How to Write a History Research Paper

  • How do I pick a topic?
  • But I can’t find any material…

Research Guide

Writing guide.

See also: How to Write a Good History Essay

1. How do I pick a topic?

Picking a topic is perhaps the most important step in writing a research paper. To do it well requires several steps of refinement. First you have to determine a general area in which you have an interest (if you aren’t interested, your readers won’t be either). You do not write a paper “about the Civil War,” however, for that is such a large and vague concept that the paper will be too shallow or you will be swamped with information. The next step is to narrow your topic. Are you interested in comparison? battles? social change? politics? causes? biography? Once you reach this stage try to formulate your research topic as a question. For example, suppose that you decide to write a paper on the use of the films of the 1930’s and what they can tell historians about the Great Depression. You might turn that into the following question: “What are the primary values expressed in films of the 1930’s?” Or you might ask a quite different question, “What is the standard of living portrayed in films of the 1930’s?” There are other questions, of course, which you could have asked, but these two clearly illustrate how different two papers on the same general subject might be. By asking yourself a question as a means of starting research on a topic you will help yourself find the answers. You also open the door to loading the evidence one way or another. It will help you decide what kinds of evidence might be pertinent to your question, and it can also twist perceptions of a topic. For example, if you ask a question about economics as motivation, you are not likely to learn much about ideals, and vice versa.

2. But I can’t find any material…

No one should pick a topic without trying to figure out how one could discover pertinent information, nor should anyone settle on a topic before getting some background information about the general area. These two checks should make sure your paper is in the realm of the possible. The trick of good research is detective work and imaginative thinking on how one can find information. First try to figure out what kinds of things you should know about a topic to answer your research question. Are there statistics? Do you need personal letters? What background information should be included? Then if you do not know how to find that particular kind of information, ASK . A reference librarian or professor is much more likely to be able to steer you to the right sources if you can ask a specific question such as “Where can I find statistics on the number of interracial marriages?” than if you say “What can you find on racial attitudes?”

Use the footnotes and bibliographies of general background books as well as reference aids to lead you to special studies. If Carleton does not have the books or sources you need, try ordering through the library minitex. Many sources are also available on-line.

As your research paper takes shape you will find that you need background on people, places, events, etc. Do not just rely on some general survey for all of your background. Check the several good dictionaries of biography for background on people, or see if there is a standard book-length biography. If you are dealing with a legal matter check into the background of the judges who make the court decision and the circumstances surrounding the original incident or law. Try looking for public opinions in newspapers of the time. In other words, each bit of information you find should open the possibility of other research paths.

Learn to use several research techniques. You cannot count on a good research paper coming from browsing on one shelf at the library. A really pertinent book may be hidden in another section of the library due to classification quirks. The Readers’ Guide (Ref. A13 .R4) is not the only source for magazine articles, nor the card catalog for books. There are whole books which are listings of other books on particular topics. There are specialized indexes of magazine articles. Modern History Journals are indexed in the Social Studies and Humanities Index (Ref. A13 .R282) before 1976 After 1976 use the Social Sciences Index (REF A13 .S62) and the Humanities Index (Ref. A13 .H85). See also Historical Abstracts (Ref. D1 .H5). Reference Librarians would love to help you learn to use these research tools. It pays to browse in the reference room at the library and poke into the guides which are on the shelves. It also pays to browse the Internet.

3. Help! How do I put this together?

A. preliminary research:.

If you do not already have a general background on your topic, get the most recent good general source on the topic and read it for general orientation. On the basis of that reading formulate as clearly focused question as you can. You should generally discuss with your professor at that point whether your question is a feasible one.

B. Building a Basic Bibliography:

Use the bibliography/notes in your first general source, MUSE, and especially Historical Abstracts on cd-rom in the Library Reading Room (the computer farthest to the left in the front row as you walk past the Reference Desk — or ask there). If there is a specialized bibliography on your topic, you will certainly want to consult that as well, but these are often a bit dated.

C. Building a Full Bibliography:

Read the recent articles or chapters that seem to focus on your topic best. This will allow you to focus your research question quite a bit. Use the sources cited and/or discussed in this reading to build a full bibliography. Use such tools as Historical Abstracts (or, depending on your topic, the abstracts from a different field) and a large, convenient computer-based national library catalog (e.g. the University of California system from the “Libs” command in your VAX account or the smaller University of Minnesota library through MUSE) to check out your sources fully. For specific article searches “Uncover” (press returns for the “open access”) or possibly (less likely for history) “First Search” through “Connect to Other Resources” in MUSE can also be useful.

D. Major Research:

Now do the bulk of your research. But do not overdo it. Do not fall into the trap of reading and reading to avoid getting started on the writing. After you have the bulk of information you might need, start writing. You can fill in the smaller gaps of your research more effectively later.

A. Outline:

Write a preliminary thesis statement, expressing what you believe your major argument(s) will be. Sketch out a broad outline that indicates the structure — main points and subpoints or your argument as it seems at this time. Do not get too detailed at this point.

B. The First Draft:

On the basis of this thesis statement and outline, start writing, even pieces, as soon as you have enough information to start. Do not wait until you have filled all the research gaps. Keep on writing. If you run into smaller research questions just mark the text with a searchable symbol. It is important that you try to get to the end point of this writing as soon as possible, even if you leave pieces still in outline form at first and then fill the gaps after you get to the end.

Critical advice for larger papers: It is often more effective not to start at the point where the beginning of your paper will be. Especially the introductory paragraph is often best left until later, when you feel ready and inspired.

C. The Second Draft:

The “second draft” is a fully re-thought and rewritten version of your paper. It is at the heart of the writing process.

First, lay your first draft aside for a day or so to gain distance from it. After that break, read it over with a critical eye as you would somebody else’s paper (well, almost!). You will probably find that your first draft is still quite descriptive, rather than argumentative. It is likely to wander; your perspective and usually even the thesis seemed to change/develop as you wrote. Don’t despair. That is perfectly normal even for experienced writers (even after 40 years and a good deal of published work!). You will be frustrated. But keep questioning your paper along the following lines: What precisely are my key questions? What parts of my evidence here are really pertinent to those questions (that is, does it help me answer them)? How or in what order can I structure my paper most effectively to answer those questions most clearly and efficiently for my reader?

At this point you must outline your paper freshly. Mark up your first draft, ask tough questions whether your argument is clear and whether the order in which you present your points is effective! You must write conceptually a new paper at this point, even if you can use paragraphs and especially quotes, factual data in the new draft.

It is critical that in your new draft your paragraphs start with topic sentences that identify the argument you will be making in the particular paragraph (sometimes this can be strings of two or three paragraphs). The individual steps in your argument must be clearly reflected in the topic sentences of your paragraphs (or a couple of them linked).

D. The Third or Final Draft:

You are now ready to check for basic rules of good writing. This is when you need to check the diction, that is, the accuracy and suitability of words. Eliminate unnecessary passive or awkward noun constructions (active-voice, verbal constructions are usually more effective); improve the flow of your transitions; avoid repetitions or split infinitives; correct apostrophes in possessives and such. Make the style clear and smooth. Check that the start of your paper is interesting for the reader. Last but not least, cut out unnecessary verbiage and wordiness. Spell-check and proof-read.

– Diethelm Prowe, 1998

Handbook for Historians

  • Choosing a Paper Topic

How to Create an Outline

Outline example.

  • Thesis Statement
  • What Sources Can I use?
  • Gathering sources
  • Find Primary Sources
  • Paraphrasing and Quoting Sources
  • How to create an Annotated Bibliography
  • Formatting Endnotes/Footnotes
  • Formatting Bibliographies
  • Avoiding Plagiarism
  • Sample Papers
  • Research Paper Checklist

The outline is an organized blueprint of the material presented in your paper. Writers who make use of outlines are unlikely to exaggerate one aspect of the subject at the expense of others, or to drift off into tantalizing but irrelevant subtopics. Readers appreciate a well developed outline because it provides a detailed table of contents and alerts them to the path the paper will follow. 

Formal outlines usually employ Roman numerals, Roman letters, and Arabic numerals, as we see below:

  • Example of a sub-idea

and so on . . . till your conclusion.

Begin by listing the main ideas you want to get across, or main points you wish to make.  These will become your Roman numeral headings. Next, divide each of these into sub-ideas or subsections, labeled with a capital letter. Make sure that you have at least two subsections under each main heading; it is illogical to “divide” a section into one subdivision. Then, for each sub-idea, list various examples, bits of evidence, and information, numbering them with Arabic numerals. If necessary, these can be divided still further into details, preceded by lower case letters. Use either whole sentences or phrases, but be consistent throughout your outline: stick with one or the other. For a ten-page paper, a good comprehensive outline would normally be between one to two pages long, typewritten and double-spaced.

Here is an example of an outline for a HST paper.

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outline for history research paper

Princeton Correspondents on Undergraduate Research

How to Write a History Research Paper

outline for history research paper

In my last post, I shared some tips on how to conduct research in history and emphasized that researchers should keep in mind a source’s category (transcript, court document, speech, etc.). This post is something of a sequel to that, as I will share some thoughts on what often follows primary-source research: a history research paper. 

1. Background Reading   The first step to a history research paper is of course, background reading and research. In the context of a class assignment, “background reading” might simply be course readings or lectures, but for independent work, this step will likely involve some quality time on your own in the library. During the background reading phase of your project, keep an eye out for intriguing angles to approach your topic from and any trends that you see across sources (both primary and secondary).

2. T hemes and Context Recounting the simple facts about your topic alone will not make for a successful research paper. One must grasp both the details of events as well as the larger, thematic context of the time period in which they occurred. What’s the scholarly consensus about these themes? Does that consensus seem right to you, after having done primary and secondary research of your own?

3. Develop an Argument  Grappling with answers to the above questions will get you thinking about your emerging argument. For shorter papers, you might identify a gap in the scholarship or come up with an argumentative response to a class prompt rather quickly. Remember: as an undergraduate, you don’t have to come up with (to borrow Philosophy Professor Gideon Rosen’s phrase) ‘a blindingly original theory of everything.’ In other words, finding a nuanced thesis does not mean you have to disprove some famous scholar’s work in its entirety. But, if you’re having trouble defining your thesis, I encourage you not to worry; talk to your professor, preceptor, or, if appropriate, a friend. These people can listen to your ideas, and the simple act of talking about your paper can often go a long way in helping you realize what you want to write about.

4. Outline Your Argument  With a history paper specifically, one is often writing about a sequence of events and trying to tell a story about what happened. Roughly speaking, your thesis is your interpretation of these events, or your take on some aspect of them (i.e. the role of women in New Deal programs). Before opening up Word, I suggest writing down the stages of your argument. Then, outline or organize your notes to know what evidence you’ll use in each of these various stages. If you think your evidence is solid, then you’re probably ready to start writing—and you now have a solid roadmap to work from! But, if this step is proving difficult, you might want to gather more evidence or go back to the thesis drawing board and look for a better angle. I often find myself somewhere between these two extremes (being 100% ready to write or staring at a sparse outline), but that’s also helpful, because it gives me a better idea of where my argument needs strengthening.

5. Prepare Yourself   Once you have some sort of direction for the paper (i.e. a working thesis), you’re getting close to the fun part—the writing itself. Gather your laptop, your research materials/notes, and some snacks, and get ready to settle in to write your paper, following your argument outline. As mentioned in the photo caption, I suggest utilizing large library tables to spread out your notes. This way, you don’t have to constantly flip through binders, notebooks, and printed drafts.

In addition to this step by step approach, I’ll leave you with a few last general tips for approaching a history research paper. Overall, set reasonable goals for your project, and remember that a seemingly daunting task can be broken down into the above constituent phases. And, if nothing else, know that you’ll end up with a nice Word document full of aesthetically pleasing footnotes!

— Shanon FitzGerald, Social Sciences Correspondent

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outline for history research paper

UCLA History Department

Steps for Writing a History Paper

Writing a history paper is a process.  Successful papers are not completed in a single moment of genius or inspiration, but are developed over a series of steps.  When you first read a paper prompt, you might feel overwhelmed or intimidated.  If you think of writing as a process and break it down into smaller steps, you will find that paper-writing is manageable, less daunting, and even enjoyable.  Writing a history paper is your opportunity to do the real work of historians, to roll up your sleeves and dig deep into the past.

What is a History paper?

History papers are driven by arguments.  In a history class, even if you are not writing a paper based on outside research, you are still writing a paper that requires some form of argument.  For example, suppose your professor has asked you to write a paper discussing the differences between colonial New England and colonial Virginia.  It might seem like this paper is straightforward and does not require an argument, that it is simply a matter of finding the “right answer.”  However, even here you need to construct a paper guided by a larger argument.  You might argue that the main differences between colonial New England and Virginia were grounded in contrasting visions of colonization.  Or you might argue that the differences resulted from accidents of geography or from extant alliances between regional Indian groups.  Or you might make an argument that draws on all of these factors.  Regardless, when you make these types of assertions, you are making an argument that requires historical evidence.  Any history paper you write will be driven by an argument demanding evidence from sources.

History writing assignments can vary widely–and you should always follow your professor’s specific instructions–but the following steps are designed to help no matter what kind of history paper you are writing.  Remember that the staff of the History Writing Center is here to assist you at any stage of the writing process.

  • Sometimes professors distribute prompts with several sub-questions surrounding the main question they want you to write about.  The sub-questions are designed to help you think about the topic.  They offer ideas you might consider, but they are not, usually, the key question or questions you need to answer in your paper.  Make sure you distinguish the key questions from the sub-questions.  Otherwise, your paper may sound like a laundry list of short-answer essays rather than a cohesive argument. A helpful way to hone in on the key question is to look for action verbs, such as “analyze” or “investigate” or “formulate.”  Find such words in the paper prompt and circle them.  Then, carefully consider what you are being asked to do.  Write out the key question at the top of your draft and return to it often, using it to guide you in the writing process.  Also, be sure that you are responding to every part of the prompt.  Prompts will often have several questions you need to address in your paper.  If you do not cover all aspects, then you are not responding fully to the assignment.  For more information, visit our section, “Understanding Paper Prompts.”
  • Before you even start researching or drafting, take a few minutes to consider what you already know about the topic.  Make a list of ideas or draw a cluster diagram, using circles and arrows to connect ideas–whatever method works for you.  At this point in the process, it is helpful to write down all of your ideas without stopping to judge or analyze each one in depth.  You want to think big and bring in everything you know or suspect about the topic.  After you have finished, read over what you have created.  Look for patterns or trends or questions that keep coming up.  Based on what you have brainstormed, what do you still need to learn about the topic?  Do you have a tentative argument or response to the paper prompt?  Use this information to guide you as you start your research and develop a thesis.
  • Depending on the paper prompt, you may be required to do outside research or you may be using only the readings you have done in class.  Either way, start by rereading the relevant materials from class.  Find the parts from the textbook, from the primary source readings, and from your notes that relate to the prompt. If you need to do outside research, the UCLA library system offers plenty of resources.  You can begin by plugging key words into the online library catalog.  This process will likely involve some trial and error.  You will want to use search terms that are specific enough to address your topic without being so narrow that you get no results.  If your keywords are too general, you may receive thousands of results and feel overwhelmed.  To help you narrow your search, go back to the key questions in the essay prompt that you wrote down in Step 1.  Think about which terms would help you respond to the prompt.  Also, look at the language your professor used in the prompt.  You might be able to use some of those same words as search terms. Notice that the library website has different databases you can search depending on what type of material you need (such as scholarly articles, newspapers, books) and what subject and time period you are researching (such as eighteenth-century England or ancient Rome).  Searching the database most relevant to your topic will yield the best results.  Visit the library’s History Research Guide for tips on the research process and on using library resources.  You can also schedule an appointment with a librarian to talk specifically about your research project.  Or, make an appointment with staff at the History Writing Center for research help.  Visit our section about using electronic resources as well.
  • By this point, you know what the prompt is asking, you have brainstormed possible responses, and you have done some research.  Now you need to step back, look at the material you have, and develop your argument.  Based on the reading and research you have done, how might you answer the question(s) in the prompt?  What arguments do your sources allow you to make?  Draft a thesis statement in which you clearly and succinctly make an argument that addresses the prompt. If you find writing a thesis daunting, remember that whatever you draft now is not set in stone.  Your thesis will change.  As you do more research, reread your sources, and write your paper, you will learn more about the topic and your argument.  For now, produce a “working thesis,” meaning, a thesis that represents your thinking up to this point.  Remember it will almost certainly change as you move through the writing process.  For more information, visit our section about thesis statements.  Once you have a thesis, you may find that you need to do more research targeted to your specific argument.  Revisit some of the tips from Step 3.
  • Now that you have a working thesis, look back over your sources and identify which ones are most critical to you–the ones you will be grappling with most directly in order to make your argument.  Then, annotate them.  Annotating sources means writing a paragraph that summarizes the main idea of the source as well as shows how you will use the source in your paper.  Think about what the source does for you.  Does it provide evidence in support of your argument?  Does it offer a counterpoint that you can then refute, based on your research?  Does it provide critical historical background that you need in order to make a point?  For more information about annotating sources, visit our section on annotated bibliographies. While it might seem like this step creates more work for you by having to do more writing, it in fact serves two critical purposes: it helps you refine your working thesis by distilling exactly what your sources are saying, and it helps smooth your writing process.  Having dissected your sources and articulated your ideas about them, you can more easily draw upon them when constructing your paper.  Even if you do not have to do outside research and are limited to working with the readings you have done in class, annotating sources is still very useful.  Write down exactly how a particular section in the textbook or in a primary source reader will contribute to your paper.
  • An outline is helpful in giving you a sense of the overall structure of your paper and how best to organize your ideas.  You need to decide how to arrange your argument in a way that will make the most sense to your reader.  Perhaps you decide that your argument is most clear when presented chronologically, or perhaps you find that it works best with a thematic approach.  There is no one right way to organize a history paper; it depends entirely on the prompt, on your sources, and on what you think would be most clear to someone reading it. An effective outline includes the following components: the research question from the prompt (that you wrote down in Step 1), your working thesis, the main idea of each body paragraph, and the evidence (from both primary and secondary sources) you will use to support each body paragraph.  Be as detailed as you can when putting together your outline.

