W
Editing and Tutoring Specifically For Students!
rite
R
ight
About the Company
Write Right is an editing and tutoring service designed for students, and their budgets. Founded by an alumna of the UCLA English department, Write Right offers students of every major an extra set of eyes to review anything from papers to theses to creative works.
We help students in nearly every academic walk of life with their writing: literary criticism, graduate dissertations, novellas, lab reports, research grant proposals, explication papers, and book reports. We also specialize in assisting ESL (English as a Second Language) students who have great ideas but are experiencing difficulty getting their thoughts written down clearly.
The editors at Write Right have worked as college tutors, copy editors, journalists, literary agency critics, tech analysts, and even document writers for law firms. The wide-spread experience of our editors allows us to cater to each student and their specific needs, with tutoring from people who know the content of the work, not merely the grammar. Whether this is your first paper or your PhD dissertation, Write Right can help you take your writing skills to the next level!
We help students in nearly every academic walk of life with their writing: literary criticism, graduate dissertations, novellas, lab reports, research grant proposals, explication papers, and book reports. We also specialize in assisting ESL (English as a Second Language) students who have great ideas but are experiencing difficulty getting their thoughts written down clearly.
The editors at Write Right have worked as college tutors, copy editors, journalists, literary agency critics, tech analysts, and even document writers for law firms. The wide-spread experience of our editors allows us to cater to each student and their specific needs, with tutoring from people who know the content of the work, not merely the grammar. Whether this is your first paper or your PhD dissertation, Write Right can help you take your writing skills to the next level!
Writing Samples
Don't take our word for it! See for yourself the kind of work that Write Right has produced.
English 197
December 10, 2012
Sister-Sister or Performer and Audience:
The Function of Wit in Jane Austen’s Letters and its Effect on her Sororal Relationship
“Your letter came quite as soon as I expected, and so your letters will always do, because I have
made it a rule not to expect them til they come, in which I think I consult the ease of us both.”
-Jane Austen, in a letter to her sister Cassandra
Witty retorts such as this decorate the pages of Austen’s collection of letters to her sister. Whether the
topic of conversation be fashion, family matters, town gossip, or simply lamentation that there is no subject at
all, the frequency with which she utilizes this kind of repartee demonstrates that Austen’s compulsory
method of relating her thoughts to Cassandra is through wit. Although entertaining, this inexorable reversion
to wit as a means for conversation problematizes the sincerity of her correspondence: the nature of wit
involves an element of performance, or an additional intention apart from simple communication, and is
therefore mutually exclusive to complete candidness. The term complete here is paramount—Austen’s letters
exemplify numerous qualities of the expressly feminine, bonding attributes associated with letter writing of
the era —however because wit acts as a vehicle for Austen to express these qualities, there remains an
impenetrable barrier between Austen as a performer and Cassandra as her audience.
When considering this function of her personal letters, the epistolary structure of her novels makes a sharp
contrast. The letters in Austen’s novels lack neither topic nor importance. They are fraught with meaning and
create significant alterations in both plot and characterization—they are the vehicle for many characters to
either redeem or condemn themselves. Because wit is such a preeminent characteristic of Austen’s personal
letters, it seems plausible that the letters in her novels would exhibit this trait as well, but this is not the case.
The novels’ letters contain so much purpose because Austen depends upon them to perpetuate the story—in
other words, they already contain an ulterior intention apart from simply transferring information. Therefore,
the closest comparable concept between Austen’s personal letters and those of her novels is the similar
function of wit, but not wit itself.
December 10, 2012
Sister-Sister or Performer and Audience:
The Function of Wit in Jane Austen’s Letters and its Effect on her Sororal Relationship
“Your letter came quite as soon as I expected, and so your letters will always do, because I have
made it a rule not to expect them til they come, in which I think I consult the ease of us both.”
-Jane Austen, in a letter to her sister Cassandra
Witty retorts such as this decorate the pages of Austen’s collection of letters to her sister. Whether the
topic of conversation be fashion, family matters, town gossip, or simply lamentation that there is no subject at
all, the frequency with which she utilizes this kind of repartee demonstrates that Austen’s compulsory
method of relating her thoughts to Cassandra is through wit. Although entertaining, this inexorable reversion
to wit as a means for conversation problematizes the sincerity of her correspondence: the nature of wit
involves an element of performance, or an additional intention apart from simple communication, and is
therefore mutually exclusive to complete candidness. The term complete here is paramount—Austen’s letters
exemplify numerous qualities of the expressly feminine, bonding attributes associated with letter writing of
the era —however because wit acts as a vehicle for Austen to express these qualities, there remains an
impenetrable barrier between Austen as a performer and Cassandra as her audience.
When considering this function of her personal letters, the epistolary structure of her novels makes a sharp
contrast. The letters in Austen’s novels lack neither topic nor importance. They are fraught with meaning and
create significant alterations in both plot and characterization—they are the vehicle for many characters to
either redeem or condemn themselves. Because wit is such a preeminent characteristic of Austen’s personal
letters, it seems plausible that the letters in her novels would exhibit this trait as well, but this is not the case.
