How long is a 2000 word essay word? Usually, when students get an essay of this word count, it scares them as they fear they will not have much to write about. The truth is a 2000-word essay can be as short and easy as possible. In this article, you will be getting tips on how to write your 2000-word essay easily.
How Long is a 2000 Word Essay Double Spaced?
When writing your essay, you may have a question like how long is a 2000 word essay double spaced? How long is a 2000 word essay MLA format? The answer is 8 pages.
How Long is a 2000 Word Essay? Tips for Writing
- Select a Topic
There are two ways to do this: your school may either give you a list of topics to choose from or ask you to craft your own topic. Now, it is important that you understand a topic first before you make your final selection. This is because 2000 words is a long essay and you do not want to get stuck or uninspired while writing. You can either visit your school library physically or browse online to get relevant information that will help you understand the topic.
Secondly, make sure you read the instructions. Most assignments come with their set of instructions and if you do not follow them, you may lose some important marks. If there is anything about the instructions you do not understand, do ask your lecturer for further clarification.
- Research Your Topic
The easiest way to get content for your information is by researching other relevant works. You can do this by either visiting your school library or checking online. The advantage of checking online is that it is convenient and you get as much information as you desire.
However, as a student, most of the information you will need has to come from academic sites. Usually, some of these academic sites charge you a token before you can access their digital library which you may not have the money to buy. Thus, it is important to visit your school library where you can access academic materials for free. It is during research that you will pick the materials most suitable for your topic.
- Start Working
It is usually advisable for students to make a rough draft of their work first before editing to perfection. This is because you may have so many ideas which you may yet be able to fit in coherent statements but they carry points. So, get a piece of paper and put down your ideas as they form in your head.
After getting your ideas out on paper, the next thing to do is structure and edit them. Usually, essay writing follows the structure of introduction, body paragraphs, and conclusion. One of the ways you can easily complete your essay is by breaking down the word count per structure. For example, in a 2000-word count, you can make your introduction 300 words, 1400 words for body paragraphs, and 300 words for the conclusion.
When writing your introduction, bear in mind that the reader should have a clear understanding of what you intend to talk about in your body paragraphs.
Next, your body paragraphs should contain the main points of your essay. Finally, your conclusion should summarize everything you have written in your body paragraphs.
Remember to cite sources in your essay as not citing sources may cost you some marks. After writing your essay conclusion, write out a bibliography of your cited sources.
- Edit, Proofread and Check for Plagiarism
After completing your essay, the next thing to do is edit for errors. You can save yourself the stress of this by using an automated editing tool to help you make the necessary corrections. Now, even though you do this, you still have to proofread for human mistakes with your eyes. Also, you can give your essay to a senior or a trusted person to help you proofread. Finally, ensure your work is original by checking for plagiarism on a reliable site.
2000 Word Essay Sample
The Kardashians as a Media Culture
In a world confronting a range of international crises, it is remarkable that the public’s fascination with the Kardashians remains in place as a consistent focus. Certainly, the family is and has been widely derided as unimportant and lacking in any social value. At the same time, such criticism has only seemed to fuel the interest, just as the sisters and other family members enjoy increasing commercial success and fame.
None of this is explicable unless a certain perspective is applied, and one recognizing how the enormous impacts of modern media have redefined cultural participation in, and creation of, that which the public esteems. Essentially, the society elevates the Kardashians because it can, and the simplicity of that statement does not lessen the extraordinary meaning of it. As will be examined, the Kardashians viewed through.
Symbolic Interactionist Theory are identified as meaningful in popular culture largely because that society, heavily mediated and equipped with unprecedented opportunities and values, establishes the family as a necessary frame of reference to be simultaneously shamed, ridiculed, and admired.
The Kardashians as a Media Culture
Cultural elements invariably reflect the society in which they exist, and particularly in entertainment genres. Historically, films and TV shows both influence American ideologies and provide catharsis in offering experiences in which audiences may share to an extent, or emotionally invest in the entertainments. Within this context are the popular musicals of the mod-20th century, the science fiction trends of later decades, and a range of TV programs emphasizing cultural ideals while challenging norms. More recently, however, the phenomenon of Reality TV fascinates untold millions of viewers and draws intense criticism. On one level, these are presented as harmless, “light” viewing in which the audience vicariously enjoys how other people live, and people alternately extremely privileged or focused on obsessions, such as hoarding. Perhaps the most remarkable such program was, Keeping Up with the Kardashians, which became a kind of template for the genre. Essentially, this show, centered on the eponymous sisters, created a massive interest in the superficial behaviors of women as celebrities by virtue of only the show itself. What has evolved, in fact, is a Kardashian commercial empire, so the primary question becomes: what may explain why the society fixates on those with nothing to offer the viewer beyond exposure of their relationships, conflicts, and elitist behaviors? As the following supports through the Symbolic Interactionist lens, the Kardashians exist in popular culture largely because the mediated society, equipped with unprecedented consumerist opportunities and values, elevates them as a necessary frame of reference to be simultaneously shamed, ridiculed, and admired.