If you have trouble getting started or are feeling overwhelmed, try free writing.  Free writing is a low-stakes writing exercise to help you get past the blank page.  Set a timer for five or ten minutes and write down everything you know about your paper: your argument, your sources, counterarguments, everything.  Do not edit or judge what you are writing as you write; just keep writing until the timer goes off.  You may be surprised to find out how much you knew about your topic.  Of course, this writing will not be polished, so do not be tempted to leave it as it is.  Remember that this draft is your first one, and you will be revising it.

A particularly helpful exercise for global-level revision is to make a reverse outline, which will help you look at your paper as a whole and strengthen the way you have organized and substantiated your argument.  Print out your draft and number each of the paragraphs.  Then, on a separate piece of paper, write down each paragraph number and, next to it, summarize in a phrase or a sentence the main idea of that paragraph.  As you produce this list, notice if any paragraphs attempt to make more than one point: mark those for revision.  Once you have compiled the list, read it over carefully.  Study the order in which you have sequenced your ideas.  Notice if there are ideas that seem out of order or repetitive.  Look for any gaps in your logic.  Does the argument flow and make sense?

When revising at the local level, check that you are using strong topic sentences and transitions, that you have adequately integrated and analyzed quotations, and that your paper is free from grammar and spelling errors that might distract the reader or even impede your ability to communicate your point.  One helpful exercise for revising on the local level is to read your paper out loud.  Hearing your paper will help you catch grammatical errors and awkward sentences.

Here is a checklist of questions to ask yourself while revising on both the global and local levels:

– Does my thesis clearly state my argument and its significance?

– Does the main argument in each body paragraph support my thesis?

– Do I have enough evidence within each body paragraph to make my point?

– Have I properly introduced, analyzed, and cited every quotation I use?

– Do my topic sentences effectively introduce the main point of each paragraph?

– Do I have transitions between paragraphs?

– Is my paper free of grammar and spelling errors?

  • Congratulate yourself. You have written a history paper!

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18 Preparing to Write: Organizing and Outlines

One of the most important—and perhaps the more difficult—parts of writing a good history research paper is deciding what to say and in what order to say it. A good outline can limit a student’s anxiety about writing a big paper as it may help break the writing process down into manageable chunk. A good outline also helps ensure that you’re approaching your argument in a logical way.

How you go about organizing your thoughts and creating an outline, however, depends a good deal on how your brain works best. Effective writers do not all use the same method. But here are few steps to follow to avoid the dreaded blank page (or monitor) and the essay that meanders and never really makes an argument (or repeats elements of the same argument unnecessarily).

Before you begin the outlining process, keep in mind that the basic form of analytical writing usually utilizes the “Rule of Three.”   Simply, there should be at least three key points/pieces of evidence in a piece of writing introduced by a strong clear thesis. As you deliberate about possible thesis statements and debate what points are major elements of your argument and which ones are minor, or supporting, pieces of evidence, keep in mind that your argument will convince your readers when it has at least three supporting points.

STRATEGIES FOR DEVELOPING AN OUTLINE:

Use the terms you found helpful for organizing notes to start your outline:.

The words or tags you used to organize your notes can help in a couple of ways. First, for the “brain dump” process described next, these terms can be the first entries. Second, these terms could form the basis of main elements of your outline. Keywords that appear most frequently in your note-taking process could translate into major elements of your outline.

“Dump” the contents of your brain:

  • Before attempting a formal outline, compile a list of all the interesting facts, ideas, concepts, individuals, and events that you’ve uncovered in your research. Keep an open mind, and don’t limit this list to just what you assumed would be the focus of your paper when you wrote your proposal. For example, what were the arguments of the secondary sources you read? What ideas or phrases came up again and again? Who were the main historical actors and what surprises did you encounter in the primary sources they produced (or were produced about them)? Can you construct a rough timeline without looking at your notes? The unofficial term for this compilation is a “brain dump,” because you are recording all the ideas that have occurred to you without regard to whether they are Big and Important Ideas or smaller, secondary points. Write down as much as you can, without worrying where it fits in the paper or even knowing for sure that it does fit in the paper.

Making sense of the results of the “brain dump”

  • Visual learners often benefit from hand-writing the terms around a physical sheet of paper, and then using a spider-web concept map. In such a concept map, once you have all the terms on the page, you draw lines between related items. The terms that have multiple lines coming to or from them are the nodal points that should serve as main elements in your outline. The items that have just one or two connections are minor explanatory points in your formal outline.
  • Natural list-makers think hierarchically (from most to least important) as a matter of course. If you’re a hierarchical thinker, you might think you already know your outline without drawing lines. But before you jump straight to a formal outline, let yourself think creatively. Try creating multiple lists, with perhaps different items and different orders for the compiled “brain dump” terms and phrases. In this process, some items will appear in multiple lists. Once you have several, think through the pros and cons of each one. Choose the best one and convert it into a formal outline.

Here is a detailed description of how to create a concept map from the University of West Florida and here you can find three examples of different types of concept maps .

Mind Maps are another form of concept mapping that uses a visual hierachy with associated information branching out from that concept.

Just as there’s not one way to organize your thoughts, there’s not a single form of an outline. Some writers do best with heavily detailed outlines, while others need only “bare bones.” Likewise, the necessity of maintaining an accurate outline is also a matter of personal preference. Some writers continually revise their outline as their thinking about their topic evolves with their writing, while others use an outline only to launch their writing and to prevent the intimidation of a blank screen, then abandon it once they’ve begun writing. Still, it’s extraordinarily helpful to make a plan before you begin. Below what you’ll see are some templates that work for a few common types of arguments. You may find one that works for you, perhaps with a bit of adapting.

Option 1: Chronological

Many history essays have a natural chronological focus. Arguments that seek to explain what happened at a place and time, or demonstrate what led up to an event, as well as essays that focus on an individual’s importance, can be organized chronologically.

  • Early phase or antecedents
  • Middle years or main event
  • Later years or impact

Option 2: Revision

If your main argument centers on suggesting a correction to a currently accepted explanation of the past—perhaps you want to establish a new periodization, or make a case for an additional influence or outcome to what historians have argued—then you might consider this sort of organization.

  • Summaries of what several historians have written
  • with three examples/supporting points

Option 3: Topical/thematic approach

When your argument does not fall into one of the above traditional formats, you’ll need to uncover the patterns within evidence, and align them into to (at least) 2-3 explanatory aspects. Research that is not following political or military events often is organizes topically. There are several variations on this format, but at its most basic, consider this format.

How History is Made: A Student’s Guide to Reading, Writing, and Thinking in the Discipline Copyright © 2022 by Stephanie Cole; Kimberly Breuer; Scott W. Palmer; and Brandon Blakeslee is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

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How to Create a Structured Research Paper Outline | Example

Published on August 7, 2022 by Courtney Gahan . Revised on August 15, 2023.

How to Create a Structured Research Paper Outline

A research paper outline is a useful tool to aid in the writing process , providing a structure to follow with all information to be included in the paper clearly organized.

A quality outline can make writing your research paper more efficient by helping to:

  • Organize your thoughts
  • Understand the flow of information and how ideas are related
  • Ensure nothing is forgotten

A research paper outline can also give your teacher an early idea of the final product.

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Table of contents

Research paper outline example, how to write a research paper outline, formatting your research paper outline, language in research paper outlines.

  • Definition of measles
  • Rise in cases in recent years in places the disease was previously eliminated or had very low rates of infection
  • Figures: Number of cases per year on average, number in recent years. Relate to immunization
  • Symptoms and timeframes of disease
  • Risk of fatality, including statistics
  • How measles is spread
  • Immunization procedures in different regions
  • Different regions, focusing on the arguments from those against immunization
  • Immunization figures in affected regions
  • High number of cases in non-immunizing regions
  • Illnesses that can result from measles virus
  • Fatal cases of other illnesses after patient contracted measles
  • Summary of arguments of different groups
  • Summary of figures and relationship with recent immunization debate
  • Which side of the argument appears to be correct?

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  • Incorrect usage of “et al.”
  • Ampersands (&) in narrative citations
  • Missing reference entries

outline for history research paper

Follow these steps to start your research paper outline:

  • Decide on the subject of the paper
  • Write down all the ideas you want to include or discuss
  • Organize related ideas into sub-groups
  • Arrange your ideas into a hierarchy: What should the reader learn first? What is most important? Which idea will help end your paper most effectively?
  • Create headings and subheadings that are effective
  • Format the outline in either alphanumeric, full-sentence or decimal format

There are three different kinds of research paper outline: alphanumeric, full-sentence and decimal outlines. The differences relate to formatting and style of writing.

  • Alphanumeric
  • Full-sentence

An alphanumeric outline is most commonly used. It uses Roman numerals, capitalized letters, arabic numerals, lowercase letters to organize the flow of information. Text is written with short notes rather than full sentences.

  • Sub-point of sub-point 1

Essentially the same as the alphanumeric outline, but with the text written in full sentences rather than short points.

  • Additional sub-point to conclude discussion of point of evidence introduced in point A

A decimal outline is similar in format to the alphanumeric outline, but with a different numbering system: 1, 1.1, 1.2, etc. Text is written as short notes rather than full sentences.

  • 1.1.1 Sub-point of first point
  • 1.1.2 Sub-point of first point
  • 1.2 Second point

To write an effective research paper outline, it is important to pay attention to language. This is especially important if it is one you will show to your teacher or be assessed on.

There are four main considerations: parallelism, coordination, subordination and division.

Parallelism: Be consistent with grammatical form

Parallel structure or parallelism is the repetition of a particular grammatical form within a sentence, or in this case, between points and sub-points. This simply means that if the first point is a verb , the sub-point should also be a verb.

Example of parallelism:

  • Include different regions, focusing on the different arguments from those against immunization

Coordination: Be aware of each point’s weight

Your chosen subheadings should hold the same significance as each other, as should all first sub-points, secondary sub-points, and so on.

Example of coordination:

  • Include immunization figures in affected regions
  • Illnesses that can result from the measles virus

Subordination: Work from general to specific

Subordination refers to the separation of general points from specific. Your main headings should be quite general, and each level of sub-point should become more specific.

Example of subordination:

Division: break information into sub-points.

Your headings should be divided into two or more subsections. There is no limit to how many subsections you can include under each heading, but keep in mind that the information will be structured into a paragraph during the writing stage, so you should not go overboard with the number of sub-points.

Ready to start writing or looking for guidance on a different step in the process? Read our step-by-step guide on how to write a research paper .

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How to Write a Research Paper in History/Organizing your work

One of the most critical parts of moving from your notes to a finished paper is Organization . This chapter will help you develop your notes into a first draft paper.

  • 1.1 Details, Details
  • 1.2.1 What is the Story?
  • 1.2.2 Introducing Your Work
  • 2 Quotation Files
  • 3.1 Annotated Bibliographies
  • 3.2 Bibliographical Format
  • 3.3 Due Dates for Bibliographies
  • 4.1 Silver Rule
  • 4.2 Procrastination
  • 4.3 Major Personal Due Dates

Outline [ edit | edit source ]

Once you have approximately 40% of your research completed, and you are sure of your topic, you should begin assembling an outline. How do you know when you have 40% of your research completed? Take the number of pages the final draft of the paper is supposed to be, and multiply that by 3.5. This represents the approximate number of paragraphs your paper should have in it. Each of those paragraphs needs at least two, and preferably three details in it. Those details must come from your research.

An outline's purpose is to determine where the individual pieces of research should go, and in what order. Ideally, related pieces of information should go together. If you are doing research on the history of seige warfare, you should not jump from the Persian seige of Amida to the seige of Vicksburg to the seige of Stalingrad and back again in the same paragraph. Instead, each of those major themes should be a separate group of paragraphs. Perhaps you will arrange them in historical order, with Amida coming first and Stalingrad last. Perhaps you will apply the lessons of Amida and Vicksburg to Stalingrad. Perhaps you will begin with Stalingrad before flashing back to Vicksburg and Amida.

You can always shuffle the different parts of your outline around, but it is helpful to have an idea of what details belong in which portion of the paper. The early drafts of your outline will also help you see where the research you have already done fits, and what portions of your paper are weak.

Details, Details [ edit | edit source ]

Details come in four basic types for many research papers. The first are date/event synchronicities: In 146 BCE, the Romans destroyed Carthage utterly. The second type is a location/date/data synchronicity: By 100 CE, the Romans had stationed 15 legions along the Rhine. The third type of detail is a definition: Latifundias were large slave-run plantations in Roman-ruled Italy. The fourth type of detail is a direct quotation from one of your research sources, along with a date and location: In 46 BCE, Julius Caesar promised the Senate, "This will be the last year of confusion," when he instituted the Julian calendar.

Each of your details should be backed up with appropriate citations, whether these be footnotes, parenthetical notes, endnotes, or other attributions, from the source materials you are using.

Defining a Narrative [ edit | edit source ]

Whether you use Harvard Notation or some other system for writing the outline of your paper, you should make some progress toward defining your narrative by the time you have 60% of your research completed. Research papers should have some kind of underlying story they wish to tell, whether that be the results of the War of the Spanish Succession, or the consequences of the Treaty of Westphalia.

Your story should support the thesis, but you will impress your history teacher, and likely earn a higher grade, if you are doing more than merely reciting a laundry list of facts and figures.

What is the Story? [ edit | edit source ]

Introducing your work [ edit | edit source ].

A research paper should open with an introduction. This is an extremely important part of your work. It provides the reader with some understanding of what will follow. Introductions help form perceptions of written texts, and most readers will think more highly of your work if it is well introduced.

This is the hardest part of your writing, though producing a good introduction is helped through having an understanding of what it should contain. Firstly, it should outline the parameters of your work, such as the dates of the period studied, the geographical remit of the paper, and the basic subject matter of what you will be studying. Secondly, and more importantly, you should briefly introduce your thesis. This should only be done in the broadest terms in the introduction, and will be developed further in the body of your work.

In terms of length, an introduction should be approximately 10% of the final length of the paper.

Quotation Files [ edit | edit source ]

Thanks to modern word processing tools on computers, it is possible to record your research notes directly into the same types of documents that you will use to write your paper. This can be an invaluable tool: for each source (book, magazine article, newspaper story, encyclopedia entry, or primary source), create a separate file, and copy useful quotations into the file, complete with pre-formatted citation . When it comes time to add the quotation to your paper, you can simply Copy/Paste the quotation into the document, along with its footnote. Maintain a directory of sources on your computer means that you always have a resource to return to for future projects and papers.

