In this book - an ABC of the genre, with 26 entries - two renowned biographers and teachers take us on a tour, from A for Authorization to Z for Zigzagging to the End. In trenchant, witty entries they explore the good, the bad and the plain ugly in modern 'life writing' and the portrayal of real lives today - and how, across history and continents, we got here.This book will fascinate general readers interested in how real lives are approached by biographers today in a multitude of media. It will make a much-needed contribution in academia, as well as providing an important text for students of history, language and literature, the arts, science and media. And, not least, for biographers trying to avoid the pitfalls of ignorance or ineptitude.
From the author of Stylish Academic Writing comes an essential new guide for writers aspiring to become more productive and take greater pleasure in their craft. Helen Sword interviewed 100 academics worldwide about their writing background and practices and shows how they find or create the conditions to get their writing done.
Anton Chekhov is revered as a boldly innovative playwright and short story writer—but he wrote more than just plays and stories. In Alive in the Writing—an intriguing hybrid of writing guide, biography, and literary analysis—anthropologist and novelist Kirin Narayan introduces readers to some other sides of Chekhov: his pithy, witty observations on the writing process, his life as a writer through accounts by his friends, family, and lovers, and his venture into nonfiction through his book Sakhalin Island. By closely attending to the people who lived under the appalling conditions of the Russian penal colony on Sakhalin, Chekhov showed how empirical details combined with a literary flair can bring readers face to face with distant, different lives, enlarging a sense of human responsibility.
Highlighting this balance of the empirical and the literary, Narayan calls on Chekhov to bring new energy to the writing of ethnography and creative nonfiction alike. Weaving together selections from writing by and about him with examples from other talented ethnographers and memoirists, she offers practical exercises and advice on topics such as story, theory, place, person, voice, and self. A new and lively exploration of ethnography, Alive in the Writing shows how the genre’s attentive, sustained connection with the lives of others can become a powerful tool for any writer.
While successful plays tend to share certain storytelling elements, there is no single blueprint for how a play should be constructed. Instead, seasoned playwrights know how to select the right elements for their needs and organize them in a structure that best supports their particular story.
Through his workshops and book The Dramatic Writer’s Companion, Will Dunne has helped thousands of writers develop successful scripts. Now, in The Architecture of Story, he helps writers master the building blocks of dramatic storytelling by analyzing a trio of award-winning contemporary American plays: Doubt: A Parable by John Patrick Shanley, Topdog/Underdog by Suzan-Lori Parks, and The Clean House by Sarah Ruhl. Dismantling the stories and examining key components from a technical perspective enables writers to approach their own work with an informed understanding of dramatic architecture.
Each self-contained chapter focuses on one storytelling component, ranging from “Title” and “Main Event” to “Emotional Environment” and “Crisis Decision.” Dunne explores each component in detail, demonstrating how it has been successfully handled in each play and comparing and contrasting techniques. The chapters conclude with questions to help writers evaluate and improve their own scripts. The result is a nonlinear reference guide that lets writers work at their own pace and choose the topics that interest them as they develop new scripts. This flexible, interactive structure is designed to meet the needs of writers at all stages of writing and at all levels of experience.
All writers conduct research. For some this means poring over records and combing, archives but for many creative writers research happens in the everyday world—when they scribble an observation on the subway, when they travel to get the feel for a city, or when they strike up a conversation with an interesting stranger.
The Art of Creative Research helps writers take this natural inclination to explore and observe and turn it into a workable—and enjoyable—research plan. It shows that research shouldn’t be seen as a dry, plodding aspect of writing. Instead, it’s an art that all writers can master, one that unearths surprises and fuels imagination. This lends authenticity to fiction and poetry as well as nonfiction.
Philip Gerard distills the process into fundamental questions: How do you conduct research? And what can you do with the information you gather? He covers both in-person research and work in archives and illustrates how the different types of research can be incorporated into stories, poems, and essays using examples from a wide range of writers in addition to those from his own projects. Throughout, Gerard brings knowledge from his seasoned background into play, drawing on his experiences as a reporter and a writer of both fiction and nonfiction. His enthusiasm for adventure is infectious and will inspire writers to step away from the keyboard and into the world.
“Research can take you to that golden intersection where the personal meets the public, the private crosses the universal, where the best literature lives,” Gerard writes. With his masterly guidance, anyone can become an expert in artful investigation.
The Author's Handbook
Franklynn Peterson and Judi Kesselman-Turkel University of Wisconsin Press, 2006 Library of Congress PN147.P465 2006 | Dewey Decimal 808.02
Providing essential guidance for both aspiring and experienced authors, the second edition of The Author’s Handbook is a valuable resource for writers of all levels. Extensively updated and expanded to account for significant changes in the publishing industry, The Author’s Handbook outlines effective techniques to develop marketable book ideas, research those ideas, and write a manuscript—either fiction or nonfiction—for publication. The authors provide many tips on topics that include choosing a publisher, negotiating contracts, understanding legal matters, and promoting your work. With this guide, the reader will gain insight into virtually every aspect of publishing.
