosphere. Engage with locals or experts who have knowledge about the place and can provide unique insights. Conduct interviews, take notes, and record important details that will add depth to your essay. Utilize photographs or visual aids to complement your written descriptions and evoke a sense of place for your readers. The more information you gather, the more comprehensive and captivating your profile essay will be.

Structuring the Profile Essay

Once you have gathered all the necessary information, it’s time to structure your profile essay on a place. A well-organized structure will make your writing clear, coherent, and engaging for your readers. Consider the following steps:

Introduction : Begin with an attention-grabbing opening sentence or anecdote that introduces the place and sets the tone for your essay. Provide a brief overview of the place and its significance.

Body Paragraphs : Divide the body of your essay into several paragraphs, each focusing on a different aspect of the place. Here are some possible ideas for organizing your paragraphs:

Physical description: Describe the location, its surroundings, and any unique architectural or natural features.
Historical context: Provide historical background or significant events related to the place.
Cultural significance: Explore the cultural aspects, traditions, or local customs that define the place.
Personal experiences: Share your own experiences or anecdotes that showcase your connection to the place.
Interviews: Incorporate insights from locals or experts to provide diverse perspectives and enrich your narrative.

Conclusion : Summarize your main points and leave the reader with a lasting impression. Reflect on the significance of the place and its impact on you and others.

Remember to use transition words and phrases to smoothly connect your paragraphs, and use descriptive language to paint a vivid picture of the place.

Writing the Introduction

The introduction of your profile essay on a place is crucial in capturing your readers’ attention and setting the tone for the rest of the piece. Here are some key elements to consider when crafting an effective introduction:

Hook: Begin with an engaging and compelling opening sentence or an intriguing anecdote that instantly grabs the reader’s attention. This could be a vivid description, a thought-provoking question, or a surprising fact about the place.
Background Information: Provide some background information about the place to give context to your readers. This can include its geographical location, historical significance, or any unique features that make it worth profiling.
Thesis Statement: Clearly state the purpose of your essay and the main idea or argument that you will be exploring. This acts as a roadmap for your readers and helps them understand what to expect from your essay.
Scope: Set the scope of your essay by briefly mentioning the aspects or angles you will be focusing on. This helps create anticipation and gives readers a sense of what to anticipate in the upcoming paragraphs.

Remember to keep your introduction concise and captivating to make a strong first impression. By hooking your readers and providing a clear direction, you can entice them to delve deeper into your profile essay on the chosen place.

Describing the Place

One of the key elements of a profile essay on a place is a detailed and nuanced description of the location. This requires using descriptive language to convey visual, auditory, and sensory details that capture the essence of the place. Here are some tips to help you describe the place in your essay:

Use Vivid Adjectives: Use descriptive adjectives to create a sense of place and bring the location to life for your readers. This can include words that describe the colors, textures, shapes, or landscapes of the place.
Appeal to the Senses: Engage the reader’s senses by describing the smells, sounds, and sights that define the place. This helps the readers envision the place in their minds.
Be Specific: Use specific examples from your observations and research to provide concrete details about the place, making your profile essay more credible and authoritative.
Show, Don’t Tell: Use descriptive language to show the reader what is happening rather than simply telling them. This will allow the readers to create their own mental image of the place and make the essay more immersive.

Remember to focus on the details that make the place unique and noteworthy, which will make your essay more appealing to readers. A well-crafted description of the place can transport your readers to the location and inspire them to want to visit it someday.

Capturing the Atmosphere

To create a compelling profile essay on a place, it is essential to capture the atmosphere and convey the overall mood of the location. The atmosphere sets the tone for the reader’s experience and helps them immerse themselves in the place. Here are some tips to effectively capture the atmosphere:

Observe and Experience: Spend time in the place and experience it firsthand. Take note of the sounds, smells, and feelings that permeate the air. Pay attention to the energy and emotions of the people frequenting the place.
Descriptive Language: Use descriptive language to evoke the atmosphere. Choose words that reflect the mood, such as vibrant, tranquil, bustling, or serene. Paint a vivid picture using adjectives and vivid imagery to allow readers to feel like they are there.
Engage the Senses: Describe the sights, sounds, smells, tastes, and textures that contribute to the atmosphere. This sensory imagery creates a more immersive experience for the reader.
Show Context: Provide context to help readers understand the atmosphere. Explain any cultural or historical factors that contribute to the mood, ensuring the reader can fully appreciate the ambiance of the place.

By effectively capturing the atmosphere, you can transport readers to the location and offer them an immersive experience through your profile essay.