Careful selection of quotations in this manner will also create a summary of the article, book, or primary source in question.

Bibliographies [ edit | edit source ]

All good history papers should have a list of sources cited. This list is called a Bibliography , though these days it is likely to include as many periodical articles and websites, as it is to contain books.

Bibliographies follow different formats at different institutions; it would be difficult to categorize them all. However, the general standard is to list primary sources first, in alphabetical order by author's name.

Secondary printed sources , such as periodical literature, is listed the same way, after all the primary sources are accounted for.

Tertiary sources , such as encyclopedias, dictionaries, thesauruses, and textbooks, would be listed next in high school-level research papers. However, tertiary sources in general should usually be avoided for research papers written in college or graduate school (although magisterial works such as the Oxford English Dictionary might be cited in order to nail down the intended meaning of an unusual word in an older primary source.)

Websites should be listed last. It is ironic on Wikibooks that we must caution against the prominent bibliographic placement of websites, but your grades are at stake here. While there are reliable websites available on the Internet, it is very difficult to determine their general usefulness or staying power as historical sources; the website author may suffer bandwidth crunch, and take down the site. The transcript of a purported "pioneer's diary" from 1853 on his site may be nothing more than a fiction. If you have questions about the suitability of a website, check with your instructor, and be prepared .

Annotated Bibliographies [ edit | edit source ]

One useful tool for developing a bibliography for a specific paper is to keep a running word processing file in your computer's hard drive of all the books you have read or in which you have searched, along with a sentence-or-two description of the content. In this way, you develop a lengthy list of materials that you have consulted as a scholar and as a reader, and you also have a handy reference guide for future papers. Some students keep separate bibliographies in separate subjects; you might have an American history bibliography file, a German history file, an Asian history file, and so on. Keeping a separate directory of these files allows you to develop a comprehensive background for future research.

Bibliographical Format [ edit | edit source ]

There are numerous standards for formatting your bibliography. Every institution often has its own standards, and many professors choose one standard over another. The MLA has one standard; a woman named Kate Turabian came up with another standard. Both are available in book form at libraries and bookstores.

Here are some simple standards to get you started. In each case, you provide the name of the creator of the work, followed by the name of the resource set apart by underlines or quotations of some sorts. Then you indicate when the work was produced, and where, and by whom.

  • For a book:
  • For a newspaper:
  • For a magazine:
  • For a Website:

Due Dates for Bibliographies [ edit | edit source ]

Get your bibliography done early. Begin adding items in the proper format to a computer file within 24 hours of being assigned the paper. Expect to have at least one source in your bibliography for each page in length that the final paper is expected to be, if you are still in high school. If you are in college or graduate school, expect that you will need two to four sources in your bibliography for each page in the final paper's length.

Ideally, if your teacher does not set a deadline for completion of the bibliography, set your own deadline. Pick a day that is no more than one-quarter of the way through the time you have to write the paper. If you have four weeks to write the paper, you should have a more or less complete list of books in your bibliography by Friday of the first week. If you only have a week, have your bibliography complete by noon the day after it is assigned.

Deadlines [ edit | edit source ]

Your instructor has set a specific due date for the paper. It may be that she has even set a specific hour of the day. It is unwise to assume you will be able to get an extension. Teachers have vacations, too; they set deadlines for their convenience. Plan to meet that deadline with time to spare.

There are several ways to make sure you are not stressed and worried that you can get across campus and turn in your paper on time.

Silver Rule [ edit | edit source ]

Do it more than once ahead of time. This is the silver rule : do a rough draft bibliography, a middle draft bibliography, and a final draft; Organize your paper according to several outlines, to find the one that suits your research best; find more information than you need, in more sources than you think are necessary; write and revise your final paper several times; have more than one back-up copy.

Procrastination [ edit | edit source ]

Avoid procrastination. Saunter from class to the library, the day the paper's assigned. Check out a book, and photocopy one article. Note both down in your bibliography. Create your quotations file and your paper file on your computer's word processor. Get it set up with templates for quotations and footnotes and page numbers. Get at least a few things typed into every file.

Look! You've gotten started! It's a lot harder to procrastinate once you realize the book you check out of the library only has ten relevant facts, and the article is not as useful as it looked at first glance.

Major Personal Due Dates [ edit | edit source ]

Set some personal due dates even if your instructor does not. Here are your critical due dates; note them down in your calendar or planning book, and put a sign up in your room:

  • Complete bibliography by mm/dd/yy
  • Ten sources researched by mm/dd/yy (more of these are optional, but a good idea)
  • Outline drafted by mm/dd/yy
  • Writing begun by mm/dd/yy
  • Revised Outline by mm/dd/yy
  • Revising begun by mm/dd/yy
  • Consult with classmates/colleagues/instructors by mm/dd/yy
  • Print final draft by mm/dd/yy and hh:mm (leave yourself an hour to get across campus, and deal with technical challenges)

Next section: Writing the paper

outline for history research paper

  • Book:How to Write a Research Paper in History

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An outline is a formal system used to develop a framework for thinking about what should be the organization and eventual contents of your paper. An outline helps you predict the overall structure and flow of a paper.

Why and How to Create a Useful Outline. The Writing Lab and The OWL. Purdue University.

Importance of...

Writing papers in college requires you to come up with sophisticated, complex, and sometimes very creative ways of structuring your ideas . Taking the time to draft an outline can help you determine if your ideas connect to each other, what order of ideas works best, where gaps in your thinking may exist, or whether you have sufficient evidence to support each of your points. It is also an effective way to think about the time you will need to complete each part of your paper before you begin writing.

A good outline is important because :

  • You will be much less likely to get writer's block . An outline will show where you're going and how to get there. Use the outline to set goals for completing each section of your paper.
  • It will help you stay organized and focused throughout the writing process and help ensure proper coherence [flow of ideas] in your final paper. However, the outline should be viewed as a guide, not a straitjacket. As you review the literature or gather data, the organization of your paper may change; adjust your outline accordingly.
  • A clear, detailed outline ensures that you always have something to help re-calibrate your writing should you feel yourself drifting into subject areas unrelated to the research problem. Use your outline to set boundaries around what you will investigate.
  • The outline can be key to staying motivated . You can put together an outline when you're excited about the project and everything is clicking; making an outline is never as overwhelming as sitting down and beginning to write a twenty page paper without any sense of where it is going.
  • An outline helps you organize multiple ideas about a topic . Most research problems can be analyzed from a variety of perspectives; an outline can help you sort out which modes of analysis are most appropriate to ensure the most robust findings are discovered.
  • An outline not only helps you organize your thoughts, but it can also serve as a schedule for when certain aspects of your writing should be accomplished . Review the assignment and highlight the due dates of specific tasks and integrate these into your outline. If your professor has not created specific deadlines, create your own deadlines by thinking about your own writing style and the need to manage your time around other course assignments.

How to Structure and Organize Your Paper. Odegaard Writing & Research Center. University of Washington; Why and How to Create a Useful Outline. The Writing Lab and The OWL. Purdue University; Lietzau, Kathleen. Creating Outlines. Writing Center, University of Richmond.

Structure and Writing Style

I.   General Approaches

There are two general approaches you can take when writing an outline for your paper:

The topic outline consists of short phrases. This approach is useful when you are dealing with a number of different issues that could be arranged in a variety of different ways in your paper. Due to short phrases having more content than using simple sentences, they create better content from which to build your paper.

The sentence outline is done in full sentences. This approach is useful when your paper focuses on complex issues in detail. The sentence outline is also useful because sentences themselves have many of the details in them needed to build a paper and it allows you to include those details in the sentences instead of having to create an outline of short phrases that goes on page after page.

II.   Steps to Making the Outline

A strong outline details each topic and subtopic in your paper, organizing these points so that they build your argument toward an evidence-based conclusion. Writing an outline will also help you focus on the task at hand and avoid unnecessary tangents, logical fallacies, and underdeveloped paragraphs.

  • Identify the research problem . The research problem is the focal point from which the rest of the outline flows. Try to sum up the point of your paper in one sentence or phrase. It also can be key to deciding what the title of your paper should be.
  • Identify the main categories . What main points will you analyze? The introduction describes all of your main points; the rest of  your paper can be spent developing those points.
  • Create the first category . What is the first point you want to cover? If the paper centers around a complicated term, a definition can be a good place to start. For a paper that concerns the application and testing of a particular theory, giving the general background on the theory can be a good place to begin.
  • Create subcategories . After you have followed these steps, create points under it that provide support for the main point. The number of categories that you use depends on the amount of information that you are trying to cover. There is no right or wrong number to use.

Once you have developed the basic outline of the paper, organize the contents to match the standard format of a research paper as described in this guide.

III.   Things to Consider When Writing an Outline

  • There is no rule dictating which approach is best . Choose either a topic outline or a sentence outline based on which one you believe will work best for you. However, once you begin developing an outline, it's helpful to stick to only one approach.
  • Both topic and sentence outlines use Roman and Arabic numerals along with capital and small letters of the alphabet arranged in a consistent and rigid sequence. A rigid format should be used especially if you are required to hand in your outline.
  • Although the format of an outline is rigid, it shouldn't make you inflexible about how to write your paper. Often when you start investigating a research problem [i.e., reviewing the research literature], especially if you are unfamiliar with the topic, you should anticipate the likelihood your analysis could go in different directions. If your paper changes focus, or you need to add new sections, then feel free to reorganize the outline.
  • If appropriate, organize the main points of your outline in chronological order . In papers where you need to trace the history or chronology of events or issues, it is important to arrange your outline in the same manner, knowing that it's easier to re-arrange things now than when you've almost finished your paper.
  • For a standard research paper of 15-20 pages, your outline should be no more than few pages in length . It may be helpful as you are developing your outline to also write down a tentative list of references.

Muirhead, Brent. “Using Outlines to Improve Online Student Writing Skills.” Journal on School Educational Technology 1, (2005): 17-23; Four Main Components for Effective Outlines. The Writing Lab and The OWL. Purdue University; How to Make an Outline. Psychology Writing Center. University of Washington; Kartawijaya, Sukarta. “Improving Students’ Writing Skill in Writing Paragraph through an Outline Technique.” Curricula: Journal of Teaching and Learning 3 (2018); Organization: Informal Outlines. The Reading/Writing Center. Hunter College; Organization: Standard Outline Form. The Reading/Writing Center. Hunter College; Outlining. Department of English Writing Guide. George Mason University; Plotnic, Jerry. Organizing an Essay. University College Writing Centre. University of Toronto; Reverse Outline. The Writing Center. University of North Carolina; Reverse Outlines: A Writer's Technique for Examining Organization. The Writer’s Handbook. Writing Center. University of Wisconsin, Madison; Using Outlines. Writing Tutorial Services, Center for Innovative Teaching and Learning. Indiana University; Writing: Considering Structure and Organization. Institute for Writing Rhetoric. Dartmouth College.

Writing Tip

A Disorganized Outline Means a Disorganized Paper!

If, in writing your paper, it begins to diverge from your outline, this is very likely a sign that you've lost your focus. How do you know whether to change the paper to fit the outline, or, that you need to reconsider the outline so that it fits the paper? A good way to check your progress is to use what you have written to recreate the outline. This is an effective strategy for assessing the organization of your paper. If the resulting outline says what you want it to say and it is in an order that is easy to follow, then the organization of your paper has been successful. If you discover that it's difficult to create an outline from what you have written, then you likely need to revise your paper.

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  • Last Updated: Feb 8, 2024 1:57 PM
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Writing a Good History Paper

  • Top Ten Reasons for Negative Comments
  • Making Sure your Paper has Substance

Common Marginal Remarks on Style, Clarity, Grammar, and Syntax

Word and phrase usage problems, analyzing a historical document, writing a book review, writing a term paper or senior thesis, top ten reasons for negative comments on history papers.

(Drawn from a survey of the History Department ) 10. You engage in cheap, anachronistic moralizing .  9. You are sloppy with the chronology .  8. You quote excessively or improperly .  7. You have written a careless “one-draft wonder.” (See revise and proofread)  6. You are vague or have empty, unsupported generalizations .  5. You write too much in the passive voice.  4. You use inappropriate sources .  3. You use evidence uncritically.  2. You are wordy .  1. You have no clear thesis and little analysis.

Making Sure your History Paper has Substance

Get off to a good start..

Avoid pretentious, vapid beginnings. If you are writing a paper on, say, British responses to the rebellion in India in 1857, don't open with a statement like this: “Throughout human history people in all cultures everywhere in the world have engaged in many and long-running conflicts about numerous aspects of government policy and diplomatic issues, which have much interested historians and generated historical theories in many areas.” This is pure garbage, bores the reader, and is a sure sign that you have nothing substantive to say. Get to the point. Here’s a better start: “The rebellion in 1857 compelled the British to rethink their colonial administration in India.” This sentence tells the reader what your paper is actually about and clears the way for you to state your thesis in the rest of the opening paragraph. For example, you might go on to argue that greater British sensitivity to Indian customs was hypocritical.

State a clear thesis.

Whether you are writing an exam essay or a senior thesis, you need to have a thesis. Don’t just repeat the assignment or start writing down everything that you know about the subject. Ask yourself, “What exactly am I trying to prove?” Your thesis is your take on the subject, your perspective, your explanation—that is, the case that you’re going to argue. “Famine struck Ireland in the 1840s” is a true statement, but it is not a thesis. “The English were responsible for famine in Ireland in the 1840s” is a thesis (whether defensible or not is another matter). A good thesis answers an important research question about how or why something happened. (“Who was responsible for the famine in Ireland in the 1840s?”) Once you have laid out your thesis, don’t forget about it. Develop your thesis logically from paragraph to paragraph. Your reader should always know where your argument has come from, where it is now, and where it is going.

Be sure to analyze.

Students are often puzzled when their professors mark them down for summarizing or merely narrating rather than analyzing. What does it mean to analyze? In the narrow sense, to analyze means to break down into parts and to study the interrelationships of those parts. If you analyze water, you break it down into hydrogen and oxygen. In a broader sense, historical analysis explains the origins and significance of events. Historical analysis digs beneath the surface to see relationships or distinctions that are not immediately obvious. Historical analysis is critical; it evaluates sources, assigns significance to causes, and weighs competing explanations. Don’t push the distinction too far, but you might think of summary and analysis this way: Who, what, when, and where are the stuff of summary; how, why, and to what effect are the stuff of analysis. Many students think that they have to give a long summary (to show the professor that they know the facts) before they get to their analysis. Try instead to begin your analysis as soon as possible, sometimes without any summary at all. The facts will “shine through” a good analysis. You can't do an analysis unless you know the facts, but you can summarize the facts without being able to do an analysis. Summary is easier and less sophisticated than analysis—that’s why summary alone never earns an “A.”

Use evidence critically.

Like good detectives, historians are critical of their sources and cross-check them for reliability. You wouldn't think much of a detective who relied solely on a suspect’s archenemy to check an alibi. Likewise, you wouldn't think much of a historian who relied solely on the French to explain the origins of World War I. Consider the following two statements on the origin of World War I: 1) “For the catastrophe of 1914 the Germans are responsible. Only a professional liar would deny this...” 2) “It is not true that Germany is guilty of having caused this war. Neither the people, the government, nor the Kaiser wanted war....”  They can’t both be right, so you have to do some detective work. As always, the best approach is to ask: Who wrote the source? Why? When? Under what circumstances? For whom? The first statement comes from a book by the French politician Georges Clemenceau, which he wrote in 1929 at the very end of his life. In 1871, Clemenceau had vowed revenge against Germany for its defeat of France in the Franco-Prussian War. As premier of France from 1917 to 1920, he represented France at the Paris Peace Conference in 1919. He was obviously not a disinterested observer. The second statement comes from a manifesto published by ninety-three prominent German intellectuals in the fall of 1914. They were defending Germany against charges of aggression and brutality. They too were obviously not disinterested observers. Now, rarely do you encounter such extreme bias and passionate disagreement, but the principle of criticizing and cross-checking sources always applies. In general, the more sources you can use, and the more varied they are, the more likely you are to make a sound historical judgment, especially when passions and self-interests are engaged. You don’t need to be cynical as a historian (self-interest does not explain everything), but you do need to be critical and skeptical. Competent historians may offer different interpretations of the same evidence or choose to stress different evidence. You will not find a single historical Truth with a capital “T” on any matter of significance. You can, however, learn to discriminate among conflicting interpretations, not all of which are created equal. (See also: Analyzing a Historical Document )

Be precise.

