Good Titles For Loneliness Essays

When your task is about writing a research paper or any other academic paper, there is nothing worse than coming up with the title for your masterpiece. Some of you may think it is an easy task to get the title for your research paper, but you should not be too optimistic in this case. This task requires a great effort from a writer as the title is some kind of a face of your essay. So, if you don't know how to title an essay effectively, here are few suggestions and tips for you to deal with.

Writing Your Essay Title from Scratch

Most of students and beginner writers ignore one aspect that is extremely important at the very beginning of the writing process. The title is not a joke, and you should be very serious about it.

The rule that most of the tutors give to their students says that most readers judge a book by its cover.

Yes, even academic essays suffer from this awful trend of ignoring great essays with poor titles. The title of your essay acts as a trigger for a reader that makes him or her make decisions very quickly. And it is the only essay title that can make your audience to start reading your essay, especially in the case when they don't need to.

Most readers just give an essay one chance to make it happen, and you as an author should make a lucky strike with the title right away. And that is what you should be prepared to. You should start thinking how to title an essay before even starting it. The blank page may seem a nightmare for you, but a blank page even without title should make you scare your pants off.

Three aspects of a good essay title

Here you have three main aspects that make a title to look like a crown on a king's head (in case your paper is really worth of reading it):

  • Main topic summary
  • Hook to capture reader's attention
  • Makes your essay to stand out from the crowd

Three Tips on How to Title an Essay

Let's start with three useful tips that will help you to title your essay effectively.

Keep it simple

Just try to be brief and accurate. Any essay title has its primary function of naming a paper. It means you don't need to go overseas and tell the entire story right in the beginning. Just make a summary with few words. It should be clear and brief like a header in your favorite newspaper or slogan to a blockbuster. Just use few words that will get your reader right to the point, and that's it.

Use appropriate words

While some of you don't know where to start, other ones just don't know where to stop. An effective name will not contain too fancy word structures with no use. Just get to the point and do not waste your time. Use few main keywords as triggers that will hook your reader and make him continue reading.

Avoid abbreviations and jargon

You're trying to serious, aren't you? So why do you try to use those slope jargon words in your science work? Do you want to look smarter than you are? Well, it is not necessary to use those less-known abbreviations in your essay's title. You can use those that are connected to the main topic but don't try to impress your audience with those cheap tricks. It doesn't work, but just scares your reader and makes him go further to the next work on the table.

20 Tips on How to Title an Essay

  1. Take out just one sentence from your draft and make it serve as a title.
  2. Come up with something different than your draft contains.
  3. Use famous What, Who, When, or Where question to start your paper.
  4. How and Why questions also in the game.
  5. Any other question trick also makes sense.
  6. Get an image that will attract your audience.
  7. Get a surprising image that has nothing in common with your topic.
  8. Those names with - ing words always work.
  9. Those names with On word are also interesting.
  10. Make your header lie about your main topic.
  11. Describe your main topic with just one word. Is it possible? If yes, you have your title.
  12. Or if there is no obvious word, you can try to get some mystery around with another not too obvious word.
  13. Any two-word title.
  14. Any three-word title.
  15. Any four-word title.
  16. Any five-word title.
  17. Steal or rewrite any famous book, movie, album title that fits your essay.
  18. Did you get something too obvious and simple? Pretend you're Yoda and twist the words.
  19. Pretend you're Yoda repeating any famous book, movie, album title that fits your essay.
  20. Join two simple titles in a double one.

Conclusion

Our company doesn't want to say that the head of your essay plays the main role in its success. No. We just want to say that it matters and matters a lot. It is up to you to decide where the border of this "a lot" ends. Just keep in mind these four simple rules about title functions:

  • Content prediction
  • Attention grabbing
  • Tone reflection
  • Keywords keeping.

While keeping these four tips in your mind, you get a better view of the entire role of the header.

Title-writing is not just a task for a few minutes. It is a process, and you should treat it like that. While writing your essay, you're working as a painter who is creating his masterpiece, the process of title-writing makes you feel more like an archivist or compressor. You need to compress the entire message and topic into just one simple, brief, but a clear and catchy phrase. Take your time and do not rush, of course, if your deadline allows you. If you still have any questions or want to get professional help, just fill in our simple order form, and we will help you out.

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When Marina Keegan wasn’t tapped to join one of Yale’s secret societies, she gave herself less than two hours to wallow in disappointment, then pledged to spend the time she would have spent “chatting in a tomb” writing a book. Five days after graduation, Keegan was killed in a car accident on Cape Cod. She was 22.

“The Opposite of Loneliness” is a record of that time better spent. The book of nine short stories and nine essays takes its title from Keegan’s last essay to appear in the Yale Daily News, which went viral in the days after her death when it was read by 1.4 million people in 98 countries. In it Keegan writes with an eerie urgency: “We can’t, we MUST not lose this sense of possibility because in the end, it’s all we have.”