Highlighting Significant Features

In a profile essay on a place, it is crucial to highlight the significant features that set the location apart. These features can include physical landmarks, historical sites, cultural traditions, or even unique geographical characteristics. Here are some strategies to effectively highlight the significant features:

Thorough Research: Conduct in-depth research to identify the noteworthy features of the place. This can involve studying its history, interviewing locals, or exploring its cultural significance.
Contextualize Importance: Provide context for the significance of the features. Explain their historical, cultural, or social relevance and how they contribute to the identity of the place.
Engaging Descriptions: Use descriptive language to vividly portray these significant features. Paint a picture with words, capturing their visual appeal and conveying their impact.
Illustrative Examples: Support your descriptions with concrete examples or compelling narratives that highlight the significance of these features. This allows readers to better understand and appreciate their importance.

By effectively highlighting the significant features, your profile essay can truly showcase what makes the place distinctive and compel readers to explore and experience it for themselves.

Sharing Personal Experiences

One effective way to add depth and authenticity to a profile essay on a place is by sharing personal experiences. By weaving your own encounters, emotions, and reflections into the narrative, you create a connection with the reader and provide a unique perspective on the place. Here are some tips for sharing personal experiences in your essay:

Reflect on Your Visits: Recount your visits to the place and describe the impact it had on you. Share your initial impressions, the emotions you felt, and any memorable moments or interactions.
Use Narrative Techniques: Employ storytelling techniques to engage the reader. Build a narrative around your experiences, utilizing vivid descriptions, dialogue, and a clear chronology.
Share Insights and Discoveries: Discuss any insights or discoveries you made during your time in the place. This can involve personal realizations, cultural observations, or newfound knowledge.
Be Honest and Reflective: Be open and honest about your experiences. Reflect on what the place taught you, how it challenged your preconceptions, or how it changed your perspective.

By sharing your personal experiences, you bring a unique voice to the essay and add a personal and relatable touch that enriches the overall profile of the place.

Interviewing Locals or Experts

To gather valuable insights and firsthand knowledge for your profile essay on a place, consider interviewing locals or experts who have a deep connection to the area. Their perspectives can provide a deeper understanding of the place’s culture, history, and significance. Here are some tips for conducting interviews:

Identify Key Individuals: Determine who the key individuals are in relation to the place. These can be longtime residents, historians, community leaders, or experts in relevant fields.
Prepare Thoughtful Questions: Develop a list of questions that delve into the unique aspects of the place. Ask about local customs, traditions, historical events, or landmarks to capture their perspectives and insights.
Active Listening: During the interview, actively listen and engage with the interviewee. Allow them to share their stories, experiences, and knowledge while taking notes for reference.
Incorporate Quotes and Anecdotes: Incorporate direct quotes and anecdotes from the interviews into your essay. This adds authenticity and credibility, allowing the voices of the locals or experts to shine through the narrative.

By interviewing locals or experts, you can provide a well-rounded and authentic portrayal of the place, giving readers a deeper understanding and appreciation for its unique qualities.

Organizing the Body Paragraphs

When writing a profile essay on a place, organizing the body paragraphs is essential to present a coherent and logical flow of information. Here are some tips to help you effectively organize the body paragraphs:

Start with an Introduction: Begin the body paragraphs with an introduction that sets the stage for the specific feature or aspect you will be discussing. This can include a brief overview, historical context, or an interesting anecdote related to the place.
Use a Topic-Based Approach: Consider organizing the body paragraphs around different topics or themes related to the place. Each paragraph can focus on a specific feature, such as landmarks, cultural traditions, historical events, or natural beauty.
Chronological Order: Another approach is to organize the paragraphs in chronological order to showcase the historical evolution or development of the place. This can be particularly effective when discussing the transformation of a place over time.
Spatial Organization: If the place has distinct physical areas or neighborhoods, you can organize the paragraphs based on spatial divisions. This approach allows readers to explore different aspects or characteristics of the place systematically.
Supporting Evidence and Examples: Within each paragraph, provide supporting evidence and examples to enhance the reader’s understanding. Include interesting facts, statistics, relevant quotes, or engaging anecdotes that highlight the significance of each feature.

Remember, the key is to maintain a logical and coherent structure that guides the reader through an engaging exploration of the place while effectively highlighting its unique features and characteristics.

Writing a Strong Conclusion

A strong conclusion can leave a lasting impression on your readers and tie together the key elements of your profile essay on a place. It should provide a sense of closure while reinforcing the significance of the place. Here are some tips for writing a strong conclusion:

Summarize Key Points: Briefly summarize the main features, themes, or insights discussed in the body paragraphs. This helps reinforce the central message of your essay.
Emphasize Significance: Remind readers of the overall significance of the place. Highlight how its unique features contribute to its identity, cultural heritage, or impact on the surrounding community.
Leave a Lasting Impression: Conclude with a memorable statement, vivid image, or thought-provoking question that lingers in the reader’s mind. This can evoke emotions or spark further exploration and reflection.
Reflect on Personal Experience: Share a brief reflection on your personal experience of the place and how it has impacted you. This adds a personal touch and helps establish a connection with the readers.
Call to Action: Encourage readers to visit the place or engage in further research or exploration. Invite them to experience its beauty, explore its history, or immerse themselves in its culture.