Vague statements and empty generalizations suggest that you haven't put in the time to learn the material. Consider these two sentences: “During the French Revolution, the government was overthrown by the people. The Revolution is important because it shows that people need freedom.” What people? Landless peasants? Urban journeymen? Wealthy lawyers? Which government? When? How? Who exactly needed freedom, and what did they mean by freedom? Here is a more precise statement about the French Revolution: “Threatened by rising prices and food shortages in 1793, the Parisian sans-culottes pressured the Convention to institute price controls.” This statement is more limited than the grandiose generalizations about the Revolution, but unlike them, it can open the door to a real analysis of the Revolution. Be careful when you use grand abstractions like people, society, freedom, and government, especially when you further distance yourself from the concrete by using these words as the apparent antecedents for the pronouns they and it. Always pay attention to cause and effect. Abstractions do not cause or need anything; particular people or particular groups of people cause or need things. Avoid grandiose trans-historical generalizations that you can’t support. When in doubt about the appropriate level of precision or detail, err on the side of adding “too much” precision and detail.

Watch the chronology.

Anchor your thesis in a clear chronological framework and don't jump around confusingly. Take care to avoid both anachronisms and vagueness about dates. If you write, “Napoleon abandoned his Grand Army in Russia and caught the redeye back to Paris,” the problem is obvious. If you write, “Despite the Watergate scandal, Nixon easily won reelection in 1972,” the problem is more subtle, but still serious. (The scandal did not become public until after the election.) If you write, “The revolution in China finally succeeded in the twentieth century,” your professor may suspect that you haven’t studied. Which revolution? When in the twentieth century? Remember that chronology is the backbone of history. What would you think of a biographer who wrote that you graduated from Hamilton in the 1950s?

Cite sources carefully.

Your professor may allow parenthetical citations in a short paper with one or two sources, but you should use footnotes for any research paper in history. Parenthetical citations are unaesthetic; they scar the text and break the flow of reading. Worse still, they are simply inadequate to capture the richness of historical sources. Historians take justifiable pride in the immense variety of their sources. Parenthetical citations such as (Jones 1994) may be fine for most of the social sciences and humanities, where the source base is usually limited to recent books and articles in English. Historians, however, need the flexibility of the full footnote. Try to imagine this typical footnote (pulled at random from a classic work of German history) squeezed into parentheses in the body of the text: DZA Potsdam, RdI, Frieden 5, Erzgebiet von Longwy-Briey, Bd. I, Nr. 19305, gedruckte Denkschrift für OHL und Reichsleitung, Dezember 1917, und in RWA, Frieden Frankreich Nr. 1883. The abbreviations are already in this footnote; its information cannot be further reduced. For footnotes and bibliography, historians usually use Chicago style. (The Chicago Manual of Style. 15th edition. Chicago: University of Chicago Press, 2003.) On the Writing Center’s website you can find a useful summary of Chicago citation style prepared by a former history major, Elizabeth Rabe ’04 ( Footnotes ). RefWorks (on the library’s website) will convert your citations to Chicago style. Don’t hesitate to ask one of the reference librarians for help if you have trouble getting started on RefWorks.

Use primary sources.

Use as many primary sources as possible in your paper. A primary source is one produced by a participant in or witness of the events you are writing about. A primary source allows the historian to see the past through the eyes of direct participants. Some common primary sources are letters, diaries, memoirs, speeches, church records, newspaper articles, and government documents of all kinds. The capacious genre “government records” is probably the single richest trove for the historian and includes everything from criminal court records, to tax lists, to census data, to parliamentary debates, to international treaties—indeed, any records generated by governments. If you’re writing about culture, primary sources may include works of art or literature, as well as philosophical tracts or scientific treatises—anything that comes under the broad rubric of culture. Not all primary sources are written. Buildings, monuments, clothes, home furnishings, photographs, religious relics, musical recordings, or oral reminiscences can all be primary sources if you use them as historical clues. The interests of historians are so broad that virtually anything can be a primary source. (See also: Analyzing a Historical Document )

Use scholarly secondary sources.

A secondary source is one written by a later historian who had no part in what he or she is writing about. (In the rare cases when the historian was a participant in the events, then the work—or at least part of it—is a primary source.) Historians read secondary sources to learn about how scholars have interpreted the past. Just as you must be critical of primary sources, so too you must be critical of secondary sources. You must be especially careful to distinguish between scholarly and non-scholarly secondary sources. Unlike, say, nuclear physics, history attracts many amateurs. Books and articles about war, great individuals, and everyday material life dominate popular history. Some professional historians disparage popular history and may even discourage their colleagues from trying their hand at it. You need not share their snobbishness; some popular history is excellent. But—and this is a big but—as a rule, you should avoid popular works in your research, because they are usually not scholarly. Popular history seeks to inform and entertain a large general audience. In popular history, dramatic storytelling often prevails over analysis, style over substance, simplicity over complexity, and grand generalization over careful qualification. Popular history is usually based largely or exclusively on secondary sources. Strictly speaking, most popular histories might better be called tertiary, not secondary, sources. Scholarly history, in contrast, seeks to discover new knowledge or to reinterpret existing knowledge. Good scholars wish to write clearly and simply, and they may spin a compelling yarn, but they do not shun depth, analysis, complexity, or qualification. Scholarly history draws on as many primary sources as practical. Now, your goal as a student is to come as close as possible to the scholarly ideal, so you need to develop a nose for distinguishing the scholarly from the non-scholarly. Here are a few questions you might ask of your secondary sources (bear in mind that the popular/scholarly distinction is not absolute, and that some scholarly work may be poor scholarship). Who is the author? Most scholarly works are written by professional historians (usually professors) who have advanced training in the area they are writing about. If the author is a journalist or someone with no special historical training, be careful. Who publishes the work? Scholarly books come from university presses and from a handful of commercial presses (for example, Norton, Routledge, Palgrave, Penguin, Rowman & Littlefield, Knopf, and HarperCollins). If it’s an article, where does it appear? Is it in a journal subscribed to by our library, listed on JSTOR , or published by a university press? Is the editorial board staffed by professors? Oddly enough, the word journal in the title is usually a sign that the periodical is scholarly. What do the notes and bibliography look like? If they are thin or nonexistent, be careful. If they are all secondary sources, be careful. If the work is about a non-English-speaking area, and all the sources are in English, then it's almost by definition not scholarly. Can you find reviews of the book in the data base Academic Search Premier? If the book was published within the last few decades, and it’s not in there, that’s a bad sign. With a little practice, you can develop confidence in your judgment—and you’re on your way to being a historian. If you are unsure whether a work qualifies as scholarly, ask your professor. (See also: Writing a Book Review )

Avoid abusing your sources.

Many potentially valuable sources are easy to abuse. Be especially alert for these five abuses: Web abuse. The Web is a wonderful and improving resource for indexes and catalogs. But as a source for primary and secondary material for the historian, the Web is of limited value. Anyone with the right software can post something on the Web without having to get past trained editors, peer reviewers, or librarians. As a result, there is a great deal of garbage on the Web. If you use a primary source from the Web, make sure that a respected intellectual institution stands behind the site. Be especially wary of secondary articles on the Web, unless they appear in electronic versions of established print journals (e.g., The Journal of Asian Studies in JSTOR). Many articles on the Web are little more than third-rate encyclopedia entries. When in doubt, check with your professor. With a few rare exceptions, you will not find scholarly monographs in history (even recent ones) on the Web. You may have heard of Google’s plans to digitize the entire collections of some of the world’s major libraries and to make those collections available on the Web. Don’t hold your breath. Your days at Hamilton will be long over by the time the project is finished. Besides, your training as a historian should give you a healthy skepticism of the giddy claims of technophiles. Most of the time and effort of doing history goes into reading, note-taking, pondering, and writing. Finding a chapter of a book on the Web (as opposed to getting the physical book through interlibrary loan) might be a convenience, but it doesn’t change the basics for the historian. Moreover, there is a subtle, but serious, drawback with digitized old books: They break the historian’s sensual link to the past. And of course, virtually none of the literally trillions of pages of archival material is available on the Web. For the foreseeable future, the library and the archive will remain the natural habitats of the historian. Thesaurus abuse. How tempting it is to ask your computer’s thesaurus to suggest a more erudite-sounding word for the common one that popped into your mind! Resist the temptation. Consider this example (admittedly, a bit heavy-handed, but it drives the point home): You’re writing about the EPA’s programs to clean up impure water supplies. Impure seems too simple and boring a word, so you bring up your thesaurus, which offers you everything from incontinent to meretricious. “How about meretricious water?” you think to yourself. “That will impress the professor.” The problem is that you don’t know exactly what meretricious means, so you don’t realize that meretricious is absurdly inappropriate in this context and makes you look foolish and immature. Use only those words that come to you naturally. Don’t try to write beyond your vocabulary. Don’t try to impress with big words. Use a thesaurus only for those annoying tip-of-the-tongue problems (you know the word and will recognize it instantly when you see it, but at the moment you just can’t think of it).  Quotation book abuse. This is similar to thesaurus abuse. Let’s say you are writing a paper on Alexander Hamilton’s banking policies, and you want to get off to a snappy start that will make you seem effortlessly learned. How about a quotation on money? You click on the index of Bartlett’s Familiar Quotations , and before you know it, you’ve begun your paper with, “As Samuel Butler wrote in Hudibras ,  ‘For what is worth in anything/ But so much money as ’t will bring?’” Face it, you’re faking it. You don’t know who Samuel Butler is, and you’ve certainly never heard of Hudibras , let alone read it. Your professor is not fooled. You sound like an insecure after-dinner speaker. Forget Bartlett’s, unless you're confirming the wording of a quotation that came to you spontaneously and relates to your paper.  Encyclopedia abuse. General encyclopedias like Britannica are useful for checking facts (“Wait a sec, am I right about which countries sent troops to crush the Boxer Rebellion in China? Better check.”). But if you are footnoting encyclopedias in your papers, you are not doing college-level research.

Dictionary Abuse. The dictionary is your friend. Keep it by your side as you write, but do not abuse it by starting papers with a definition. You may be most tempted to start this way when you are writing on a complex, controversial, or elusive subject. (“According to Webster’s Collegiate Dictionary , liberalism is defined as...”). Actually, the dictionary does you little good in such cases and makes you sound like a conscientious but dull high-school student. Save in the rare case that competing dictionary definitions are the subject at hand, keep dictionary quotations out of your paper.

Quote sparingly

Avoid quoting a secondary source and then simply rewording or summarizing the quotation, either above or below the quotation. It is rarely necessary to quote secondary sources at length, unless your essay focuses on a critical analysis of the author’s argument. (See also: Writing a Book Review ) Your professor wants to see your ability to analyze and to understand the secondary sources. Do not quote unless the quotation clarifies or enriches your analysis. When in doubt, do not quote; instead, integrate the author’s argument into your own (though be sure to acknowledge ideas from your sources, even when you are paraphrasing). If you use a lot of quotations from secondary sources, you are probably writing a poor paper. An analysis of a primary source, such as a political tract or philosophical essay, might require lengthy quotations, often in block format. In such cases, you might need to briefly repeat key points or passages as a means to introduce the author’s ideas, but your analysis and interpretation of the text’s meaning should remain the most important aim. (See also: Using primary sources and Use scholarly secondary sources .)

Know your audience

Unless instructed otherwise, you should assume that your audience consists of educated, intelligent, nonspecialists. In fact, your professor will usually be your only reader, but if you write directly to your professor, you may become cryptic or sloppy (oh well, she’ll know what I’m talking about). Explaining your ideas to someone who doesn't know what you mean forces you to be clear and complete. Now, finding the right amount of detail can, admittedly, be tricky (how much do I put in about the Edict of Nantes, the Embargo Act, or President Wilson’s background?). When in doubt, err on the side of putting in extra details. You’ll get some leeway here if you avoid the extremes (my reader’s an ignoramus/my reader knows everything).

Avoid cheap, anachronistic moralizing

Many of the people and institutions of the past appear unenlightened, ignorant, misguided, or bigoted by today’s values. Resist the temptation to condemn or to get self-righteous. (“Martin Luther was blind to the sexism and class prejudice of sixteenth-century German society.”) Like you, people in the past were creatures of their time; like you, they deserve to be judged by the standards of their time. If you judge the past by today’s standards (an error historians call “presentism”), you will never understand why people thought or acted as they did. Yes, Hitler was a bad guy, but he was bad not only by today’s standards, but also by the commonly accepted standards of his own time. Someday you’re going to look pretty foolish and ignorant yourself. (“Early twenty-first century Hamilton students failed to see the shocking inderdosherism [that’s right, you don’t recognize the concept because it doesn’t yet exist] implicit in their career plans.”)

Have a strong conclusion

Obviously, you should not just stop abruptly as though you have run out of time or ideas. Your conclusion should conclude something. If you merely restate briefly what you have said in your paper, you give the impression that you are unsure of the significance of what you have written. A weak conclusion leaves the reader unsatisfied and bewildered, wondering why your paper was worth reading. A strong conclusion adds something to what you said in your introduction. A strong conclusion explains the importance and significance of what you have written. A strong conclusion leaves your reader caring about what you have said and pondering the larger implications of your thesis. Don’t leave your reader asking, “So what?”

Revise and proofread

Your professor can spot a “one-draft wonder,” so don't try to do your paper at the last moment. Leave plenty of time for revising and proofreading. Show your draft to a writing tutor or other good writer. Reading the draft aloud may also help. Of course, everyone makes mistakes, and a few may slip through no matter how meticulous you are. But beware of lots of mistakes. The failure to proofread carefully suggests that you devoted little time and effort to the assignment. Tip: Proofread your text both on the screen and on a printed copy. Your eyes see the two differently. Don’t rely on your spell checker to catch all of your misspellings. (If ewe ken reed this ewe kin sea that a computer wood nut all ways help ewe spill or rite reel good.)

Note: The Writing Center suggests standard abbreviations for noting some of these problems. You should familiarize yourself with those abbreviations, but your professor may not use them.  

Remarks on Style and Clarity

Wordy/verbose/repetitive..

Try your hand at fixing this sentence: “Due to the fact that these aspects of the issue of personal survival have been raised by recently transpired problematic conflicts, it is at the present time paramount that the ultimate psychological end of suicide be contemplated by this individual.” If you get it down to “To be or not to be, that is the question,” you’ve done well. You may not match Shakespeare, but you can learn to cut the fat out of your prose. The chances are that the five pages you’ve written for your history paper do not really contain five pages’ worth of ideas.

Misuse of the passive voice.

Write in the active voice. The passive voice encourages vagueness and dullness; it enfeebles verbs; and it conceals agency, which is the very stuff of history. You know all of this almost instinctively. What would you think of a lover who sighed in your ear, “My darling, you are loved by me!”? At its worst, the passive voice—like its kin, bureaucratic language and jargon—is a medium for the dishonesty and evasion of responsibility that pervade contemporary American culture. (“Mistakes were made; I was given false information.” Now notice the difference: “I screwed up; Smith and Jones lied to me; I neglected to check the facts.”) On history papers the passive voice usually signals a less toxic version of the same unwillingness to take charge, to commit yourself, and to say forthrightly what is really going on, and who is doing what to whom. Suppose you write, “In 1935 Ethiopia was invaded.” This sentence is a disaster. Who invaded? Your professor will assume that you don't know. Adding “by Italy” to the end of the sentence helps a bit, but the sentence is still flat and misleading. Italy was an aggressive actor, and your passive construction conceals that salient fact by putting the actor in the syntactically weakest position—at the end of the sentence as the object of a preposition. Notice how you add vigor and clarity to the sentence when you recast it in the active voice: "In 1935 Italy invaded Ethiopia." I n a few cases , you may violate the no-passive-voice rule. The passive voice may be preferable if the agent is either obvious (“Kennedy was elected in 1960”), irrelevant (“Theodore Roosevelt became president when McKinley was assassinated”), or unknown (“King Harold was killed at the Battle of Hastings”). Note that in all three of these sample sentences the passive voice focuses the reader on the receiver of the action rather than on the doer (on Kennedy, not on American voters; on McKinley, not on his assassin; on King Harold, not on the unknown Norman archer). Historians usually wish to focus on the doer, so you should stay with the active voice—unless you can make a compelling case for an exception.

