{"id":48363,"date":"2020-08-21T11:21:13","date_gmt":"2020-08-21T10:21:13","guid":{"rendered":"https:\/\/blogs.bmj.com\/bmj\/?p=48363"},"modified":"2020-08-28T07:58:34","modified_gmt":"2020-08-28T06:58:34","slug":"paul-simpson-why-do-authors-keep-breaking-the-fourth-wall","status":"publish","type":"post","link":"https:\/\/blogs.bmj.com\/bmj\/2020\/08\/21\/paul-simpson-why-do-authors-keep-breaking-the-fourth-wall\/","title":{"rendered":"Paul Simpson: Why do authors keep breaking the fourth wall?"},"content":{"rendered":"

Writers should avoid unintentionally reminding readers that they are reading, says Paul Simpson\u00a0<\/span><\/i><\/p>\n

<\/p>\n

\"\"<\/a>In the 1987 Star Wars<\/em> spoof Spaceballs<\/em>, there\u2019s a running joke that the characters are aware they are inside the film. The joke peaks when two characters, Dark Helmet and Colonel Sanderz, <\/span>watch themselves on screen in real time.<\/span><\/a> Confused, Dark Helmet exclaims: \u201cWhat the hell am I looking at?!\u201d The, admittedly thin, illusion that Spaceballs<\/em> is a real story explodes as the characters interact with the usually invisible camera.<\/span><\/p>\n

This device is called <\/span>breaking the fourth wall<\/span><\/a>. When characters look directly at the audience it\u2019s thrilling and creates tension because the illusion of the story is shattered. Bill Connor used the same technique in <\/span>a column about Ruth Ellis<\/span><\/a> that was published on the day she was killed in 1955. <\/span>Ellis<\/span><\/a> was the last woman to be hanged in the UK and Connor continually reminds readers that while they are reading a woman is being murdered. By breaking the fourth wall readers are seen and therefore can\u2019t escape the shame or responsibility for the public support of capital punishment.<\/span><\/p>\n

When used with intention, breaking the fourth wall is a powerful way to move a reader emotionally. However, when editing journal articles, which tend to be a few thousand words or less, I often ask academic authors not to remind their readers that they are reading a text. This almost always makes an article easier to follow by improving the flow of their work. So, what\u2019s going on?<\/span><\/p>\n

It\u2019s the nutgraph where problems tend to first emerge. Now, if you are wondering what the hell a nutgraph is then don\u2019t worry, you\u2019re probably in good company. I had no idea there was such a thing until recently, but the nutgraph is the paragraph that sums an article up in a nutshell. It is usually located at the end of an introduction, but appears in all sorts of weird and wonderful places in first drafts.<\/span><\/p>\n

Many academic writers reflexively break the fourth wall when they get to the nutgraph as they try to summarise their article with a mini table of contents. You\u2019ll probably recognise clunky and passively written nutgraphs that look a bit like this:<\/span><\/p>\n

This article will draw a parallel between breaking the fourth wall in movies and the nutgraph in academic articles. In the following section a fictionalised example will be used and it will be argued that this standard way of writing nutgraphs, where the writer directly refers to the article being read, reduces the comprehension of an article’s discourse. The article concludes that there is an urgent need to stop writing like this.<\/span><\/i><\/p>\n

You might wonder, what\u2019s wrong? Isn\u2019t this the scholarly way to do things? Well, yes this is certainly a motif of academese. However, that doesn\u2019t make it good.<\/span><\/p>\n

In his book <\/span>The Sense of Style<\/span><\/a><\/em> Steven Pinker describes this type of writing as metadiscourse, essentially writing about writing. He argues that these summarising lists are too long and arbitrary to stay in readers\u2019 minds for long. He also takes aim at the thoughtless signposting that appears in academic articles. You\u2019ll surely recognise these: “as we will discuss,” “as described above.” I\u2019m with Pinker on this, they need to go.<\/span><\/p>\n

Pinker suggests that writers are following the advice that comes from classical rhetoric for long speeches or lectures: say what you\u2019re going to say, say it, and then say what you\u2019ve said. But he argues this isn\u2019t needed if readers can see the text in front of them and can scan back and forth when they need to. Ultimately, these continued references to the text itself break the illusion of a conversation between the writer and their readers.<\/span><\/p>\n

What should be done instead? You can normally just delete unnecessary signposting without any loss. For nutgraphs, I like the advice given in <\/span>The Science Writers\u2019 Handbook series<\/span><\/a>. Resist the urge to summarise your entire story and simply prepare the reader for the journey ahead. Most people don\u2019t need a detailed map of the article they are going to read, they just need to understand the general direction of travel an article will take.<\/span><\/p>\n

This advice isn\u2019t just for critical essays, it\u2019s useful for <\/span>research articles<\/span><\/a> too. Research articles have an abstract, which already summarises the article, and they tend to follow <\/span>a predictable structure<\/span><\/a>. Readers don\u2019t need another summary, but they may need a preview of research findings so they know what to expect of the road ahead.<\/span><\/p>\n

This may feel like a picky issue of style and taste but at stake is a reader’s attention and understanding. It\u2019s far better to spend their energy on ideas and findings rather than figuring out a clumsily written manuscript. You\u2019re also less likely to leave your readers wondering what the hell they are looking at.<\/span><\/p>\n

Paul J Simpson<\/i><\/b> is <\/span><\/i>The BMJ<\/span>\u2019s international editor.\u00a0<\/span><\/i><\/p>\n

Competing Interests:<\/b> \u00a0<\/span>I bought The Sense of Style<\/em>, The Science Writers\u2019 Handbook<\/em>, and The Science Writers\u2019 Essay Handbook<\/em> myself and enjoyed them. I don\u2019t have any connection with the authors or the books\u2019 publishers.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Writers should avoid unintentionally reminding readers that they are reading, says Paul Simpson\u00a0 […]<\/p>\n

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