By crafting a strong conclusion, you can leave a lasting impression and inspire readers to engage with the place beyond the confines of your essay.

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Descriptive Essay

Descriptive Essay About A Place

Writing a Descriptive Essay About A Place - Guide With Examples

Understanding Descriptive Essays

A descriptive essay is a type of writing that aims to describe and portray an object, person, or place. The essay typically includes sensory details to help the reader imagine its contents more vividly. Descriptive essays can be written about a person , place, or other themes like nature , autumn , food , or even yourself .

A descriptive essay about a place should provide enough details for the reader to build a mental image of it. To do this, you need to include vivid descriptions and relevant information that could paint a picture in their minds.

Let's read some examples to see what a good descriptive essay looks like.

Examples of Descriptive Essay About Any Place

Here are some descriptive writing about a place examples:

Example of a Descriptive Essay About a Place

Descriptive Essay About a Place You Visited

Descriptive Essay About a Place Called Home

Descriptive Essay About a Place You Loved as a Child

Descriptive Essay About a Place of Interest I Visited

Descriptive Essay About a Favorite Place

Do you need more sample essays? Check out more descriptive essay examples t o get inspired.

Tips for Writing an Excellent Descriptive Essay About A Place

Now that you've read some examples of descriptive essays about places, it's time to learn how to write one yourself. Here are some tips on writing a great essay:

Choose The Right Topic

The topic of your essay should be something that you have a strong connection to or feeling about. It could be a place you've visited recently or a place from your childhood. Moreover, make sure that it's something that you can write about in enough detail to make your essay interesting.

Check out this blog with 100+ descriptive essay topics to get your creative juices flowing.

Gather Information

Gather as much information as possible about the topic of your essay. This will help you craft vivid descriptions and portray an accurate picture for your readers. Gather your observations, research online, and talk to people who have visited the place you're writing about.

Make sure to research the topic thoroughly so you can provide accurate and detailed descriptions. Read up as much as you can about the history of the place, and any interesting facts or stories about it.

Structure Your Essay

Outline your descriptive essay before beginning to write so all points flow logically from one to another throughout the entire piece.

Make sure to include a strong introduction and conclusion, as well as several body paragraphs that help support your main points.

Include Sensory Details

Use sensory language by including details such as sights, smells, tastes, sounds, etc. This helps to engage readers and transport them into the setting of your essay.

When writing a descriptive essay, make sure to include vivid descriptions that involve all five senses. This will help create a more engaging and immersive experience for your readers.

Use Vivid Language

Make sure to use strong and powerful words when describing the place you're writing about. Use metaphors and similes to bring your descriptions to life and make them more interesting for readers.

Proofread Your Essay

Proofreading is an important step in any writing process, especially when it comes to descriptive essays. Make sure to check for any typos or spelling errors that may have slipped through in your writing.

You also need to make sure that the flow of your essay is logical and coherent. Check if you've used a consistent point of view throughout, and make sure that all ideas are well-supported with evidence.

Follow these tips and examples, and you'll be well on your way to writing a great descriptive essay.

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MyPerfectWords.com offers excellent essay writing service for students to help them. Our experienced writers are here to provide high-quality and error-free work to help you get the grade you deserve. With our essay writing service, you are guaranteed a 100% original essay.

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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.

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My Favourite Place Essay

A favourite Place is one where a person enjoys spending the majority of their time. Each person has a different favourite place. The only place we can go to forget all of our sorrow. It depends on what they like and are interested in. Here are a few sample essays on my favourite place.

100 Words Essay On My Favourite Place

Each of us has a favourite location where we can find fulfilment and happiness. I also have a favourite place where I enjoy spending the majority of my time. My house is where I like to be. I enjoy spending my time there. It has a lovely and tranquil environment. My house is in the centre of a city. I live with my mother, father, two brothers, and two sisters. We each have our room. There isn't a place more significant than my house, in my opinion. I enjoy being at home. It energises me and lifts my spirits. Whenever I'm at home, I enjoy myself.

200 Words Essay On My Favourite Place

Everybody has a favourite location, such as a garden, a house, a playground, etc. My hometown, though, is my favourite place, and I love being in my home.

My Hometown

My town is my entire world. I was raised there. I have a lot of lovely and endearing memories of it. I used to play there with my friends and cousins during my early years. In my community, everyone is cordial. My town has many trees. I can only think of one spot where I enjoy spending time - my town. My visits home provide me with much delight and satisfaction. In my town, practically every amenity is available, and the roads and bridges are macadamized.

Additionally, the community has access to medical facilities. The local government also provides excellent maintenance for the public transportation system. In my community, emphasis is placed primarily on education. Everyone wants access to high-quality education, regardless of gender. The neighbourhood helps out with the needs of poor kids. I hold this place- My Town, in high regard.

Everyone has a distinct favourite location. It is in keeping with their preferences and interests. Similarly, my favourite location reflects my interests, and I love being at my favourite place.