Abuse of the verb to be.

The verb to be is the most common and most important verb in English, but too many verbs to be suck the life out of your prose and lead to wordiness. Enliven your prose with as many action verbs as possible. ( “In Brown v. Board of Education it was the opinion of the Supreme Court that the doctrine of ‘separate but equal’ was in violation of the Fourteenth Amendment.”) Rewrite as “ In Brown v. Board of Education the Supreme Court ruled that the doctrine of ‘separate but equal’ violated the Fourteenth ”

Explain/what’s your point?/unclear/huh?

You may (or may not) know what you’re talking about, but if you see these marginal comments, you have confused your reader. You may have introduced a non sequitur ; gotten off the subject; drifted into abstraction; assumed something that you have not told the reader; failed to explain how the material relates to your argument; garbled your syntax; or simply failed to proofread carefully.  If possible, have a good writer read your paper and point out the muddled parts. Reading your paper aloud may help too.

Paragraph goes nowhere/has no point or unity.

Paragraphs are the building blocks of your paper. If your paragraphs are weak, your paper cannot be strong. Try underlining the topic sentence of every paragraph. If your topic sentences are vague, strength and precision—the hallmarks of good writing—are unlikely to follow. Consider this topic sentence (from a paper on Ivan the Terrible): “From 1538 to 1547, there are many different arguments about the nature of what happened.”  Disaster looms. The reader has no way of knowing when the arguing takes place, who’s arguing, or even what the arguing is about. And how does the “nature of what happened” differ from plain “what happened”? Perhaps the writer means the following: “The childhood of Ivan the Terrible has provoked controversy among scholars of Russian history.” That's hardly deathless prose, but it does orient the reader and make the writer accountable for what follows in the paragraph. Once you have a good topic sentence, make sure that everything in the paragraph supports that sentence, and that cumulatively the support is persuasive. Make sure that each sentence follows logically from the previous one, adding detail in a coherent order. Move, delete, or add material as appropriate. To avoid confusing the reader, limit each paragraph to one central idea. (If you have a series of supporting points starting with first, you must follow with a second, third , etc.) A paragraph that runs more than a printed page is probably too long. Err on the side of shorter paragraphs.

Inappropriate use of first person.

Most historians write in the third person, which focuses the reader on the subject. If you write in the first person singular, you shift the focus to yourself. You give the impression that you want to break in and say, “Enough about the Haitian revolution [or whatever], now let’s talk about me!” Also avoid the first person plural (“We believe...”). It suggests committees, editorial boards, or royalty. None of those should have had a hand in writing your paper. And don’t refer to yourself lamely as “this writer.” Who else could possibly be writing the paper?

Tense inconsistency.

Stay consistently in the past tense when you are writing about what took place in the past. (“Truman’s defeat of Dewey in 1948 caught the pollsters by surprise.”) Note that the context may require a shift into the past perfect. (“The pollsters had not realized [past perfect] that voter opinion had been [past perfect] changing rapidly in the days before the election.”) Unfortunately, the tense problem can get a bit more complicated. Most historians shift into the present tense when describing or commenting on a book, document, or evidence that still exists and is in front of them (or in their mind) as they write.  (“de Beauvoir published [past tense] The Second Sex in 1949. In the book she contends [present tense] that woman....”) If you’re confused, think of it this way: History is about the past, so historians write in the past tense, unless they are discussing effects of the past that still exist and thus are in the present. When in doubt, use the past tense and stay consistent.

Ill-fitted quotation.

This is a common problem, though not noted in stylebooks. When you quote someone, make sure that the quotation fits grammatically into your sentence.  Note carefully the mismatch between the start of the following sentence and the quotation that follows:  “In order to understand the Vikings, writes Marc Bloch, it is necessary, ‘To conceive of the Viking expeditions as religious warfare inspired by the ardour of an implacable pagan fanaticism—an explanation that has sometimes been at least suggested—conflicts too much with what we know of minds disposed to respect magic of every kind.’” At first, the transition into the quotation from Bloch seems fine. The infinitive (to conceive) fits. But then the reader comes to the verb (conflicts) in Bloch’s sentence, and things no longer make sense. The writer is saying, in effect, “it is necessary conflicts.” The wordy lead-in and the complex syntax of the quotation have tripped the writer and confused the reader. If you wish to use the whole sentence, rewrite as “Marc Bloch writes in Feudal Society , ‘To conceive of...’” Better yet, use your own words or only part of the quotation in your sentence. Remember that good writers quote infrequently, but when they do need to quote, they use carefully phrased lead-ins that fit the grammatical construction of the quotation.

Free-floating quotation.

Do not suddenly drop quotations into your prose. (“The spirit of the Progressive era is best understood if one remembers that the United States is ‘the only country in the world that began with perfection and aspired to progress.’”) You have probably chosen the quotation because it is finely wrought and says exactly what you want to say. Fine, but first you inconvenience the reader, who must go to the footnote to learn that the quotation comes from The Age of Reform by historian Richard Hofstadter. And then you puzzle the reader. Did Hofstadter write the line about perfection and progress, or is he quoting someone from the Progressive era? If, as you claim, you are going to help the reader to judge the “spirit of the Progressive era,” you need to clarify. Rewrite as “As historian Richard Hofstadter writes in the Age of Reform , the United States is ‘the only country in the world...’” Now the reader knows immediately that the line is Hofstadter’s.

Who’s speaking here?/your view?

Always be clear about whether you’re giving your opinion or that of the author or historical actor you are discussing. Let’s say that your essay is about Martin Luther’s social views. You write, “The German peasants who revolted in 1525 were brutes and deserved to be crushed mercilessly.” That’s what Luther thought, but do you agree?  You may know, but your reader is not a mind reader. When in doubt, err on the side of being overly clear.

Jargon/pretentious theory.

Historians value plain English. Academic jargon and pretentious theory will make your prose turgid, ridiculous, and downright irritating. Your professor will suspect that you are trying to conceal that you have little to say. Of course, historians can’t get along without some theory; even those who profess to have no theory actually do—it’s called naïve realism. And sometimes you need a technical term, be it ontological argument or ecological fallacy. When you use theory or technical terms, make sure that they are intelligible and do real intellectual lifting.  Please, no sentences like this: “By means of a neo-Althusserian, post-feminist hermeneutics, this essay will de/construct the logo/phallo/centrism imbricated in the marginalizing post-colonial gendered gaze, thereby proliferating the subjectivities that will re/present the de/stabilization of the essentializing habitus of post-Fordist capitalism.”

Informal language/slang.

You don’t need to be stuffy, but stay with formal English prose of the kind that will still be comprehensible to future generations. Columbus did not “push the envelope in the Atlantic.” Henry VIII was not “looking for his inner child when he broke with the Church.” Prime Minister Cavour of Piedmont was not “trying to play in the major leagues diplomatic wise.” Wilson did not “almost veg out” at the end of his second term. President Hindenburg did not appoint Hitler in a “senior moment.” Prime Minister Chamberlain did not tell the Czechs to “chill out” after the Munich Conference, and Gandhi was not an “awesome dude.”

Try to keep your prose fresh. Avoid cliches. When you proofread, watch out for sentences like these: “Voltaire always gave 110 percent and thought outside the box. His bottom line was that as people went forward into the future, they would, at the end of the day, step up to the plate and realize that the Jesuits were conniving perverts.” Ugh. Rewrite as “Voltaire tried to persuade people that the Jesuits were cony, step up to the plate and realize that the Jesuits were conniving perverts.” Ugh. Rewrite as “Voltaire tried to persuade people that the Jesuits were conniving perverts.”

Intensifier abuse/exaggeration.

Avoid inflating your prose with unsustainable claims of size, importance, uniqueness, certainty, or intensity. Such claims mark you as an inexperienced writer trying to impress the reader. Your statement is probably not certain ; your subject probably not unique , the biggest, the best, or the most important. Also, the adverb very will rarely strengthen your sentence. Strike it. (“President Truman was very determined to stop the spread of communism in Greece.”) Rewrite as “President Truman resolved to stop the spread of communism in Greece.”

Mixed image.

Once you have chosen an image, you must stay with language compatible with that image. In the following example, note that the chain, the boiling, and the igniting are all incompatible with the image of the cold, rolling, enlarging snowball: “A snowballing chain of events boiled over, igniting the powder keg of war in 1914.” Well chosen images can enliven your prose, but if you catch yourself mixing images a lot, you're probably trying to write beyond your ability. Pull back. Be more literal.

Clumsy transition.

If your reader feels a jolt or gets disoriented at the beginning of a new paragraph, your paper probably lacks unity. In a good paper, each paragraph is woven seamlessly into the next. If you find yourself beginning your paragraphs with phrases such as “Another aspect of this problem...,” then you are probably “stacking note cards” rather than developing a thesis.

Unnecessary relative clause.

If you don’t need to restrict the meaning of your sentence’s subject, then don’t. (“Napoleon was a man who tried to conquer Europe.”) Here the relative clause adds nothing. Rewrite as “Napoleon tried to conquer Europe.” Unnecessary relative clauses are a classic form of wordiness.

Distancing or demeaning quotation marks.

If you believe that a frequently used word or phrase distorts historical reality, don’t put it in dismissive, sneering quotation marks to make your point (“the communist ‘threat’ to the ‘free’ world during the Cold War”). Many readers find this practice arrogant, obnoxious, and precious, and they may dismiss your arguments out of hand. If you believe that the communist threat was bogus or exaggerated, or that the free world was not really free, then simply explain what you mean.

Remarks on Grammar and Syntax

Ideally, your professor will help you to improve your writing by specifying exactly what is wrong with a particular passage, but  sometimes you may find a simple awk in the margin. This all-purpose negative comment usually suggests that the sentence is clumsy because you have misused words or compounded several errors. Consider this sentence from a book review:

“However, many falsehoods lie in Goldhagen’s claims and these will be explored.”

What is your long-suffering professor to do with this sentence? The however contributes nothing; the phrase falsehoods lie is an unintended pun that distracts the reader; the comma is missing between the independent clauses; the these has no clear antecedent ( falsehoods? claims? ); the second clause is in the passive voice and contributes nothing anyway; the whole sentence is wordy and screams hasty, last-minute composition. In weary frustration, your professor scrawls awk in the margin and moves on. Buried under the twelve-word sentence lies a three-word idea: “Goldhagen often errs.” When you see awk, check for the common errors in this list. If you don’t understand what’s wrong, ask.

Unclear antecedent.

All pronouns must refer clearly to antecedents and must agree with them in number. The reader usually assumes that the antecedent is the immediately preceding noun. Do not confuse the reader by having several possible antecedents. Consider these two sentences:

“Pope Gregory VII forced Emperor Henry IV to wait three days in the snow at Canossa before granting him an audience. It was a symbolic act.”

To what does the it refer? Forcing the Emperor to wait? The waiting itself? The granting of the audience? The audience itself? The whole previous sentence? You are most likely to get into antecedent trouble when you begin a paragraph with this or it , referring vaguely back to the general import of the previous paragraph. When in doubt, take this test: Circle the pronoun and the antecedent and connect the two with a line. Then ask yourself if your reader could instantly make the same diagram without your help. If the line is long, or if the circle around the antecedent is large, encompassing huge gobs of text, then your reader probably will be confused.  Rewrite. Repetition is better than ambiguity and confusion.

Faulty parallelism.

You confuse your reader if you change the grammatical construction from one element to the next in a series. Consider this sentence:

“King Frederick the Great sought to expand Prussia, to rationalize agriculture, and that the state support education.”

The reader expects another infinitive, but instead trips over the that . Rewrite the last clause as “and to promote state-supported education.” Sentences using neither/nor frequently present parallelism problems. Note the two parts of this sentence:

“After 1870 the cavalry charge was neither an effective tactic, nor did armies use it frequently.”

The sentence jars because the neither is followed by a noun, the nor by a verb. Keep the parts parallel.

Rewrite as “After 1870 the cavalry charge was neither effective nor frequently used.”

Sentences with not only/but also are another pitfall for many students. (“Mussolini attacked not only liberalism, but he also advocated militarism.”) Here the reader is set up to expect a noun in the second clause, but stumbles over a verb. Make the parts parallel by putting the verb attacked after the not only .

Misplaced modifier/dangling element.

Do not confuse the reader with a phrase or clause that refers illogically or absurdly to other words in the sentence. (“Summarized on the back cover of the American paperback edition, the publishers claim that...”) The publishers are not summarized on the back cover. (“Upon finishing the book, many questions remain.”) Who finished the book? Questions can’t read. Avoid following an introductory participial clause with the expletives it or there . Expletives are by definition filler words; they can’t be agents. (“Having examined the origins of the Meiji Restoration in Japan, it is apparent that...”) Apparent to whom?  The expletive it didn’t do the examining. (“After going on the Long March, there was greater support for the Communists in China.”) Who went on the Long March? There didn’t go on the Long March. Always pay attention to who’s doing what in your sentences.

Run-on sentence.

Run-on sentences string together improperly joined independent clauses. Consider these three sentences:

“Galileo recanted his teaching that the earth moved privately he maintained his convictions.” “Galileo recanted his teaching that the earth moved, privately he maintained his convictions.” “Galileo recanted his teaching that the earth moved, however, privately he maintained his convictions.”

The first fuses two independent clauses with neither a comma nor a coordinating conjunction; the second uses a comma but omits the coordinating conjunction; and the third also omits the coordinating conjunction (however is not a coordinating conjunction). To solve the problem, separate the two clauses with a comma and the coordinating conjunction but. You could also divide the clauses with a semicolon or make separate sentences. Remember that there are only seven coordinating conjunctions ( and, but, or, nor, for, so, yet ).

Sentence fragment.

Write in sentences. A sentence has to have a subject and a predicate. If you string together a lot of words, you may lose control of the syntax and end up with a sentence fragment. Note that the following is not a sentence:

“While in Western Europe railroad building proceeded rapidly in the nineteenth century, and in Russia there was less progress.”

Here you have a long compound introductory clause followed by no subject and no verb, and thus you have a fragment. You may have noticed exceptions to the no-fragments rule. Skilful writers do sometimes intentionally use a fragment to achieve a certain effect. Leave the rule-breaking to the experts.

Confusion of restrictive and nonrestrictive clauses.

Consider these two versions of the same sentence:

1. “World War I, which raged from 1914-1918, killed millions of Europeans.” 2. “World War I that raged from 1914-1918 killed millions of Europeans.”

The first sentence has a nonrestrictive relative clause; the dates are included almost as parenthetical information. But something seems amiss with the second sentence. It has a restrictive relative clause that limits the subject (World War I) to the World War I fought between 1914 and 1918, thus implying that there were other wars called World War I, and that we need to distinguish among them. Both sentences are grammatically correct, but the writer of the second sentence appears foolish.  Note carefully the distinction between that (for use in restrictive clauses, with no comma) and which (for use in nonrestrictive clauses, with a comma).

Confusion about who’s doing what.

Remember—history is about what people do, so you need to be vigilant about agency. Proofread your sentences carefully, asking yourself, “Have I said exactly who is doing or thinking what, or have I inadvertently attributed an action or belief to the wrong person or group?” Unfortunately, there are many ways to go wrong here, but faulty punctuation is among the most common. Here’s a sentence about Frantz Fanon, the great critic of European imperialism. Focus on the punctuation and its effect on agency: “Instead of a hierarchy based on class, Fanon suggests the imperialists establish a hierarchy based on race.” As punctuated, the sentence says something absurd: that Fanon is advising the imperialists about the proper kind of hierarchy to establish in the colonies. Surely, the writer meant to say that, in his analysis of imperialism, Fanon distinguishes between two kinds of hierarchy. A comma after suggests fixes the immediate problem. Now look at the revised sentence. It still needs work. Better diction and syntax would sharpen it.  Fanon does not suggest (with connotations of both hinting and advocating); he states outright. What’s more, the comparison of the two kinds of hierarchy gets blurred by too many intervening words. The key point of the sentence is, in effect, “instead of A, we have B.” Clarity demands that B follow A as closely as possible, and that the two elements be grammatically parallel. But between the elements A and B, the writer inserts Fanon (a proper noun), suggests (a verb), imperialists (a noun), and establish (a verb). Try the sentence this way: “Fanon says that the imperialists establish a hierarchy based on race rather than class.” Now the agency is clear: We know what Fanon does, and we know what the imperialists do. Notice that errors and infelicities have a way of clustering. If you find one problem in a sentence, look for others.