The novels’ letters contain so much purpose because Austen depends upon them to perpetuate the story—in
other words, they already contain an ulterior intention apart from simply transferring information. Therefore,
the closest comparable concept between Austen’s personal letters and those of her novels is the similar
function of wit, but not wit itself.
This sample came from an ESL (English as a Second Language) student!
English 4WS
04 24 2013
He above Harlem to He and Harlem
In Langston Hughes’ poem “Theme for English B,” the speaker’s use of individualistic language in the
second stanza creates a tone which suggests he is socially above Harlem. This unintentional tone results
from following the instructor’s directions “let that page come out of you” (Hughes 4). However, as the
poem progresses and the speaker “cross[es] St. Nicholas,”(12) he not only travels physically into Harlem
but metaphorically as well. As he is surrounded by Harlem, he realizes he cannot identify himself without
mentioning Harlem. These opposing viewpoints create tension in how the speaker places himself in the
social hierarchy between the white, educated community above the hill and the black community below. In
order to relieve this tension, he negotiates the relationship between white and black communities and
eventually creates a new social standing between the two, saying “you are white - yet a part of me, as I am a
part of you” (31-32).
In the second stanza, where the speaker starts the assignment, he uses the word “I” seven times.
Moreover, the first three lines of this stanza start with the word “I” (6-8), which represents singularity and
individualism as opposed to the word “we,” which the speaker uses in the third stanza to represent his
relationship to the black community. The repetition of the word “I” in the first three lines draws attention to
and creates an impression that the speaker is an individual rather than a member of a community.
Furthermore, he claims he is the “only colored student in [his] class” (10) and this evidence makes him
realize that he is separate from his racial community. Thus, the use of the word “I” in this stanza not only
implicitly creates a tone of individualism, but the speaker’s experiences being surrounded by white students
reinforce his separatism.
Similarly to his use of the word “I”, the speaker’s use of words which indicate spatial hierarchy in turn
creates the impression that his social status is above Harlem. He says he goes to the college “on the hill
above Harlem” (9). The speaker not only indicates that college society is higher than the community in
Harlem but associates himself with this college society. While he uses the word “I” to correlate himself
with his college which is “above” Harlem, he avoids placing himself, in other words using the word “I”,
when he says he takes “the steps from the hills lead[ing] down into Harlem” (11). The downward motion
from the “steps” symbolizes social descent. The speaker is going “down” to get to Harlem but there is no
“I” to associate the speaker with descending the social ladder. Therefore, the use of the word “I” in
instances where it correlates with upward social mobility creates a tone which shows that the speaker going
up in the social ladder.
However, as the speaker “cross[es] St. Nicholas” (12) and the avenues leading into Harlem, he
recognizes his racial connection and identity in this community. The descending numerical pattern of the
avenues acts as a metaphorical transition to this other part of his identity. He says, “eighth avenue, seventh,
and I come to the Y, the Harlem Branch Y” (13-14). By contrast to the function of the word “I” previously,
here it clearly represents a connection to Harlem because it indicates the speaker’s acknowledgement of
the specific YMCA branch in the city. Then, he says “I take the elevator up to my room” (14). Despite his
recognition of being in Harlem, the word “I” here again implies upward social motion. The words that
indicate spatial hierarchy such as “above” and “up,” and the lack of the word “I” when the speaker goes
“down” the stairs shuns the association with Harlem but encourages the connection with the white
community. However, the same correlation between “I” and upward motion previously now appears
to connect the speaker with the YMCA of Harlem. Thus, the word “I” plays a different role line thirteen;
instead of associating the speaker with the upward motion, it associates him with Harlem, the lower social
community. The association of the word “I” with different social motions shows the tension of placing the
speaker’s status in the social hierarchy.
The tension between spatial hierarchies resolves in the third and fourth stanzas. The disparity between
the speaker and Harlem dissolves in the third stanza when he says “hear you, hear me – we two – you, me,
talk on this page” (19). The familiar pronoun “you” personifies Harlem and implies that it and the speaker
are in an equal relationship. The phrase “on this page” extends to the common term “on the same page,”
which means two individuals are like-minded and equal. There are two dashes to separate the word “we two”
from the rest of the line, which not only suggests the social equality between the speaker and Harlem but
also creates a even closer relationship by uniting him with his community.
The discrepancy between Harlem and the white community resolves in the fourth stanza when the
speaker says to his instructor, “you are white - yet a part of me, as I am a part of you” (31-32). Now that the
speaker and Harlem are on the same level, the word “I” in the fourth stanza no longer is individualistic, but
represents both Harlem and the speaker. Thus, when he says, “I am a part of you” to his white instructor, the
word “I” creates a social position equalizing Harlem and the white community. Although the language in the
beginning of the poem exemplifies a riff between a speaker and his racial background, it begins to equalize
through the overlap of correlations between “I” and “Harlem”. Eventually equalization extends to a
correlation between Harlem and the speaker who are now one and the white community, creating a new
social position between white and black society.