500 Words Essay On My Favourite Place

My grandmother's house in my village has often been one of my favourite places to be. Everyone has always held a special place in their hearts for their grandmother's home. We spent numerous summers with our granny when we were younger. Her home appeared to stand out from the rest in some way that made it special.

Enjoyment time

I enjoy playing outside while picking fresh fruits from the trees and eating freshly prepared vegetables. Frequently, I help my grandmother sow seeds in the garden. There are several reasons why I value this place so highly. There is something incredibly unique about the house. I feel at ease and relaxed here.

Why I Love My Grandmother’s House

First of all, the atmosphere at my grandmother’s house is distinctly different. I am at peace here. There is no noise or pollution because it is in a village. Additionally, there are no traffic jams here. I always wake early so that I can go for a walk and take in some fresh air. My body and mind are both revitalised by the fresh air. My grandmother makes me a delicious breakfast. In the evening, my whole family gathers to share our life stories as our grandfather makes tea.

My grandparents' home also has a small garden with grass that is a vibrant green colour. In the garden, there are swings as well. There, we also like playing entertaining games with our relatives, including water fights. We frequently spend the evenings sitting on the roof, looking up at the stars.

Holidays At Grandmother’s House

Over the holidays, there is always a lot of laughing and playing games at grandma’s house. Uncle's loud, recognisable giggle may be heard for miles. My aunt never misses an opportunity to comment on his laughter. The living room of our grandmother's home is where she regularly can be seen sitting and gazing out the window, close to the front entrance. She sits at this location to read the newspaper daily and sip on her old-fashioned steaming black coffee.

She can lose hours watching the birds fly to the feeder next to the window in her living room. Most birds have names that our grandmother is familiar with and recognises. She never skips a chance to observe the squirrels. Everything blossoms, and there are fresh flowers everywhere throughout the summer. In our town, the natural beauty is at an all-time high, and it's impossible to keep your eyes off the stunning surroundings. A pond is located behind the house. My cousins and I go fishing in the pond.

The village's residents lead simple, healthy lives. People care for one another and are always available. They make a lot of effort to maintain the facility's cleanliness because they care about it. We always look forward to our summer vacation so we may visit Grandma and Grandpa. Anyone who has met them will attest to their humility. All of this adds up to why I love my grandparents house and why it is my favourite place.

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Understanding the Legacy: the Significance of Alexander Hamilton

This essay about Alexander Hamilton explores his profound impact on American history, from his humble beginnings in the Caribbean to his pivotal role in shaping the young republic. It into his contributions as a statesman and architect of America’s financial system, as well as the controversies and tragedies that marked his personal life. Hamilton’s enduring legacy as a visionary thinker and central figure in the nation’s founding is examined, highlighting his complex and contested place in American history and his ongoing influence on the nation’s ideals and identity.

How it works

In the tapestry of American history, certain figures stand out as luminaries, their legacies woven into the very fabric of the nation’s identity. Among these, Alexander Hamilton occupies a unique and compelling place. His life, though brief, left an indelible mark on the American experiment, shaping the trajectory of the young republic in ways both profound and lasting. To understand the significance of Alexander Hamilton’s legacy is to delve into the heart of America’s founding ideals and to grapple with the complexities of its past and present.

Born out of wedlock in the Caribbean island of Nevis in 1755 or 1757 (the exact date remains a matter of historical debate), Hamilton’s early life was marked by adversity and struggle. Orphaned at a young age, he displayed a precocious intellect and a fierce determination to rise above his circumstances. Through a combination of talent and fortitude, he secured a scholarship to attend King’s College (now Columbia University) in New York City, where he immersed himself in the revolutionary fervor of the times.

It was in the crucible of the American Revolution that Hamilton’s star began to ascend. As a young officer in the Continental Army, he caught the attention of General George Washington, who quickly recognized his brilliance and appointed him as his aide-de-camp. Hamilton’s strategic acumen and eloquence soon earned him a prominent role in shaping the course of the war and laying the groundwork for American independence.

But it was in the realm of politics and governance that Hamilton truly left his mark. As the driving force behind the ratification of the Constitution and the architect of America’s financial system, he played a central role in shaping the institutions and principles that would define the new nation. As the first Secretary of the Treasury, Hamilton implemented bold and controversial policies that laid the foundation for America’s economic prosperity and established the federal government as a powerful force in shaping the nation’s destiny.

Yet, for all his accomplishments, Hamilton’s legacy is a complex and contested one. His advocacy for a strong central government and his support for policies such as the establishment of a national bank and assumption of state debts earned him both admirers and detractors. His bitter rivalry with Thomas Jefferson and his role in the founding of the Federalist Party laid the groundwork for the partisan divisions that continue to shape American politics to this day.

Moreover, Hamilton’s personal life was marked by scandal and tragedy. His affair with Maria Reynolds and the subsequent public exposure of his infidelity tarnished his reputation and exposed him to political attacks. His untimely death in a duel with Vice President Aaron Burr cut short a life of immense promise and left a nation mourning the loss of one of its brightest stars.