Confusion about the objects of prepositions.

Here’s another one of those common problems that does not receive the attention it merits. Discipline your prepositional phrases; make sure you know where they end. Notice the mess in this sentence: “Hitler accused Jewish people of engaging in incest and stating that Vienna was the ‘personification of incest.’” The reader thinks that both engaging and stating are objects of the preposition of. Yet the writer intends only the first to be the object of the preposition. Hitler is accusing the Jews of engaging , but not of stating ; he is the one doing the stating . Rewrite as “Hitler accused the Jews of incest; he stated that Vienna was the ‘personification of incest.’” Note that the wordiness of the original encouraged the syntactical mess. Simplify. It can’t be said too many times: Always pay attention to who’s doing what in your sentences.

Misuse of the comparative.

There are two common problems here. The first might be called the “floating comparative.” You use the comparative, but you don’t say what you are comparing. (“Lincoln was more upset by the dissolution of the union.”) More upset than by what? More upset than who? The other problem, which is more common and takes many forms, is the unintended (and sometimes comical) comparison of unlike elements. Consider these attempts to compare President Clinton to President George H. W. Bush. Often the trouble starts with a possessive:

“President Clinton’s sexual appetite was more voracious than President Bush.”

You mean to compare appetites, but you've forgotten about your possessive, so you absurdly compare an appetite to a man. Rewrite as “more voracious than President Bush’s.” A variation of this problem is the unintended comparison resulting from the omission of a verb:

“President Clinton liked women more than President Bush.”
Re-write as “more than did President Bush.”

A misplaced modifier may also cause comparison trouble: “Unlike the Bush administration, sexual scandal nearly destroyed the Clinton administration.” Rewrite as  “Unlike the Bush administration, the Clinton administration was nearly destroyed by sexual scandal.” Here the passive voice is better than the misplaced modifier, but you could rewrite as “The Bush administration had been free of sexual scandal, which nearly destroyed the Clinton administration.”

Misuse of apostrophe.

Get control of your apostrophes. Use the apostrophe to form singular or plural possessives (Washington’s soldiers; the colonies’ soldiers) or to form contractions (don’t; it’s). Do not use the apostrophe to form plurals. (“The communists [not communists’] defeated the nationalists [not nationalists’] in China.”)

Comma after although.

This is a new error, probably a carryover from the common conversational habit of pausing dramatically after although . ( “Although , coffee consumption rose in eighteenth-century Europe, tea remained far more popular.”) Delete the comma after although . Remember that although is not a synonym for the word however , so you cannot solve the problem in the sentence by putting a period after Europe . A clause beginning with although cannot stand alone as a sentence.

Comma between subject and verb.

This is a strange new error. (“Hitler and Stalin, agreed to a pact in August 1939.”) Delete the comma after Stalin. Finally, two hints: If your word-processing program underlines something and suggests changes, be careful. When it comes to grammar and syntax, your computer is a moron. Not only does it fail to recognize some gross errors, it also falsely identifies some correct passages as errors. Do not cede control of your writing decisions to your computer. Make the suggested changes only if you are positive that they are correct. If you are having trouble with your writing, try simplifying. Write short sentences and read them aloud to test for clarity. Start with the subject and follow it quickly with an active verb. Limit the number of relative clauses, participial phrases, adjectives, adverbs, and prepositional phrases. You will win no prizes for eloquence, but at least you will be clear. Add complexity only when you have learned to handle it.

An historical/an historian.

The consonant “H” is not silent in historical and historian , so the proper form of the indefinite article is “A.”

Avoid the common solecism of using feel as a synonym for think, believe, say, state, assert, contend, argue, conclude, or write. (“Marx felt that the bourgeoisie exploited the proletariat.” “Emmeline Pankhurst felt that British women should be able to vote.”) The use of feel in these sentences demeans the agents by suggesting undisciplined sentiment rather than carefully formulated conviction. Concentrate on what your historical actors said and did; leave their feelings to speculative chapters of their biographies. As for your own feelings, keep them out of your papers. (“I feel that Lincoln should have freed the slaves earlier.”) Your professor will be delighted that the material engages both your head and your heart, but your feelings cannot be graded. If you believe that Lincoln should have acted earlier, then explain, giving cogent historical reasons.

The fact that.

This is a clumsy, unnecessary construction. ( “The fact that Nixon resigned in disgrace damaged the Republican Party.”) Re-word as “Nixon resigned in disgrace, damaging the Republican Party.” Never use the hideous phrase due to the fact that.

In terms of.

This phrase is filler. Get rid of it. (“Bismarck was a success in terms of uniting Germany.) Rewrite as “Bismarck successfully united Germany.”

Attend carefully to the placement of this limiting word. Note, for example, these three sentences:

“The government only interred Japanese Americans during World War II.” “The government interred only Japanese Americans during World War II.” “The government interred Japanese Americans only during World War II.”

The first limits the action to interring (as opposed to, say, killing); the second limits the group interred (i.e., not Italian Americans); the third limits the time of interring (i.e., not during other wars).

Thus and therefore.

More than likely, you have not earned these words and are implying that you have said more than you actually have. Use them sparingly, only when you are concluding a substantial argument with a significant conclusion.

Misuse of instead.

Instead is an adverb, not a conjunction. Consider this sentence: “Charles Beard argued that the framers of the constitution were not idealists, instead they promoted their economic interests.” Revise as “The framers of the constitution, Charles Beard argued, did not uphold ideals; instead , they promoted their economic interests.” Now the instead appears properly as an adverb. (Note also that the two clauses are now parallel—both contain transitive verbs.)

Essentially and basically.

These are usually either filler words (the written equivalent of “uh” or “um”) or weasel words that merely call attention to your vagueness, lack of conviction, or lazy unwillingness to qualify precisely. (“ Essentially , Churchill believed that Nazi Germany presented a grave danger to Britain.”) Delete essentially and basically unless you are writing about essences or bases.

Both share or both agree.

These are redundant. If two people share or agree , they are both involved by definition. (“Stalin and Mao both agreed that capitalism belonged in the dustbin of history.”) Delete both .

This word means one of a kind. It is an absolute. Something cannot be very unique, more unique, or somewhat unique.

Incredible.

In casual conversation incredible often means extraordinary, astonishing, or impressive (“Yesterday’s storm was incredible.”). To avoid confusion in historical prose, you should stick with the original meaning of incredible : not believable. If you write that “William Jennings Bryan gave incredible speeches,” you’re saying that you don’t believe his speeches, or that his audiences didn’t believe them at the time—in other words, that he appeared to be lying or mistaken. You probably mean that he gave great speeches. If you write that “It’s incredible that Japan attacked Pearl Harbor,” you’re calling into question the very existence of a historical event. You probably mean that the Japanese attack was unwise or reckless. English is rich with adjectives. Finding the best one forces you to think about what you really mean.

As a synonym for subject matter, bone of contention, reservation, or almost anything else vaguely associated with what you are discussing, the word issue has lost its meaning through overuse. (“There were many issues involved with Truman’s decision to use the atomic bomb, and some historians have issues with his decision.”) Stop talking about issues and get to the point.

Beware of the word literally . It’s commonly misused, and you almost never need it in historical prose. Literally means actually, factually, exactly, directly, without metaphor. The careful writer would never say, “Roosevelt literally swamped Landon in the election of 1936.” One imagines Roosevelt (in his wheelchair no less!) dumping the hapless Landon off a pier in the Everglades on election night. The swamping was figurative, strictly a figure of speech. The adverb literally may also cause you trouble by falsely generalizing the coverage of your verb. “London was literally destroyed by the blitz.” This suggests that the whole city was destroyed, when, in fact, only parts were destroyed. Rewrite as “The blitz destroyed parts of London.” Now you’ve qualified properly (and gotten rid of the passive).

When you’re tempted to use this word, resist. Like issue , involve tells the reader too little. (“Erasmus was involved in the Renaissance.”) This statement could mean virtually anything. Delete it and discuss specifically what Erasmus said or did.

This is a fine old word with many precise meanings, but as an overused synonym for feature, side, or part, it is usually a sign of insipid prose (“Another aspect of the issues in this area is the fact that...”). Just get directly to the point.

Most good writers frown on the use of this word as a verb.(“Eisenhower’s military background impacted his foreign policy.”) Affected, influenced, or shaped would be better here. Impacted suggests painfully blocked wisdom teeth or feces. Had an impact is better than impacted , but is still awkward because impact implies a collision.

Here is another beloved but vapid word. (“Many factors led to the Reformation.”) Such a sentence usually opens a vague, boring, weaseling paragraph. If you believe (quite reasonably) that the Reformation had many causes, then start evaluating them.

Meaningful.

Overuse has drained the meaning from meaningful . (“Peter the Great took meaningful steps to westernize Russia.”) Just get to the point.

Interesting.

The adjective interesting is vague, overused, and does not earn its keep. (“Burckhardt had an interesting perspective on the Renaissance.”) This sentence is filler. Delete it and explain and analyze his perspective.

The events that transpired.

Your professor will gag on this one. Events take place or happen by definition, so the relative clause is redundant. Furthermore, most good writers do not accept transpire as a synonym for happen. Again, follow the old rule of thumb: Get right to the point, say what happened, and explain its significance. You don’t need any filler about events and transpiring .

The reason is because.

This phrase is awkward and redundant. Replace it with the reason is, or better still, simply delete it and get right to your reason.

For all intensive purposes.

The phrase is for all intents and purposes , and few good writers use it in formal prose anyway.

Take for granite.

This is an illiteracy. The phrase is “ take for granted .”

Should of/could of.

You mean should have or could have .

Center around.

Good writers frown on this phrase because it’s illogical and jarring. Use center on or center in. Attention to a small detail like this indicates that you’re thinking carefully about what you’re saying, so when the big problems confront you, you’ll be disciplined and ready.

Begs the question.

Recently, many people have started to use this phrase to mean raises, invites, or brings up the question. (“Stalin’s purges beg the question of whether he was paranoid.”) Actually, begging the question is the common logical fallacy of assuming your conclusion as part of your argument. (“In the late nineteenth century, many Americans moved to the cities because of urbanization.”) Note that the use of abstractions (e.g., urbanization) encourages begging the question . Understanding this fallacy is central to your education. The formal Latin term, petitio principii, is too fancy to catch on, so you need to preserve the simple English phrase. If something raises a question, just say so.

Historic/historical confusion.

Everything in the past or relating to the past is historical. Resist the media-driven hype that elevates the ordinary to the historic . (“A three-alarm fire last night destroyed the historic site of the first Portuguese-owned dry cleaners in Cleveland.”) Reserve the word historic for the genuinely important events, persons, or objects of the past. The Norman invasion of England in 1066 was indeed historic . Historically , historians have gathered annually for a historical convention; so far, none of the conventions has been historic .

Affect/effect confusion.

The chances are that the verb you want is affect , which means to have an influence on (“The Iranian hostage crisis affected [not effected] the presidential election of 1980”). Effect as a verb means to bring about or cause to exist ( effect change). Effect as a noun means result or consequence (“The effect of the Iranian hostage crisis on the election...”).

While/whereas confusion.

If you’re stressing contrast, the word you want is whereas . While stresses simultaneity. “Hobbes had a dismal view of human nature, whereas [not while] Rousseau believed that man had a natural sense of pity.”

It’s/its confusion.

This is the classic bonehead error. Note that the spell checker won’t help you. And remember— its’ is not a word at all.

Reign/rein confusion.

A queen reigns during her reign. You rein in a horse with reins.

Their/there/they’re confusion.

You do know the difference. Pay attention.

Everyday/every day confusion.

As an adjective, everyday (one word) means routine. If you wish to say that something happened on every successive day, then you need two words, the adjective every and the noun day . Note the difference in these two sentences: “Kant was famous for going on the same constitutional at the same time every day . For Kant, exercise and thinking were everyday activities.”

Refer/allude confusion.

To allude means to refer to indirectly or to hint at. The word you probably want in historical prose is refer , which means to mention or call direct attention to. “In the first sentence of the ‘Gettysburg Address’ Lincoln refers [not alludes ] to the fathers of the nation [he mentions them directly]; he alludes to the ‘Declaration of Independence’ [the document of four score and seven years earlier that comes to the reader’s mind, but that Lincoln doesn’t directly mention].”

Novel/book confusion.

Novel is not a synonym for book. A novel is a long work of fiction in prose. A historical monograph is not a novel —unless the historian is making everything up.

Than/then confusion.

This is an appalling new error. If you are making a comparison, you use the conjunction than . (“President Kennedy’s health was worse than [not then ] the public realized.”)

Lead/led confusion.

The past tense of the verb to lead is led (not lead ). “Sherman led [not lead ] a march to the sea.”

Lose/loose confusion.

The opposite of win is lose , not loose . “Supporters of the Equal Rights Amendment suspected that they would lose [not loose ] the battle to amend the constitution.”

However/but confusion.

However may not substitute for the coordinating conjunction but. (“Mussolini began his career as a socialist, but [not however ] he later abandoned socialism for fascism.”) The word however has many proper uses; however , [note the semicolon and comma] graceful writers use it sparingly.

Cite/site/sight confusion.

You cited a source for your paper; ancient Britons sited Stonehenge on a plain; Columbus’s lookout sighted land.

Conscience/conscious confusion.

When you wake up in the morning you are conscious , though your conscience may bother you if you’ve neglected to write your history paper.

Tenet/tenant confusion.

Your religion, ideology, or worldview all have tenets —propositions you hold or believe in. Tenants rent from landlords.

All are not/not all are confusion.

If you write, “ All the colonists did not want to break with Britain in 1776,” the chances are you really mean, “ Not all the colonists wanted to break with Britain in 1776.” The first sentence is a clumsy way of saying that no colonists wanted to break with Britain (and is clearly false). The second sentence says that some colonists did not want to break with Britain (and is clearly true, though you should go on to be more precise).

Nineteenth-century/nineteenth century confusion.

Historians talk a lot about centuries, so you need to know when to hyphenate them. Follow the standard rule: If you combine two words to form a compound adjective, use a hyphen, unless the first word ends in ly. (“ Nineteenth-century [hyphenated] steamships cut the travel time across the Atlantic.”) Leave out the hyphen if you’re just using the ordinal number to modify the noun century. (“In the nineteenth century [no hyphen] steamships cut the travel time across the Atlantic.”) By the way, while you have centuries in mind, don’t forget that the nineteenth century is the 1800s, not the 1900s. The same rule for hyphenating applies to middle-class and middle class —a group that historians like to talk about.

Bourgeois/bourgeoisie confusion.

Bourgeois is usually an adjective, meaning characteristic of the middle class and its values or habits. Occasionally, bourgeois is a noun, meaning a single member of the middle class. Bourgeoisie is a noun, meaning the middle class collectively. (“Marx believed that the bourgeoisie oppressed the proletariat; he argued that bourgeois values like freedom and individualism were hypocritical.”)

Your professor may ask you to analyze a primary document. Here are some questions you might ask of your document. You will note a common theme—read critically with sensitivity to the context. This list is not a suggested outline for a paper; the wording of the assignment and the nature of the document itself should determine your organization and which of the questions are most relevant. Of course, you can ask these same questions of any document you encounter in your research.