04 24 2013
He above Harlem to He and Harlem
In Langston Hughes’ poem “Theme for English B,” the speaker’s use of individualistic language in the
second stanza creates a tone which suggests he is socially above Harlem. This unintentional tone results
from following the instructor’s directions “let that page come out of you” (Hughes 4). However, as the
poem progresses and the speaker “cross[es] St. Nicholas,”(12) he not only travels physically into Harlem
but metaphorically as well. As he is surrounded by Harlem, he realizes he cannot identify himself without
mentioning Harlem. These opposing viewpoints create tension in how the speaker places himself in the
social hierarchy between the white, educated community above the hill and the black community below. In
order to relieve this tension, he negotiates the relationship between white and black communities and
eventually creates a new social standing between the two, saying “you are white - yet a part of me, as I am a
part of you” (31-32).
In the second stanza, where the speaker starts the assignment, he uses the word “I” seven times.
Moreover, the first three lines of this stanza start with the word “I” (6-8), which represents singularity and
individualism as opposed to the word “we,” which the speaker uses in the third stanza to represent his
relationship to the black community. The repetition of the word “I” in the first three lines draws attention to
and creates an impression that the speaker is an individual rather than a member of a community.
Furthermore, he claims he is the “only colored student in [his] class” (10) and this evidence makes him
realize that he is separate from his racial community. Thus, the use of the word “I” in this stanza not only
implicitly creates a tone of individualism, but the speaker’s experiences being surrounded by white students
reinforce his separatism.
Similarly to his use of the word “I”, the speaker’s use of words which indicate spatial hierarchy in turn
creates the impression that his social status is above Harlem. He says he goes to the college “on the hill
above Harlem” (9). The speaker not only indicates that college society is higher than the community in
Harlem but associates himself with this college society. While he uses the word “I” to correlate himself
with his college which is “above” Harlem, he avoids placing himself, in other words using the word “I”,
when he says he takes “the steps from the hills lead[ing] down into Harlem” (11). The downward motion
from the “steps” symbolizes social descent. The speaker is going “down” to get to Harlem but there is no
“I” to associate the speaker with descending the social ladder. Therefore, the use of the word “I” in
instances where it correlates with upward social mobility creates a tone which shows that the speaker going
up in the social ladder.
However, as the speaker “cross[es] St. Nicholas” (12) and the avenues leading into Harlem, he
recognizes his racial connection and identity in this community. The descending numerical pattern of the
avenues acts as a metaphorical transition to this other part of his identity. He says, “eighth avenue, seventh,
and I come to the Y, the Harlem Branch Y” (13-14). By contrast to the function of the word “I” previously,
here it clearly represents a connection to Harlem because it indicates the speaker’s acknowledgement of
the specific YMCA branch in the city. Then, he says “I take the elevator up to my room” (14). Despite his
recognition of being in Harlem, the word “I” here again implies upward social motion. The words that
indicate spatial hierarchy such as “above” and “up,” and the lack of the word “I” when the speaker goes
“down” the stairs shuns the association with Harlem but encourages the connection with the white
community. However, the same correlation between “I” and upward motion previously now appears
to connect the speaker with the YMCA of Harlem. Thus, the word “I” plays a different role line thirteen;
instead of associating the speaker with the upward motion, it associates him with Harlem, the lower social
community. The association of the word “I” with different social motions shows the tension of placing the
speaker’s status in the social hierarchy.
The tension between spatial hierarchies resolves in the third and fourth stanzas. The disparity between
the speaker and Harlem dissolves in the third stanza when he says “hear you, hear me – we two – you, me,
talk on this page” (19). The familiar pronoun “you” personifies Harlem and implies that it and the speaker
are in an equal relationship. The phrase “on this page” extends to the common term “on the same page,”
which means two individuals are like-minded and equal. There are two dashes to separate the word “we two”
from the rest of the line, which not only suggests the social equality between the speaker and Harlem but
also creates a even closer relationship by uniting him with his community.
The discrepancy between Harlem and the white community resolves in the fourth stanza when the
speaker says to his instructor, “you are white - yet a part of me, as I am a part of you” (31-32). Now that the
speaker and Harlem are on the same level, the word “I” in the fourth stanza no longer is individualistic, but
represents both Harlem and the speaker. Thus, when he says, “I am a part of you” to his white instructor, the
word “I” creates a social position equalizing Harlem and the white community. Although the language in the
beginning of the poem exemplifies a riff between a speaker and his racial background, it begins to equalize
through the overlap of correlations between “I” and “Harlem”. Eventually equalization extends to a
correlation between Harlem and the speaker who are now one and the white community, creating a new
social position between white and black society.
The first page of a senior thesis!