Yet, despite these controversies and setbacks, Hamilton’s legacy endures. His vision of America as a dynamic and entrepreneurial nation, driven by innovation and ambition, continues to resonate with millions of Americans. His writings, including the Federalist Papers and his contributions to the New York Ratification Convention debates, remain essential reading for anyone seeking to understand the principles and ideals that animate the American experiment.

Moreover, Hamilton’s life story has captured the popular imagination in a way that few other founding fathers have. From Ron Chernow’s bestselling biography to Lin-Manuel Miranda’s acclaimed musical, Hamilton’s story has been reimagined and reinterpreted for new generations, ensuring that his legacy will continue to inspire and provoke debate for years to come.

In the final analysis, the significance of Alexander Hamilton’s legacy lies not only in his achievements as a statesman and thinker but also in the questions and contradictions that surround his life. He was a man of towering intellect and boundless ambition, whose successes and failures speak to the complexities of the American experience. To understand his legacy is to grapple with the fundamental tensions that have shaped and continue to shape the nation he helped to create. It is to confront the enduring question of what it means to be an American and to reckon with the enduring legacy of one of the nation’s most enigmatic and influential figures.

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Friday essay: ‘My family are always trying to buy us a house.’ We asked couples how class affects their relationships

Senior Lecturer, Macquarie School of Social Sciences, Macquarie University

Senior Research Fellow, Alfred Deakin Institute for Citizenship and Globalisation, Deakin University

Disclosure statement

Rose Butler has received funding from the Australian Research Council.

Eve Vincent does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

Macquarie University and Deakin University provide funding as members of The Conversation AU.

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When Patrick first held a driver’s licence, his P-plates, he drove a beaten-up car “almost as old as myself”. If police didn’t pull him over once a month, he’d be surprised.

His older brother’s girlfriend, “an upper-class girl”, was once pulled over while on her P-plates while driving a new car, having forgotten to put her lights on. The officer told her in a friendly voice, “You should probably put your lights on.” She had responded mildly with, “Oh, cool, sorry.” Meanwhile, in a similar situation, Patrick had been charged over an insignificant technicality to do with displaying his P-plates.

“Just the expectation from me of dealing with authorities is … I have to toe the line,” he told us, “my expectations are I’m going to get slammed by them.”

When we spoke to Patrick, he was in his thirties. Now, he was a computer programmer, living a comfortable life. But throughout his childhood, Patrick, who is white, shouldered significant responsibilities amid severe material deprivation – he recalled going hungry, for instance.

His girlfriend, Felicia, grew up in the “upper class end of things” in the quiet south-eastern suburbs of Melbourne. Her dad was a doctor and her mum assisted with the practice. She and her siblings attended the local private school because, Felicia believed, her parents wanted her to associate with “the right people”. She described her family background as Jewish, English and “brown”, and her childhood as a “very happy time”.

Patrick told us Felicia can “talk her way out of” situations with authorities. “She can always explain the situation and get leeway.” He sees a big difference between them around “expectation”: of their treatment in the world and their place within it.

These divergent expectations reached into various aspects of their shared lives. “Dealing with things like real estate agents or businesses or whatever, she’s always got the expectation that something can be worked out.” Put another way, Patrick felt Felicia’s view of the world was, “What she wants can be got.”

Patrick, conversely, described how he couldn’t “shake” the feeling he needed to always have “everything in line”. If he was submitting a rental application for a house, for example, he took care to have all the documentation watertight and in hand. This is much easier to accomplish now he is earning a high wage as a programmer and living a settled life. Yet he still carries a somewhat amorphous anxiety, steeped in his class experience. “If I have one thing wrong, that one thing’s going to trip me up.”

Love across class

We spent two years interviewing 38 people about their experiences of love and class: members of 15 couples, plus eight women whose partners declined to take part.

When we asked about our interviewees’ cultural backgrounds, their descriptions included “white”, “mixed race”, “brown”, Aboriginal, Jewish, Vietnamese, Sri Lankan, English, Māori and Turkish.

What happens, we wanted to know, when people form a romantic relationship across class?

We were attracted to this question after a project where we’d interviewed parents about the changing multicultural dynamics of their local public schools and neighbourhoods. We noticed it was relatively easy for white, middle-class parents to recognise, feel positive about and know what to say about forming connections across “ethnic” difference in their school communities.

But they felt differently about their children forming friendships across class: this was far less appealing and more actively avoided. Many struggled to find a vocabulary to talk about the nature of class differences. These were communicated using other words, like “values” and “rough”.

We decided to embark on new research together, with “class” as an explicit focus. We interviewed people who perceived their class background, or “class origin”, to be different to their partner’s.