  • What exactly is the document (e.g., diary, king’s decree, opera score, bureaucratic memorandum, parliamentary minutes, newspaper article, peace treaty)?
  • Are you dealing with the original or with a copy? If it is a copy, how remote is it from the original (e.g., photocopy of the original, reformatted version in a book, translation)? How might deviations from the original affect your interpretation?
  • What is the date of the document?
  • Is there any reason to believe that the document is not genuine or not exactly what it appears to be?
  • Who is the author, and what stake does the author have in the matters discussed? If the document is unsigned, what can you infer about the author or authors?
  • What sort of biases or blind spots might the author have? For example, is an educated bureaucrat writing with third-hand knowledge of rural hunger riots?
  • Where, why, and under what circumstances did the author write the document?
  • How might the circumstances (e.g., fear of censorship, the desire to curry favor or evade blame) have influenced the content, style, or tone of the document?
  • Has the document been published? If so, did the author intend it to be published?
  • If the document was not published, how has it been preserved? In a public archive? In a private collection? Can you learn anything from the way it has been preserved? For example, has it been treated as important or as a minor scrap of paper?
  • Does the document have a boilerplate format or style, suggesting that it is a routine sample of a standardized genre, or does it appear out of the ordinary, even unique?
  • Who is the intended audience for the document?
  • What exactly does the document say? Does it imply something different?
  • If the document represents more than one viewpoint, have you carefully distinguished between the author’s viewpoint and those viewpoints the author presents only to criticize or refute?
  • In what ways are you, the historian, reading the document differently than its intended audience would have read it (assuming that future historians were not the intended audience)?
  • What does the document leave out that you might have expected it to discuss?
  • What does the document assume that the reader already knows about the subject (e.g., personal conflicts among the Bolsheviks in 1910, the details of tax farming in eighteenth-century Normandy, secret negotiations to end the Vietnam war)?
  • What additional information might help you better interpret the document?
  • Do you know (or are you able to infer) the effects or influences, if any, of the document?
  • What does the document tell you about the period you are studying?
  • If your document is part of an edited collection, why do you suppose the editor chose it? How might the editing have changed the way you perceive the document? For example, have parts been omitted? Has it been translated? (If so, when, by whom, and in what style?) Has the editor placed the document in a suggestive context among other documents, or in some other way led you to a particular interpretation?

Your professor may ask you to write a book review, probably of a scholarly historical monograph. Here are some questions you might ask of the book. Remember that a good review is critical, but critical does not necessarily mean negative. This list is not meant to be exhaustive, nor is it a suggested outline. Of course, you can ask these same questions of any secondary historical work, even if you’re not writing a review.

  • Who is the author, and what are his or her qualifications? Has the author written other books on the subject?
  • When was the book written, and how does it fit into the scholarly debate on the subject? For example, is Smith writing to refute that idiot Jones; to qualify the work of the competent but unimaginative Johnson; or to add humbly to the evidence presented by the redoubtable Brown’s classic study? Be sure not to confuse the author’s argument with those arguments he or she presents only to criticize later.
  • What is the book’s basic argument? (Getting this right is the foundation of your review.)
  • What is the author’s method? For example, does the author rely strictly on narrative and anecdotes, or is the book analytical in some way?
  • What kinds of evidence does the author use? For example, what is the balance of primary and secondary sources? Has the author done archival work? Is the source base substantial, or does it look thin? Is the author up-to-date in the scholarly literature?
  • How skillfully and imaginatively has the author used the evidence?
  • Does the author actually use all of the material in the bibliography, or is some of it there for display?
  • What sorts of explicit or implicit ideological or methodological assumptions does the author bring to the study? For example, does he or she profess bland objectivity? A Whig view of history? Marxism?
  • How persuasive is the author’s argument?
  • Is the argument new, or is it old wine in new bottles?
  • Is the argument important, with wide-ranging implications, or is it narrow and trivial?
  • Is the book well organized and skillfully written?
  • What is your overall critical assessment of the book?
  • What is the general significance, if any, of the book? (Make sure that you are judging the book that the author actually wrote, not complaining that the author should have written a different book.)

Here are some tips for those long, intimidating term papers or senior theses:

  • Start early. If you don’t, none of these tips will matter. Big trouble is looming if you don’t have a specific topic by the end of the first week. You should be delving into the sources during the second week.
  • Keep in mind all of the dos and don’ts in this booklet.
  • Work closely with your professor to assure that your topic is neither too broad nor too narrow.
  • Set up a schedule with your professor and check his or her policy about reading rough drafts or parts of rough drafts. Then keep your professor informed about what you’re doing. You don’t want any unpleasant surprises. You certainly don’t want to hear, “I haven’t seen you for weeks, and it sounds like you’re way off base. How can you possibly get this done with only two weeks left in the semester?”
  • Make an appointment with Kristin Strohmeyer, the history reference librarian in Burke Library. She will help you to find and use the appropriate catalogs and indexes.
  • Use your imagination in compiling a bibliography. Think of all of the possible key words and subjects that may lead you to material. If you find something really good, check the subjects under which it is cataloged. Comb the notes and bibliographies of books and articles you’ve already found.
  • Much of what you need will not be in our library, so get to know the friendly folks in the Interlibrary Loan department.
  • Start early. This can’t be said too often.
  • Use as many primary sources as you can.
  • Jot down your ideas as they come to you. You may not remember them later.
  • Take careful notes on your reading. Label your notes completely and precisely. Distinguish meticulously and systematically between what you are directly quoting and what you are summarizing in your own words. Unintended plagiarism is still plagiarism. Stay clean as a hound’s tooth. Write down not just the page of the quotation or idea, but also the whole run of pages where the matter is discussed. Reread all of your notes periodically to make sure that you still understand them and are compiling what you will need to write your paper. Err on the side of writing down more than you think you will need. Copious, precise notes won’t come back to haunt you; skimpy, vague notes will. Just accept that there is something anal about good note-taking.
  • If you take notes directly into your computer, they will be easy to index and pull up, but there are a couple of downsides. You will not be able to see all of them simultaneously, as you can note cards laid out on a big table. What you gain in ease of access may come at the price of losing the big picture. Also, if your notes are in your computer, you may be tempted to save time and thought by pasting many of them directly into your paper. Note cards encourage you to rethink and to rework your ideas into a unified whole.
  • Don’t start to write until you have a good outline.
  • Make sure that your paper has a thesis. (See the entry State a clear thesis. )
  • Check and recheck your facts.
  • Footnote properly. (See the entry Cite sources carefully .)
  • Save plenty of time to proofread.
  • Start early.

Top Ten Signs that you may be Writing a Weak History Paper

10. You’re overjoyed to find that you can fill the required pages by widening all margins.

9. You haven’t mentioned any facts or cited any sources for several paragraphs.

8. You find yourself using the phrase “throughout history mankind has...”

7. You just pasted in another 100 words of quotations.

6. You haven’t a clue about the content of your next paragraph.

5. You’re constantly clicking on The Britannica, Webster’s, and Bartlett’s.

4. Your writing tutor sneaks another look at her watch as she reminds you for the third time to clarify your thesis.

3. Your main historical actors are this, it, they, the people, and society, and they are all involved with factors, aspects, impacts, and issues.

2. You just realize that you don’t understand the assignment, but it’s 3:00 A.M, the paper is due at 9:00, and you don’t dare call your professor.

1. You’re relieved that the paper counts for only 20 percent of the course grade.

Final Advice

You guessed it — start early.

Studying History at Hamilton

Students will learn to use interdisciplinary methods from the humanities and social sciences to probe the sources of the past for answers to present questions. They will learn to draw comparisons and connections among diverse societies across a range of historical eras. They will further learn to convey their findings through writing that is clearly structured, precise, and persuasive.

Office / Department Name

Nesbitt-Johnston Writing Center

Contact Name

Jennifer Ambrose

Writing Center Director

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Humanities LibreTexts

4.1: Preparing to Write- Organizing and Outlines

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  • Stephanie Cole, Kimberly Breuer, Scott W. Palmer, and Brandon Blakeslee
  • University of Texas at Arlington via Mavs Open Press

One of the most important—and perhaps the more difficult—parts of writing a good history research paper is deciding what to say and in what order to say it. A good outline can limit a student’s anxiety about writing a big paper as it may help break the writing process down into manageable chunk. A good outline also helps ensure that you’re approaching your argument in a logical way.

How you go about organizing your thoughts and creating an outline, however, depends a good deal on how your brain works best. Effective writers do not all use the same method. But here are few steps to follow to avoid the dreaded blank page (or monitor) and the essay that meanders and never really makes an argument (or repeats elements of the same argument unnecessarily).

Before you begin the outlining process, keep in mind that the basic form of analytical writing usually utilizes the “Rule of Three.” Simply, there should be at least three key points/pieces of evidence in a piece of writing introduced by a strong clear thesis. As you deliberate about possible thesis statements and debate what points are major elements of your argument and which ones are minor, or supporting, pieces of evidence, keep in mind that your argument will convince your readers when it has at least three supporting points.

STRATEGIES FOR DEVELOPING AN OUTLINE:

Use the terms you found helpful for organizing notes to start your outline:.

The words or tags you used to organize your notes can help in a couple of ways. First, for the “brain dump” process described next, these terms can be the first entries. Second, these terms could form the basis of main elements of your outline. Keywords that appear most frequently in your note-taking process could translate into major elements of your outline.

“Dump” the contents of your brain:

  • Before attempting a formal outline, compile a list of all the interesting facts, ideas, concepts, individuals, and events that you’ve uncovered in your research. Keep an open mind, and don’t limit this list to just what you assumed would be the focus of your paper when you wrote your proposal. For example, what were the arguments of the secondary sources you read? What ideas or phrases came up again and again? Who were the main historical actors and what surprises did you encounter in the primary sources they produced (or were produced about them)? Can you construct a rough timeline without looking at your notes? The unofficial term for this compilation is a “brain dump,” because you are recording all the ideas that have occurred to you without regard to whether they are Big and Important Ideas or smaller, secondary points. Write down as much as you can, without worrying where it fits in the paper or even knowing for sure that it does fit in the paper.

Making sense of the results of the “brain dump”

  • Visual learners often benefit from hand-writing the terms around a physical sheet of paper, and then using a spider-web concept map. In such a concept map, once you have all the terms on the page, you draw lines between related items. The terms that have multiple lines coming to or from them are the nodal points that should serve as main elements in your outline. The items that have just one or two connections are minor explanatory points in your formal outline.
  • Natural list-makers think hierarchically (from most to least important) as a matter of course. If you’re a hierarchical thinker, you might think you already know your outline without drawing lines. But before you jump straight to a formal outline, let yourself think creatively. Try creating multiple lists, with perhaps different items and different orders for the compiled “brain dump” terms and phrases. In this process, some items will appear in multiple lists. Once you have several, think through the pros and cons of each one. Choose the best one and convert it into a formal outline.

Here is a detailed description of how to create a concept map from the University of West Florida and here you can find three examples of different types of concept maps .

Mind Maps are another form of concept mapping that uses a visual hierachy with associated information branching out from that concept.

Just as there’s not one way to organize your thoughts, there’s not a single form of an outline. Some writers do best with heavily detailed outlines, while others need only “bare bones.” Likewise, the necessity of maintaining an accurate outline is also a matter of personal preference. Some writers continually revise their outline as their thinking about their topic evolves with their writing, while others use an outline only to launch their writing and to prevent the intimidation of a blank screen, then abandon it once they’ve begun writing. Still, it’s extraordinarily helpful to make a plan before you begin. Below what you’ll see are some templates that work for a few common types of arguments. You may find one that works for you, perhaps with a bit of adapting.

Option 1: Chronological

Many history essays have a natural chronological focus. Arguments that seek to explain what happened at a place and time, or demonstrate what led up to an event, as well as essays that focus on an individual’s importance, can be organized chronologically.

  • Early phase or antecedents
  • Middle years or main event
  • Later years or impact

Option 2: Revision

If your main argument centers on suggesting a correction to a currently accepted explanation of the past—perhaps you want to establish a new periodization, or make a case for an additional influence or outcome to what historians have argued—then you might consider this sort of organization.

  • Summaries of what several historians have written
  • with three examples/supporting points

Option 3: Topical/thematic approach

When your argument does not fall into one of the above traditional formats, you’ll need to uncover the patterns within evidence, and align them into to (at least) 2-3 explanatory aspects. Research that is not following political or military events often is organizes topically. There are several variations on this format, but at its most basic, consider this format.

HistoryProfessor.Org

Insights from zachary schrag, author of the princeton guide to historical research, how to write an outline.

January 2013

Updated December 2017

  • Article Outline Example: Decimal format (PDF)
  • Article Outline Template: Decimal format (.docx)
  • Article Outline Example: alphanumeric format (PDF)

An outline is a map of a longer work, which can be anything from a brief essay to a full-length book. Authors write outlines at many stages in their projects, but especially when they have completed a fair amount of research and want to figure out how to organize their findings, and again when they have written a draft and want to check it for narrative or logical consistency.

An outline has two goals. The first is to organize a long work into smaller sections. This will be helpful to you as you write, since it will break an intimidating project into shorter, more manageable tasks. And it will help the reader follow your story or argument by drawing her attention to the key episodes or arguments.

The second goal, one sometimes overlooked, is to highlight the major findings of a body of research. The best way to do this is with what the authors of the Purdue OWL page on Types of Outlines and Samples call such an outline a “full sentence outline,” listing not merely topics to be covered, but claims to be made and supported with evidence.

Classic outlines denote the major sections of a work with upper case Roman numerals. Within each section, a subsection can be denoted with a capital letter, and smaller levels still with Arabic numerals, lower case letters, and, if really necessary, lower case Roman numerals. I have found, however, that decimal outlines are easier to work with, so I suggest them here.

To show how this looks in practice, I have outlined Christopher W. Wells, “The Road to the Model T: Culture, Road Conditions, and Innovation at the Dawn of the American Motor Age.” Technology and Culture 48, no. 3 (2007): 497–523. doi:10.1353/tech.2007.0142 . Most of this outline consists of sentences taken directly from Wells’s article; to avoid clutter I have copied them without quotation marks. Believing this to be fair use, I have not sought permission from the copyright holder, but I have received Professor Wells’s kind permission to repurpose his work in this way.

The titles of the sections (indicated by single digits) are those of the headings in the published article. The lower level headings (two- and three-digit numbers) are topic sentences from Wells’s essay, with the two-digit numbers indicating statements that summarize claims fleshed out in the three-digit paragraphs.

Most outlines need not be so detailed. To present the basic structure of a term paper, article, or chapter (that is, anywhere from 4,000 to 12,000 words), two levels of headings should suffice, and that is what I’ve used for my Article Outline Example: Decimal format , which outlines Wells’s article in only two pages. Here, the highest-level headings signal new sections of the paper, and second-level headings indicate clusters of paragraphs. This format makes for a good discussion document for a student and an instructor. I have also posted a blank outline in .docx format , which you are welcome to use.

If you want to outline a multi-chapter work, such as a dissertation, then you will need to add another level to the hierarchy. In that case, single digits represent chapters, two-digit headings represent sections, and three-digit headings represent clusters of paragraphs.

I crafted the Wells outlines based on the finished work, a process called reverse outlining. (See University of Wisconsin – Madison Writing Center, “ Reverse Outlines ,” The Writer’s Handbook .) No doubt Wells’s working outline looked different, and perhaps he would outline the final project somewhat differently as well. (Though he tells me my version is pretty close to the one he used as he polished the piece for publication.) An outline need not be an exact map, only a rough guide to tell you where you’ve been, and where you are going.

Please note the following about this outline:

Each section presents a thesis.

I have started each section with its own thesis taken from the essay, one that supports the thesis of the article as a whole. Except for section 2, these do not appear at the start of the section in the article. The thesis for section 3 appears at the tail end of the previous section, while the thesis for section 4 appears in the final paragraph of that section. For student papers, and particularly for outlines, I suggest that you place the thesis for each section at the start of that section.

Notice how the section headings themselves suggest claims, not merely topics. Wells could have titled section 3, “Cars in Europe and America.” By titling it instead, “Updating the Horseless Carriage, Americanizing the Automobile,” he emphasizes the choices faced by American consumers and designers.

Each paragraph makes a claim.

While this is a narrative history, Wells takes care to make claims for each section of the narrative and in almost every topic sentence. Note his use of transitional words and phrases (more, thus) and contrast words (however, despite, yet, although). When a claim is spread across two paragraphs, he links the two through the repetition of key terms (“vanadium steel” in one topic sentence, “strong, lightweight materials” in the next). Only once does he include a quotation (from Scientific American ) in his topic sentence, and he does so when the source makes precisely the analytic argument that he himself wishes to make.

