具體到論文的每一個(gè)段落的寫作方式，主要有演繹法和歸納法兩種。

演繹法主要指有一般到特殊的方法：1.概述-2.對(duì)概述的闡述-3.更多闡述細(xì)節(jié)-4.概述總結(jié)。下面舉例說明：

The emergence of reality TV represents a shift from what Kilborn (2003) calls the more “serious” representation of socio-historical events to programming that is produced predominantly for entertainment purposes. Reality programs are linked to different documentary forms, such as documentary journalism, cinéma vérité traditions, and the observational documentary. However, due to elements of popular entertainment programming (e.g., talk shows, game shows, and soap operas), reality TV ultimately creates its own generic map. Hill (2005, p. 50) suggests a fact/fiction continuum, which reflects the sliding scale of factuality in these programs. The continuum covers contemporary documentaries and popular factual entertainment ranging from docu-soaps and game-docs to makeovers and quiz shows.

1.真人秀節(jié)目的出現(xiàn)代表了從 Kilborn (2003) 所稱的社會(huì)歷史事件的更“嚴(yán)肅”表現(xiàn)向主要為娛樂目的制作的節(jié)目的轉(zhuǎn)變。2.真人秀節(jié)目與不同的紀(jì)錄片形式相關(guān)聯(lián)，例如新聞紀(jì)錄片、真實(shí)電影傳統(tǒng)和觀察紀(jì)錄片。3.然而，由于流行娛樂節(jié)目的元素（例如脫口秀、游戲節(jié)目和肥皂?。嫒诵阕罱K創(chuàng)建了自己的通用地圖。4.Hill (2005, p. 50) 提出了一個(gè)事實(shí)/虛構(gòu)的連續(xù)體，它反映了這些項(xiàng)目中事實(shí)性的滑動(dòng)尺度。5.連續(xù)體涵蓋當(dāng)代紀(jì)錄片和流行的事實(shí)娛樂，從紀(jì)錄片肥皂和游戲文檔到改頭換面和問答節(jié)目。