Many interviewees expressed relief and even catharsis in discussing class and its significance to their partnership – and their relationship to the world more broadly. We also talked with couples who felt confused about the role class difference played in their relationship, but sensed it was something they were grappling with. This was especially the case when people hailed from migrant or transnational backgrounds, or had experienced upward social mobility.

Two of our interviewees were hesitant to use the language of class: they worried it involved judgement and betrayal of their faith in meritocracy and individual character.

Class, we learned, manifests in subtle and not-so-subtle ways in these partnerships.

A similar place ‘from very different directions’

Patrick had spent his childhood moving up and down the east coast, “just random places”. His dad did “manual labour of various sorts” before a car accident wrecked his left arm. He did work “every so often” throughout his childhood, but was “mostly unemployed”. In his adulthood, Patrick’s parents separated and his mum started working in aged care.

Felicia told us Patrick was not a “man child”, unlike “so many of the people that I grew up with”. His maturity was very attractive to her, and she described him as “very emotionally intelligent”. As a child, Patrick’s family visited op shops to buy clothes, books and old computers. He talked about slowly building a nourishing life as he recovers from the psychic pain caused, in part, by abject childhood poverty.

Felicia says she and Patrick have arrived at a similar place “from very different directions”. She has come to feel increasingly “alienated” from “a lot of assumptions about lifestyle and money” she grew up with.

While her old school friends have mortgages and expensive cars bought with the “equity from those mortgages”, she rents in a lively, friendly neighbourhood and engages in just enough locum work as a doctor to sustain her lifestyle. She greatly values her spare time.

Felicia and Patrick’s close bond and respect for each other was clear to us. Yet Patrick also emphasised that his wounds remain raw, as he delved into the dynamics of their cross-class relationship.

Class is ‘one of our biggest issues’

Another couple, Caleb and Jacinta, described the class dynamics of their relationship in ways that echo Patrick and Felicia’s. However, they described a more pointed, building tension.

Jacinta, who grew up with far fewer opportunities and choices than Caleb, described class as “one of our biggest issues”.

Caleb is a white university student in his thirties from inner-city Melbourne, the sole child of “two detached lawyers”. Jacinta, who works as a TV producer, described herself as being from a “mixed” ethnic background. Her mum was a cleaner and her stepdad a security guard.

Caleb is “pathologically indifferent” to money, he told us. In their spacious inner-city apartment, Caleb appreciated both minimalism and quality. He enjoyed shopping at the local, pricier shops, rather than the supermarket where things were cheaper, and his approach to paying bills on time was relaxed. He explained with self-deprecating humour that he was “raised in the lap of luxury”, “firmly ensconced in the most comfortable class”.

“The class thing” had been at the forefront of Jacinta’s mind for a while, she told us. Despite Caleb’s family’s affluence, their wealth hadn’t been apparent to Jacinta in the early days of their relationship. Of course, she’d known Caleb’s family had money: their “nice house” was in “a very fancy part of town”, with “libraries of books on the walls”.

But they also actively obscured the advantages their wealth afforded them, and they loathed obvious displays of wealth. For Jacinta, who grew up under very different financial circumstances, this contradiction was difficult to grasp. Her in-laws lived a seemingly understated life, but one that was expensive to sustain.

Jacinta’s mum was 16 when Jacinta was born and later partnered with a man who also had a child and who already owned a house. Jacinta lived out the rest of her childhood with her mum, stepdad and three siblings in suburban Melbourne. Her mum was a primary carer and worked as a cleaner when she could. Her stepdad was a security guard. The family “sacrificed” so Jacinta and her siblings could play netball and gymnastics, although things like school camps were too expensive. Jacinta left school at 17, but eventually found her passion working as a producer in TV.

Once they moved in together, Caleb and Jacinta’s very different day-to-day approaches to financial matters became a hindrance and they found themselves frequently clashing over things “as basic as the food shopping every week”. On the one hand, Jacinta budgeted and planned. Caleb, on the other, reflected that he had “been kind of coasting” through life and wasn’t worried about money or accumulating it. “I’ve never really given a shit about that because it’s always been drummed into me that I don’t really need to.”

Different views on home ownership

It was the question of home ownership, and its relationship to growing wealth inequality , that really illustrated to them both how their differently classed childhoods had shaped their different relationships to money as adults – or their “different views of its possibility”, as Jacinta expressed it.

The role of intergenerational wealth in securing access to home ownership is frequently discussed in Australia. Owning assets today can pay more than working for wages, making intergenerational transfers of wealth a key mechanism in the 21st-century logic of class, centred on access to finance.

Jacinta and Caleb grappled with this painful new reality within their relationship. Renting had been a necessity for Jacinta since she left home – she now wants the security afforded by home ownership. Jacinta told us she was saving money and keeping a close eye on the housing market, as buying had become a very real possibility due to Caleb’s parents’ wealth.