To understand the relevance of Symbolic Interactionism to the impact of the Kardashians, it is first necessary to briefly trace the origins of the Reality genre. Most significantly, the genre has a history unknown to younger viewers as, in the early 1970s, the PBS An American Family premiered and pioneered the form. Suddenly and surprisingly, the simple production of cameras recording the lives of the California Loud family became both a cultural sensation and the subject of immense critical evaluation. These were ordinary people being presented in a medium created to offer celebrities, talent, and traditional attractions. Not unexpectedly, much criticism focused on the inexplicability of reality as remaining reality in front of cameras. Beyond this, however, others perceived symbolic interactions in play; what was occurring was an identification between the viewers and the Louds, even as that family underwent struggles of divorce and the elder son’s coming out as gay. The Louds “stood for more than themselves” and, for millions, represented the failings of the American dream so many were experiencing or perceiving in their own lives (Ruoff, 2002, pp. 111-112). If by no means as sensational or glamourous as the programs that would follow, An American Family triggered a genre, and achieved impact through how media acts as a process enabling vast symbolic interaction.
In accessing the significance of the Kardashians, the same processes of interaction, augmented by mediating, fundamentally remain in place decades later. To begin with, there is the important component of shame as enabling audiences to both condemn and enjoy the sisters.
Much is made over the inescapable fact that no Kardashian, with the interesting exception of Caitlyn Jenner, has any claim to celebrity apart from the series. Kim, Khloe, and Kourtney, however, had consistently sought to elevate themselves prior to the show, and in ways reflecting American values of wealth and social stature. They were involved in various entrepreneurial efforts, but Kim in particular appears to have pursued a “stardom” quality, as in her association with Paris Hilton (McClain, 2014, p. 4). More to the point, everything changed when Kim’s sex video tape was made public. In a remarkable, and perhaps pioneering, process, what had in the past ruined potential celebrity was instead an instrument for gaining popularity. This presents the interesting aspect of how shame itself has been mediated in popular culture. If Symbolic Interactionism relies on the public’s usage of a frame of reference, media itself allows for that public to redefine shame through control. In the theory, interpretation is central to effect; the culture is empowered to create its own ideas of even fixed norms and assign new meanings to them (Carter, Fuller, 2016, p. 932). In a very real sense, media provides the public to “own” shame and, if an act is deemed inappropriate or wrong by the society, that society is then motivated to forgive simply because it has the power to condemn. Within this aspect of the Kardashians is the further element of ancillary celebrity as accepting of moral flaws. For example, Kim claims that the idea for the show was suggested by Kathie Lee Gifford, but what is notable is the timing. The show premiered in the same year, 2007, that Kim’s pornographic video became a media sensation (McClain, 2014, p. 5). This then indicates that “forgiveness” was amplified by Gifford’s endorsement, as well as by the plain fact of a TV show built around the family. Socially, a new tide was developing, and because media allowed the culture to simultaneously judge and absolve transgressors, and transgressors more than eager to accommodate the interactive process elevating them to great success.
The above then relates to how media creates a participatory culture to an unprecedented degree, which in turn pertains to how the Kardashians, if ridiculed, are as well admired. Research on the effects of social media are inevitably ongoing, given its inestimable impact globally on thought and behavior. Nonetheless, certain qualities of it are definable, and chief among these is how it literally encourages culture of interaction, which is synonymous with participation. Degree is a consideration here; if the public believes it participates equally within the spheres of Facebook, Twitter, blogs, etc., the reality is that those with power and/or celebrity always command more attention (Fuchs, 2014, p. 62). In this, Symbolic Interactionism takes on another dimension. There is a reflex in the culture esteeming celebrity and, if this is largely understood, the critical factor is that the esteem applies in positive and negative, or traditionally negative, instances equally. Arguably, the mediated culture has moved to a state wherein content is less meaningful than presence. Needs within the public to be vicariously engaged with celebrities not only creates the celebrities themselves, as with the Kardashians, but also accepts virtually all behaviors of them. Admiration is generated, not by personal character, action, or achievement, but by the engagement itself. This in turn indicates that, with media so ingrained within the culture, Symbolic Interactionism exists as a process so exponential, it defies structural definition. Certainly, Kim Kardashian has enjoyed immense brand recognition and benefits from multiple revenue-producing markets and activities (McClain, 2014, p. 109). This single reality relies on how, for reasons connected to the public’s awareness of the celebrity it has provided her, she is admired enough for her name and image to sell a range of products.