An article is built out of sections, which are built out of 5-paragraph essays.

The article is essentially composed of a series of 5-paragraph essays (designated by two-digit headings): the building blocks of so much formal writing. Sections (designated by single digits) can vary in length and complexity. But they don’t vary all that much, and the range here (roughly 10–20 paragraphs, or 2–4 subsections) is a good target. I outlined the entire article using only digits 1–5, and you shouldn’t need to go much beyond that in your outlines. Occasionally you might need 6, but if you hit 7, it’s probably time to split whatever you are working on into two or more units.

Key terms hold it all together.

In his introduction, Wells establishes a dialectic between the worldview of the horse-minded and that of the machine-minded. (Section 2 broadens the latter to the “mobility-minded.”) Note how he keeps coming back to this crucial comparison by repeating terms relating to horse-mindedness or mobility-mindedness. In the full article, the term “-minded” appears 29 times.

Christopher W. Wells, “The Road to the Model T: Culture, Road Conditions, and Innovation at the Dawn of the American Motor Age.”

Outlined by Zachary M. Schrag

1. Introduction

1.1. lede: in 1920, a single vehicle dominated the american market for automobiles: ford’s famous model t., 1.2. research question: why did so many americans buy model t’s, making them the center of the american automotive revolution, 1.3. historiography: many scholars, such as rudi volti, argue that the model t “embodied few technological innovations, but was sturdy, reliable, and easy to drive by the standards of the time.”, 1.4. thesis: in fact, the model t’s design created a new type of motor vehicle—the lightweight automobile—that transformed the u.s. market from one of disagreement and division into a broad mass market focused largely (if not exclusively) on a single technology. in doing so, it reconciled two seemingly irreconcilable worldviews, one forged in the world of the horse, and the other guided by enthusiasm for machines..

[ZMS note: here I have reorganized some of Wells’s phrases to fit my thesis-statement template . Wells does not claim that Volti and others are wrong; rather, he offers a more complete explanation of the Model T’s popularity, arguing that its design was more innovative than Volti suggests. Wells presents a dialectic of opposing forces–horses and machines–and shows how the Model T resolved that contest by embodying the best of both.]

2. Competing Visions, Specialized Designs (16 paragraphs

2.1. thesis: as horseless carriages appeared more frequently on u.s. streets, turn-of-the-century observers debated the role that such expensive new machines should play in everyday life, 2.2. most early commentators on horseless carriages fell into one of two broad groups: the “horse-minded” who compared motor vehicles specifically to horses, and the “mobility-minded” who compared them to all other forms of transportation..

2.2.1. Horse-minded observers voiced a variety of opinions about the new machines.

2.2.2. The predictions of mobility-minded observers were more varied.

2.2.3. Mobility-minded pragmatists were more forgiving, arguing that the machines should not be blamed for whatever problems accompanied their use.

2.2.4. A small group of mobility-minded utopians discerned limitless potential in motor vehicles.

2.2.5. At the dawn of the industry, however, engineers were unable to design motor vehicles flexible enough to perform the diverse tasks that early motorists desired.

2.3. The fact that designers chose from three major motor types—steam, electric, and gasoline—underscores both the diversity and the uncertainties of early horseless-carriage design.

2.3.1. Writers in the popular and trade presses assessed electric, steam, and gasoline engines differently.

2.3.2. With turn-of-the-century manufacturers jockeying for marketplace advantage, horseless-carriage enthusiasts peered into a murky future.

2.3.3. The uncertainty generated by the range of specialized motor-vehicle designs at the turn of the century casts doubt on the inevitable triumph of gasoline technology, a belief often shared by historians.

2.4. The declining importance of the market for commercial motor vehicles, such as urban trucks and taxis, and the rapid expansion of the market for private, recreational vehicles, helped cause manufacturers and consumers alike to develop an overwhelming preference for gasoline-powered vehicles

2.4.1. The emphasis that successful manufacturers placed on catering to personal pleasure suggests that the gasoline carriage triumphed in the United States because elites seeking recreational vehicles comprised the largest market for motor vehicles.

2.4.2. Viewed from the perspective of elite consumers looking for “adventure machines,” the internal-combustion engine indeed seemed superior to its steam and electric competitors.

2.4.3. The ability to escape the city to motor across the countryside held a powerful appeal for many new owners, giving the technology an almost magical aura.

3. Updating the Horseless Carriage, Americanizing the Automobile (19 paragraphs)

3.1. thesis: despite its strengths, the adventure-machine thesis does not fully explain the development of automotive technology in the united states, where the split between mobility-minded and horse-minded buyers put the evolution of automotive technologies on a very different trajectory from the adventure-oriented path followed in europe., 3.2. europe, and particularly france and germany, embraced gasoline carriages earlier and more fully than did the united states..

3.2.1. The Mercedes-style automobile opened new vistas for power and speed, pushing engineers beyond the design considerations that prevailed for horse-drawn carriages.

3.2.2. According to Scientific American, the nation’s most popular magazine devoted to mechanical innovations, Americans were gaining “an instinctive appreciation of the fact that an automobile belongs more to the class of the locomotive than that of the carriage.”

3.2.3. Reflecting this new conceptualization of “proper” motor-vehicle design, U.S. manufacturers quickly emulated the French-style automobile after its debut at the 1902 New York Motor Show. ”

3.3. Like most cultural imports, however, the social meanings that the French attached to the automobile were subject to subtle change when translated into the American idiom.

3.3.1. A large part of the U.S. market was still horse-minded, however, and rejected the paradigm-changing French-style automobile in favor of refined versions of the horseless carriage.

3.3.2. Two new types of gasoline carriages, both of which cost significantly less than Mercedes-style automobiles, claimed growing numbers of horse-minded buyers after 1902.

3.3.3. That runabouts and high-wheelers captured a growing share of the market even as technical opinion coalesced around the Mercedes-style automobile should give pause to those who would conclude that the internal-combustion engine triumphed simply because it was technologically superior, or even because it made the best “adventure machine.”

3.3.4. Measured against a horse’s cost and capabilities, many Americans—particularly those from rural areas—chose the cheap, utilitarian options provided by runabouts and high-wheelers over powerful Mercedes-style automobiles, fashionable electrics designed for city streets, or complicated steamers.

3.4. Perhaps, however, the most important factor explaining why so many horse-minded consumers chose gasoline-powered runabouts and high-wheelers lies in an important factor that all manufacturers had to address: the poor state of U.S. roads.

3.4.1. For Mercedes-style cars true to French designs and built for speed on smooth surfaces rather than for durability on rough ones, the bruising conditions on U.S. country roads initially limited their utility—and thus their market share.

3.4.2. The problem grew from the European practice of placing the automobile’s chassis close to the road to increase stability during rapid cornering.

3.4.3. For mobility-minded motorists interested primarily in high-speed racing, the dearth of good roads created major problems.

3.4.4. Yet securing good roads, even on a small scale, proved a slow and herculean task, and many elite—and impatient—motorists sought other solutions.

3.4.5. Expensive trips in search of smooth surfaces were at best a stopgap solution, and few elite racing enthusiasts had Vanderbilt’s resources to construct expensive private highways.

3.5. Engineers thus began adapting Mercedes-style automobiles to U.S. conditions by raising the chassis to provide greater road clearance.

3.5.1. The emergence of a distinctly American touring car based on French gasoline technology increased the average cost of automobiles in the United States.

3.5.2. At the same time and despite the emerging consensus that the modified Mercedes represented a superior design, the market for comparatively low-priced runabouts and high-wheelers also expanded, albeit more slowly.

3.5.3. With one eye on the potential profitability of the low-priced market and another on the strengths of the Americanized Mercedes style, some manufacturers began to develop stripped-down versions of the touring car.

4. Merging Worldviews in Ford’s “Universal Car” (9 paragraphs)

4.1. thesis: to label the model t “the universal car” was grandiose marketing hype and yet, as a description of the first automobile to appeal to horse- and mobility-minded consumers alike, it contained more than a little truth., 4.2. although the prospect of an inexpensive, powerful, lightweight, full-sized automobile had wide appeal, automakers struggled to design such vehicles in the half-decade before 1908..

4.2.1. Because increased power necessitated a heavier frame and thicker, stronger parts, weight-to-power ratios—a rough measure of performance—stabilized among better-quality vehicles in the neighborhood of 80:1.

4.2.2. Despite the difficulties that had to be surmounted, Henry Ford embraced the vision of a lightweight automobile.

4.2.3. For all its success, however, the Model N was still a two-passenger runabout, and Ford believed his company’s future lay in its ability to solve the riddle of how to build a lightweight, full-sized, amply powered automobile.

4.3. After much trial and error, Ford’s team developed a design—dubbed the Model T when it went into production—that finally seemed to thwart the circular curse of weight and power.

4.3.1. Ford’s confidence that he could do so grew partly from his belief that a workable solution to the weight-to-power dilemma lay in vanadium steel, a tough and light new alloy then commercially unavailable in the United States.

4.3.2. Coupling strong, lightweight materials with a four-cylinder, 20-horsepower engine, the Model T’s 100-inch wheelbase—a good deal shorter than that of other Americanized touring automobiles—carried only 1,200 pounds.

4.3.3. As such, the Model T delivered the first true Mercedes-style adventure machine to the high end of the low-cost market.

4.3.4. Although the Model T excelled as an adventure machine, it also featured functional, utilitarian characteristics that Ford emphasized to appeal to horse-minded consumers.

5. Conclusion

5.1. the model t’s design allowed it to bridge the technological and social chasm that divided mobility- and horse-minded motorists—a signal accomplishment. because of this fusion, the distinctions between horse- and mobility-minded motorists slowly began to blur and disappear..

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  1. How to Write a History Research Paper

    1. How do I pick a topic? Picking a topic is perhaps the most important step in writing a research paper. To do it well requires several steps of refinement. First you have to determine a general area in which you have an interest (if you aren't interested, your readers won't be either).

  2. PDF A Brief Guide to Writing the History Paper

    Some papers are concerned with history (not just what happened, of course, but why and how it happened), and some are interested in historiography (i.e., how other historians have written history, specifically the peculiarities of different works, scholars, or schools of thought).

  3. Sample Papers

    Avoiding Plagiarism. Sample Papers. Research Paper Checklist. << Previous: Avoiding Plagiarism. Next: Research Paper Checklist >>. Noreen Reale Falcone Library tel: 315-445-4153 fax: 315-445-4642 Site Map. Le Moyne College Dolphin Logo. Le Moyne College 1419 Salt Springs Rd Syracuse, NY 13214 Non-Discrimination.

  4. PDF Writing Resources Center Writing a History Paper: The Basics (Example

    Writing a History Paper: The Basics (Example Essay Included) 1. Identify the assignment's goals. Have the assignment's goals in mind as you familiarize yourself with your sources/evidence, develop a thesis, outline your main points, and write your essay.

  5. Noreen Reale Falcone Library: Handbook for Historians: Outline

    Here is an example of an outline for a HST paper. Noreen Reale Falcone Library. tel: 315-445-4153. fax: 315-445-4642. Visit • Contact • Hours • Site Map.

  6. PDF Steps for Writing a History Paper REVISED

    contribute to your paper. 6. Draft an outline of your paper. An outline is helpful in giving you a sense of the overall structure of your paper and how best to organize your ideas. You need to decide how to arrange your argument in a way that will make the most sense to your reader. Perhaps you decide that your argument is most clear when

  7. How to Write a History Research Paper

    Outline Your Argument With a history paper specifically, one is often writing about a sequence of events and trying to tell a story about what happened. Roughly speaking, your thesis is your interpretation of these events, or your take on some aspect of them (i.e. the role of women in New Deal programs).

  8. Steps for Writing a History Paper

    Writing a history paper is your opportunity to do the real work of historians, to roll up your sleeves and dig deep into the past. What is a History paper? History papers are driven by arguments. In a history class, even if you are not writing a paper based on outside research, you are still writing a paper that requires some form of argument.

  9. PDF HISTORY ESSAY GUIDE

    reading and taking notes, writing an outline, composing a draft, and revising your draft into a. polished essay. These stages often overlap. This guide addresses some of the most common questions related to researching, writing, and formatting a history research paper. It provides visual examples for the main stages of the.

  10. PDF Writing a History Research Paper

    LIB399 Writing a History Research Paper. "...A series of factual statements about the past, however precise they may be, does not constitute a history paper....A history paper explores how and why something happened and explains its significance." Rampolla, A Pocket Guide to Writing in History. Note: Peggy Pascoe's class is "Gender, Race ...

  11. PDF Writing Graduate Papers in History: Research Papers ...

    This paper is intended to give you an overview of the essentials for three types of academic writing in history: the research paper, the historiography, and the book review. All history papers should be cited using the Chicago (sometimes called Turabian) Manual of Style and use footnotes. 1. Writing History Research Papers What does a history ...

  12. Preparing to Write: Organizing and Outlines

    ORGANIZING One of the most important—and perhaps the more difficult—parts of writing a good history research paper is deciding what to say and in what order to say it. A good outline can limit a student's anxiety about writing a big paper as it may help break the writing process down into manageable chunk.

  13. PDF Outline of a Historical Research Project

    Outline of a Historical Research Project After you have selected a topic, gather primary and secondary sources, and analyzed your data, you must create your final presentation. Whether you choose to present your project as a paper, exhibit, performance, documentary, or website, you should make certain that it consists of the following parts.

  14. How to Create a Structured Research Paper Outline

    Revised on August 15, 2023. A research paper outline is a useful tool to aid in the writing process, providing a structure to follow with all information to be included in the paper clearly organized. A quality outline can make writing your research paper more efficient by helping to: Organize your thoughts

  15. PDF WRITING A GOOD HISTORY PAPER

    citations in a short paper with one or two sources, but you should use footnotes for any research paper in history. Parenthetical citations are unaesthetic; they scar the text and break the flow of reading. Worse still, they are simply inadequate to capture the richness of historical sources.

  16. How to Write a Research Paper in History/Organizing your work

    The early drafts of your outline will also help you see where the research you have already done fits, and what portions of your paper are weak. Details, Details [edit | edit source] Details come in four basic types for many research papers. The first are date/event synchronicities: In 146 BCE, the Romans destroyed Carthage utterly.

  17. Making an Outline

    In papers where you need to trace the history or chronology of events or issues, it is important to arrange your outline in the same manner, knowing that it's easier to re-arrange things now than when you've almost finished your paper. For a standard research paper of 15-20 pages, your outline should be no more than few pages in length. It may ...

  18. How to Outline and Write a Research Paper: A Step-by-Step Guide

    Are you writing a research paper about history, a scientific experiment, literature, or pretty much any other topic? This video will show you how to research...

  19. PDF Guidelines for Historical Research and Writing

    A. Fourteen Steps to a good historical research paper. In A Short Guide to Writing About History Richard Marius outlines fourteen steps that every student should follow in writing a historical research paper. 1. Identify your audience. All writing assignments are intended to be read, and the intended

  20. Writing Resources

    Don't start to write until you have a good outline. Make sure that your paper has a thesis. (See the entry State a clear thesis.) Check and recheck your facts. Footnote properly. (See the entry Cite sources carefully.) Save plenty of time to proofread. Start early. Top Ten Signs that you may be Writing a Weak History Paper. 10.

  21. 4.1: Preparing to Write- Organizing and Outlines

    Option 1: Chronological. Many history essays have a natural chronological focus. Arguments that seek to explain what happened at a place and time, or demonstrate what led up to an event, as well as essays that focus on an individual's importance, can be organized chronologically. Intro. Early phase or antecedents.

  22. How to Write a Research Paper Outline In 7 Steps

    There are three popular formats for research paper outlines: alphanumeric, full sentence, and decimal. Below, we'll explain the details of each and illustrate their differences with the research paper outline examples, focused on the same topic: "Michael Jordan vs. LeBron James: Who's the Best Basketball Player?" Alphanumeric research paper outline

  23. How to Write an Outline

    To present the basic structure of a term paper, article, or chapter (that is, anywhere from 4,000 to 12,000 words), two levels of headings should suffice, and that is what I've used for my Article Outline Example: Decimal format, which outlines Wells's article in only two pages.