“My family are always trying to buy us a house,” Caleb told us, laughing. His parents have even researched places and options, and stand ready to bear much of the financial burden. Caleb remains disengaged but felt that he and Jacinta will likely buy something in the end. “I don’t really care if I’m getting into the wrong part of the market,” he told us. “I don’t want to think about it that much.”

In sum, Caleb conveyed a cool disinterest that Jacinta could not entertain about this crucial question.

Realities of class

Our research shows that being in a cross-class relationship brings the realities of class more sharply into view. Couples like Felicia and Patrick, and Caleb and Jacinta, could not avoid conversations about class, as they grappled with possibilities, tensions and hurt that were in some way connected to their very different formative experiences.

Class proved a clarifying – and in some cases liberating – vocabulary to discuss some of these things. It provided our interviewees with a way to analyse the unequal distribution of advantages and material assets in our society.

Money is only one part of this picture.

Class can play a role in shaping our expectations, anxieties and confidence, as both Patrick and Caleb pondered, from very different ends of the class spectrum, in their interviews with us. Sometimes, the class-based priorities and values we are raised with in childhood might come to repel us as adults, as Felicia explored.

And for Jacinta, access to material assets, including housing, could not be seriously discussed without recognising the significance of class-based wealth. It was her romantic relationship across class with the wealthier Caleb, more than her trajectory through school, mature-age study and work as a TV producer, that had brought home ownership within reach. And ironically, Caleb’s own ease of access to the money to buy a house produced an indifference to the home ownership she wanted.

Cross-class relationships demand facing class honestly. And in an increasingly unequal Australia , class is something many of us should think about more often. The personal reckonings we have documented, we hope, will stimulate a more honest, society-wide conversation about class in the midst of this growing inequality.

This essay draws on research and interviews from Love Across Class (MUP) by Eve Vincent and Rose Butler.

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36th African American Scholarship Essay awards tackles subject of social media

SHREVEPORT, La. (KSLA) - Northwest Louisiana students take on the subject of social media to earn a scholarship to the schools of their choosing.

On June 1, at 1 p.m., the 36th Shreveport-Bossier-DeSoto African American Scholarship Awards Committee will present its annual ESSAY Scholarship Award at the Shreve Memorial Library, Walette Branch, 362 Hearne Avenue, Shreveport.

Each high school graduate was asked to think about and write a 300-word double-spaced essay on “Does Social Media Do More Harm Than Good”. During the event, the students will share their essays.

Over 20 scholarships will be given to various students, who graduated from schools in northwest Louisiana to attend the college of their choice

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Reel Talk: What’s happening at Robinson Film Center?

Foundations of the Critique of Political Economy (Rough Draft)

Written: 1857–61; Published: in German 1939–41; Source: Grundrisse, Penguin Books in association with New Left Review, 1973; Translated by: Martin Nicolaus; Notes by: Ben Fowkes; Scanned by: Tim Delaney, 1997; HTML Mark-up: Andy Blunden, 2002; Dave Allinson, 2015.

This translation is licensed by the copyright owner, Martin Nicolaus, exclusively to MIA. Publication on other online sites is prohibited. Editorial notes are included by permission of Ben Fowkes.

Grundrisse in eBook formats: epub mobi pdf

Note on the Text

Marx wrote this huge manuscript as part of his preparation for what would become A Contribution to the Critique of Political Economy (published in 1859) and Capital (published 1867).

Soviet Marxologists released several never-before-seen Marx/Engels works in the 1930s. Most were early works – like the Economic and Philosophical Manuscripts – but the Grundrisse stood alone as issuing forth from the most intense period of Marx’s decade-long, in-depth study of economics. It is an extremely rich and thought-provoking work, showing signs of humanism and the influence of Hegelian dialectic method. Do note, though, Marx did not intend it for publication as is, so it can be stylistically very rough in places.

The series of seven notebooks were rough-drafted by Marx, chiefly for purposes of self-clarification, during the winter of 1857-8. The manuscript became lost in circumstances still unknown and was first effectively published, in the German original, in 1953. A limited edition was published by Foreign Language Publishers in Moscow in two volumes, 1939 and 1941 respectively, under the editorship of the Marx-Engels-Lenin Institute, Moscow. The first volume contained the introduction and the seven notebooks translated here. The second added fragments from Marx’s 1851 notebooks of excerpts from Ricardo, the fragment ‘Bastiat and Carey’ (also included in this translation), and miscellaneous related material; also extensive annotations and sources. A photo-offset reprint of the two volumes bound in one, minus illustrations and facsimiles, was issued by Dietz Verlag, Berlin (E.), in 1953, and is the basis of the present translation. It is referred to hereafter as Grundrisse . Rosdolsky states that only three or four copies of the 1939-41 edition ever reached ‘the western world’.

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Guest Essay

How Trump’s Team Blew It

By Renato Mariotti

Mr. Mariotti, a partner at Bryan Cave Leighton Paisner in Chicago, is a former federal prosecutor.

The criminal trial of Donald Trump didn’t have to end this way.