Adding to the exponential processes of media and Symbolic Interactionism here, and elsewhere, is how rapidly and pervasively the Kardashians have exploited the advantages of social media. They have in fact tailored the media to serve their interests in specific ways; the sisters and Caitlyn use Facebook, but primarily as a means of directing users to their own blogs and social media outlets which invariably promote their brands (McClain, 2014, p. 69). This in itself reveals the remarkable evolution of media as media, and also clarifies the family’s achievements through interactionist engagement. More exactly, it is reasonable to assume that, when media was limited to film, radio, and TV, the culture’s ability to invest in celebrities was defined by the barrier of no real interaction. Rather, only the components of sending and reception were in place, and in distinctly separate forms. With social media, there is at least the illusion of participation and, in order to symbolically gain a sense of control over that which it permits as influential, the public perceives its social media interactions with the Kardashians as authentically interactive. It very much seems, in fact, that social media so expands on the theory, it recreates Symbolic Interactionism because the interactive occurs on so many levels, and the vicarious quality evolves more into ownership. In such a scenario, then, admiration is intrinsic. The culture must attach value to anything it embraces and the Kardashians are then, by “default” objects of esteem.
Additionally, and interestingly, cultural disdain for the Kardashians appears to be as beneficial for them as the admiration and brand popularity. Critics, professional and otherwise, have continually ridiculed the family as “famous for nothing” and ultimately nothing more than a vapid subject (McClain, 2014, p. 105). This has been widely voiced since their emergence as a modern phenomenon, and shows no signs of lessening. That the criticism has in no way damaged Kardashian success, however, strongly indicates the noted characteristic of modern media as having taken an unprecedented form, and how a public believing itself to be the arbiter of what is valuable is unconcerned with negative judgement. As Symbolic Interactionism involves interpretation, the newer quality of public ownership alters the perceptions creating the interpretations. The same culture free to mock the Kardashians is all the more free to enjoy them because it has acknowledged and accepted the meaninglessness of investment in them. To be ridiculed then takes on new definition, provided the ridicule is directed at the object set apart from the mainstream. Essentially, what was in the past a vicarious or cathartic experience is translated into a more cooperative relationship, in which power is alternately wielded and bestowed by the public no longer passive. Ultimately, then, any criticism of the Kardashians is questionable at best, and because they very much exist as what the culture made them. Symbolic Interactionism has, through the pervasive and inestimable forces of social and other media, become an arena in which no single element dominates, and passive and active alternately decide on what demands recognition. Beyond anything else, examining the Kardashians through the theory’s lens affirms that the culture is wholly responsible for their impact, and because that impact has become necessary to the culture enabling and reinforcing it through admiration and ridicule.
It is extraordinary that the Kardashians are a modern phenomenon, just as it is virtually unfathomable to explain how and why this fascination exists. In plain terms, it is culturally irrationally that a family possessing no traditional talents or valuable qualities should be empowered to rule over a commercial empire, and command the attention of millions. None of this makes sense unless there is a deeper understanding of Symbolic Interactionism, and how that theory has evolved into a new entity due to media, and social media. The rules of social empowerment have, in a word, changed, and this family exemplifies the modern cultural need to create the subject influencing it. As has been seen, and when Symbolic Interactionist theory is applied, the Kardashians are important in popular culture largely because the mediated society, equipped with unprecedented interactive opportunity and empowered values, upholds them as a necessary frame of reference to be simultaneously shamed, ridiculed, and admired.
Carter, M. J., & Fuller, C. (2016). Symbols, meaning, and action: The past, present, and future of symbolic interactionism. Current Sociology, 64(6), 931-961.
Fuchs, C. (2014). Social Media: A Critical Introduction. Thousand Oaks, CA: SAGE.
McClain, A. S. (2014). Keeping Up the Kardashian Brand: Celebrity, Materialism, and Sexuality. Lanham, MD: Lexington Books.
Ruoff, J. (2002). An American Family:A Televised Life. Minneapolis, MN: University of Minnesota Press.
How long is a 2000 word essay? When you understand your topic and follow the tips in this article, you are sure to write your essay easily.