The introduction, by Anne Fadiman (Keegan’s writing professor at Yale), sets the tone for the collection. She describes Marina’s determination to become a writer, and brings her to life — she was always losing her keys in her bag; she complained when her roommate used the same knife to cut bread and spread Nutella — without ever slipping into sentimentality. This book is not a posthumous vanity project; Keegan’s writing is intimidatingly good. When she died, Keegan was already well on her way to becoming an established writer, earning coveted internships with The New Yorker and The Paris Review. She had a job lined up at The New Yorker after graduation, and an apartment waiting in Brooklyn.

It would be, however, dishonest to say that her death doesn’t add another dimension to these stories. Some seem like chilling premonitions but there is nothing sentimental on these pages. Keegan’s storytelling is so strong that the reader quickly becomes invested in the characters’ struggles, forgetting about their author’s life and death. While unsettling at times (the hair on my arms stood on end more than once), the feeling of being socked in the stomach doesn’t come from remembering Keegan’s death, but instead from the gut-wrenching vulnerability of her characters.

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In “I Kill for Money,” Tommy, the obnoxious exterminator who cracks jokes incessantly,confesses that he releases squirrels into the wild, rather than drown them as the law requires. In “Winter Break,” the protagonist watches her mother trudging through the snow alone with her spaniel and later reflects, “I thought of my mother circling suburbia while I drank in dim fraternities or video-chatted with Sam or slept lazily in my dorm while it snowed out my window. I loved her in that moment in a way that twisted my stomach.”

Related Links

Book showcases writer killed at young age

A collection of essays and stories from Keegan, a young talent who died in a car crash two years ago, is being published this week.

Another strength: Keegan writes her age. A keen observer of the human condition, of herself, and of her generation, she uses the vernacular: “things,” “stuff,” “hooking up,” and “butts.” She writes about smoking weed, red plastic cups, microwaving Thai soup, the pangs of realizing a parent’s mortality, and of first love. She writes about friends who are protective of one another, as well as the failures of friendship, how college kids sometimes try to sound older than they are, and what it’s like to envy those who have already figured out who they want to be.

But Keegan doesn’t rely solely on her perspective as an observant, brilliant, self-aware college student. Some of the strongest stories in the collection take place in Baghdad, or 36,000 feet under the sea, or from the perspective of a hypochondriacal former ballerina. She often places her characters in horribly uncomfortable situations then writes about their efforts to escape. Keegan does not shy away from risk — either in setting, character, or form — and it pays off.

In “Challenger Deep” five people trapped at the bottom of the ocean in a submarine in total darkness await rescue. The story opens and concludes with the protagonist, Patrick, waiting by the periscope for schools of florescent jellyfish to float by and illuminate the blackness (the jellyfish may also indicate an ascent to the surface). The philosophical and psychological nature of being isolated in the dark brings to mind “Moby-Dick” (which Keegan alludes to in an essay titled “Why We Care About Whales”) and like Melville’s masterpiece, “Challenger Deep” works on multiple levels.

“The Emerald City” is told through a series of e-mails from William, a Coalition Provisional Authority officer working in Iraq’s Green Zone, to his girlfriend, Laura, back home in the States. Through his letters, he gradually becomes disillusioned by the US presence in Iraq, and we learn that he accidentally aids a coordinated mortar attack on the Green Zone, killing dozens, including one of his friends. The e-mails end after William confides in Laura that he and his Iraqi translator have decided to escape to the desert in order to avoid a lengthy sentence for conspiracy. Even though the drama accelerates gradually and is crafted through a series of one-sided letters, the story is gripping.

As Fadiman points out in the introduction, “When a young person dies, much of the tragedy lies in her promise: what she would have done. But Marina left what she had already done: an entire body of writing, far more than could fit between these covers.” So it isn’t a question of whether Keegan would have made it as a writer, but rather, what we have lost. What more might she have done had she lived for another 50 years?

In “Song for the Special,” Keegan writes that she once attended an arts conference in which everyone was “scrambling to meet everyone, asserting their individuality like sad salesmen” and she was the only person without business cards. “I read somewhere that radio waves just keep traveling outward, flying into the universe with eternal vibrations. Sometime before I die I think I’ll find a microphone and climb to the top of a radio tower. I’ll take a deep breath and close my eyes because it will start to rain right when I reach the top. Hello, I’ll say to outer space, this is my card.” Through these stories and essays readers can feel the powerful reverberations of Keegan’s singular voice.

Sophie Flack, author of “Bunheads,” has contributed to The Weekly Standard, The Wall Street Journal, and O Magazine. Follow her on twitter @sophieflack.

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