Autobiographical Writing Across the Disciplines reveals the extraordinary breadth of the intellectual movement toward self-inclusive scholarship. Presenting exemplary works of criticism incorporating personal narratives, this volume brings together twenty-seven essays from scholars in literary studies and history, mathematics and medicine, philosophy, music, film, ethnic studies, law, education, anthropology, religion, and biology. Pioneers in the development of the hybrid genre of personal scholarship, the writers whose work is presented here challenge traditional modes of inquiry and ways of knowing. In assembling their work, editors Diane P. Freedman and Olivia Frey have provided a rich source of reasons for and models of autobiographical criticism.
The editors’ introduction presents a condensed history of academic writing, chronicles the origins of autobiographical criticism, and emphasizes the role of feminism in championing the value of personal narrative to disciplinary discourse. The essays are all explicitly informed by the identities of their authors, among whom are a feminist scientist, a Jewish filmmaker living in Germany, a potential carrier of Huntington’s disease, and a doctor pregnant while in medical school. Whether describing how being a professor of ethnic literature necessarily entails being an activist, how music and cooking are related, or how a theology is shaped by cultural identity, the contributors illuminate the relationship between their scholarly pursuits and personal lives and, in the process, expand the boundaries of their disciplines.
Kwame Anthony Appiah Ruth Behar Merrill Black David Bleich James Cone Brenda Daly Laura B. DeLind Carlos L. Dews Michael Dorris Diane P. Freedman Olivia Frey Peter Hamlin Laura Duhan Kaplan Perri Klass Muriel Lederman Deborah Lefkowitz Eunice Lipton Robert D. Marcus Donald Murray Seymour Papert Carla T. Peterson David Richman Sara Ruddick Julie Tharp Bonnie TuSmith Alex Wexler Naomi Weisstein Patricia Williams
Every book has a story of its own, a path leading from the initial idea that sparked it to its emergence into the world in published form. No two books follow quite the same path, but all are shaped by a similar array of market forces and writing craft concerns as well as by a cast of characters stretching beyond the author. Behind the Book explores how eleven contemporary first-time authors, in genres ranging from post-apocalyptic fiction to young adult fantasy to travel memoir, navigated these pathways with their debut works. Based on extensive interviews with the authors, it covers the process of writing and publishing a book from beginning to end, including idea generation, developing a process, building a support network, revising the manuscript, finding the right approach to publication, building awareness, and ultimately moving on to the next project. It also includes insights from editors, agents, publishers, and others who helped to bring these projects to life.
Unlike other books on writing craft, Behind the Book looks at the larger picture of how an author’s work and choices can affect the outcome of a project. The authors profiled in each story open up about their challenges, mistakes, and successes. While their paths to publication may be unique, together they offer important lessons that authors of all types can apply to their own writing journeys.
Breathe Life into Your Life Story is an essential read for anyone who aspires to write a life story—but not just any story, one your family and others will actually WANT to read.
Written for both novices and experienced writers, this book presents techniques used by novelists to immerse readers into their fictional world—techniques like “showing” rather than just “telling”; creating interesting, believable characters and settings; writing at the gut level; alternating scene and narrative; beginning with a bang; generating tension, and more.
Excerpts from memoirs written by such pros as Maya Angelou, Frank McCourt, Russell Baker, and many others illustrate how best-selling authors have used these methods to hook their readers. Dozens of “Learn by Doing” exercises help readers practice and acquire the skills necessary to breathe life into their own stories.
Writers talk about their work in many ways: as an art, as a calling, as a lifestyle. Too often missing from these conversations is the fact that writing is also a business. The reality is, those who want to make a full- or part-time job out of writing are going to have a more positive and productive career if they understand the basic business principles underlying the industry.
The Business of Being a Writer offers the business education writers need but so rarely receive. It is meant for early-career writers looking to develop a realistic set of expectations about making money from their work or for working writers who want a better understanding of the industry. Writers will gain a comprehensive picture of how the publishing world works—from queries and agents to blogging and advertising—and will learn how they can best position themselves for success over the long term.
Jane Friedman has more than twenty years of experience in the publishing industry, with an emphasis on digital media strategy for authors and publishers. She is encouraging without sugarcoating, blending years of research with practical advice that will help writers market themselves and maximize their writing-related income. It will leave them empowered, confident, and ready to turn their craft into a career.
Q. Is it “happy medium” or “happy median”? My author writes: “We would all be much better served as stewards of finite public funds if we could find that happy median where trust reigns supreme.” Thanks!