The prosecution’s case had flaws that couldn’t be wallpapered over even with weeks of testimony, over 200 exhibits and a polished and persuasive presentation by Alvin Bragg, the Manhattan district attorney, and his team. If Mr. Trump’s lawyers had played their cards right, they most likely would have ended up with a hung jury or a misdemeanor conviction.

The defense lost a winnable case by adopting an ill-advised strategy that was right out of Mr. Trump’s playbook. For years, he denied everything and attacked anyone who dared to take him on. It worked — until this case.

I have practiced criminal law for over 20 years, and I have tried and won cases as both a federal prosecutor and criminal defense attorney. I’ve almost never seen the defense win without a compelling counternarrative. Jurors often want to side with prosecutors, who have the advantage of writing the indictment, marshaling the witnesses and telling the story.

The defense needs its own story, and in my experience, the side that tells the simpler story at trial usually wins.

Instead of telling a simple story, Mr. Trump’s defense was a haphazard cacophony of denials and personal attacks. That may work for a Trump rally or a segment on Fox News, but it doesn’t work in a courtroom. Perhaps Mr. Trump’s team was also pursuing a political or press strategy, but it certainly wasn’t a good legal strategy. The powerful defense available to Mr. Trump’s attorneys was lost amid all the clutter.

At the beginning of the trial, Mr. Trump’s team had a clear path to victory. He was charged with 34 counts of falsifying business records related to the cover-up of a $130,000 hush-money payment that was made to the porn star Stormy Daniels. Yet the only direct evidence of Mr. Trump’s knowledge was the testimony of Michael Cohen — who has pleaded guilty to lying to Congress and charges of bank fraud, tax evasion and campaign finance violation — who hates Mr. Trump and makes money off his public commentary on Mr. Trump’s legal woes.

You don’t need to be a lawyer to see how this could be a powerful legal defense. The prosecution had to prove that Mr. Trump knew about and caused — or at least was an accomplice in creating — the false business records. But at the time the records were created, Mr. Trump was in the White House. The defense could argue that Mr. Cohen and Allen Weisselberg, the Trump Organization’s chief financial officer, who has pleaded guilty to lying under oath and tax fraud, came up with that scheme on their own. Mr. Trump, his lawyers could argue, was focused on his role as president.

Mr. Trump’s team did say something similar at various points in the trial, including during Todd Blanche’s roughly three-hour closing argument. The problem is that the defense made so many other points, and fought so many other things, that it failed to focus the jury on the weaknesses in the prosecution’s case and instead tried to fight everything and everyone, even when it gained little by doing so.

Although the prosecution’s evidence of Mr. Trump’s personal approval of the falsification of business records was thin, the evidence for most of the other relevant facts was rock solid. Yet the defense destroyed its own credibility by denying the undeniable, as in its laughable claim that the large lump-sum payments to Mr. Cohen really were payments for legal services, including the amount that he embezzled from Mr. Trump.

The trial dragged on for weeks largely because of Mr. Trump’s “deny everything” approach. A savvy defense counsel would have stipulated that Mr. Trump had an intimate affair with Ms. Daniels. Instead, the defense forced the prosecution to prove that the affair occurred and proceeded to aggressively attack Ms. Daniels, whom some of the jury likely found sympathetic in her testimony. That attack gained no ground legally for the defense — little turned on whether Mr. Trump had a sexual encounter with her — but distracted from his actual defense.

Similarly, the cross-examination of Mr. Cohen dragged on for days because the defense sought to confront him with every lie it could identify, seemingly every misdeed he ever committed and every potential line of attack it could come up with.

Because the defense denied everything and attacked Mr. Cohen on every point, prosecutors were able to focus on the many points where Mr. Cohen’s testimony was corroborated by documents, phone records, text messages and a recording. If the defense had narrowly focused on the key points on which that testimony was not corroborated, it could have undermined the prosecution’s advantage.

It may be that a not-guilty verdict was always a long shot. But if the defense had been more effective, one of the two lawyers on the jury might have voted to acquit, all that is needed for a hung jury. Or perhaps the jury would have compromised and rendered a verdict that Mr. Trump committed only a misdemeanor, which most defense attorneys would view as a win, given the circumstances.

But Mr. Trump’s team went for broke, deciding not to seek a jury instruction that would have permitted jurors to find that Mr. Trump committed a misdemeanor rather than a felony. It’s unclear whether that decision to deny the jury an option that would have given the defense a win was an act of hubris or a refusal to compromise, but both are characteristics of Mr. Trump that don’t translate well into a criminal trial.

Mr. Trump’s team was a reflection of its client, always attacking and never backing down. That playbook has worked for Mr. Trump again and again. For this trial and in a Manhattan courtroom, the attitude and strategy backfired.

Renato Mariotti, a partner at Bryan Cave Leighton Paisner in Chicago, is a former federal prosecutor and a co-host with Asha Rangappa of the “It’s Complicated” podcast .

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

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