A. The idiom is “happy medium,” but I like the image of commuters taking refuge from road rage on the happy median.
Q. How do I write a title of a song in the body of the work (caps, bold, underline, italics, etc.)? Example: The Zombies’ “She’s Not There” looped in his head.
A. Noooo! Now that song is looping in my head (“but it’s too late to say you’re sorry . . .”). Use quotation marks. Thanks a lot.
Every month, tens of thousands of self-declared word nerds converge upon a single site: The Chicago Manual of Style Online's Q&A. There the Manual’s editors open the mailbag and tackle readers’ questions on topics ranging from abbreviation to word division to how to reform that coworker who still insists on two spaces between sentences. Champions of common sense, the editors offer smart, direct, and occasionally tongue-in-cheek responses that have guided writers and settled arguments for more than fifteen years.
But Can I Start a Sentence with “But”? brings together the best of the Chicago Style Q&A. Curated from years of entries, it features some of the most popular—and hotly debated—rulings and also recovers old favorites long buried in the archives.
Questions touch on myriad matters of editorial style—capitalization, punctuation, alphabetizing, special characters—as well as grammar, usage, and beyond (“How do I spell out the sound of a scream?”). A foreword by Carol Fisher Saller, the Q&A’s longtime editor, takes readers through the history of the Q&A and addresses its reputation for mischief. (“It’s not that we set out to be cheeky,” she writes.)
Taken together, the questions and answers offer insights into some of the most common issues that face anyone who works with words. They’re also a comforting reminder that even the best writer or editor needs a little help—and humor—sometimes.
Will Dunne first brought the workshop experience down to the desk level with The Dramatic Writer’s Companion, offering practical exercises to help playwrights and screenwriters work through the problems that arise in developing their scripts. Now writers looking to further enhance their storytelling process can turn to Character, Scene, and Story.
Featuring forty-two new workshop-tested exercises, this sequel to The Dramatic Writer’s Companion allows writers to dig deeper into their scripts by fleshing out images, exploring characters from an emotional perspective, tapping the power of color and sense memory to trigger ideas, and trying other visceral techniques. The guide also includes a troubleshooting section to help tackle problem scenes. Writers with scripts already in progress will find they can think deeper about their characters and stories. And those who are just beginning to write will find the guidance they need to discover their best starting point. The guide is filled with hundreds of examples, many of which have been developed as both plays and films.
Character, Scene, and Story is fully aligned with the new edition of The Dramatic Writer’s Companion, with cross-references between related exercises so that writers have the option to explore a given topic in more depth. While both guides can stand alone, together they give writers more than one hundred tools to develop more vivid characters and craft stronger scripts.
Collaboration between ethnographers and subjects has long been a product of the close, intimate relationships that define ethnographic research. But increasingly, collaboration is no longer viewed as merely a consequence of fieldwork; instead collaboration now preconditions and shapes research design as well as its dissemination. As a result, ethnographic subjects are shifting from being informants to being consultants. The emergence of collaborative ethnography highlights this relationship between consultant and ethnographer, moving it to center stage as a calculated part not only of fieldwork but also of the writing process itself.
The Chicago Guide to Collaborative Ethnography presents a historical, theoretical, and practice-oriented road map for this shift from incidental collaboration to a more conscious and explicit collaborative strategy. Luke Eric Lassiter charts the history of collaborative ethnography from its earliest implementation to its contemporary emergence in fields such as feminism, humanistic anthropology, and critical ethnography. On this historical and theoretical base, Lassiter outlines concrete steps for achieving a more deliberate and overt collaborative practice throughout the processes of fieldwork and writing. As a participatory action situated in the ethical commitments between ethnographers and consultants and focused on the co-construction of texts, collaborative ethnography, argues Lassiter, is among the most powerful ways to press ethnographic fieldwork and writing into the service of an applied and public scholarship.
A comprehensive and highly accessible handbook for ethnographers of all stripes, The Chicago Guide to Collaborative Ethnography will become a fixture in the development of a critical practice of anthropology, invaluable to both undergraduates, graduate students, and faculty alike.
For more than a decade, The Chicago Guide to Communicating Science has been the go-to reference for anyone who needs to write or speak about their research. Whether a student writing a thesis, a faculty member composing a grant proposal, or a public information officer crafting a press release, Scott Montgomery’s advice is perfectly adaptable to any scientific writer’s needs.
This new edition has been thoroughly revised to address crucial issues in the changing landscape of scientific communication, with an increased focus on those writers working in corporate settings, government, and nonprofit organizations as well as academia. Half a dozen new chapters tackle the evolving needs and paths of scientific writers. These sections address plagiarism and fraud, writing graduate theses, translating scientific material, communicating science to the public, and the increasing globalization of research.
The Chicago Guide to Communicating Science recognizes that writers come to the table with different needs and audiences. Through solid examples and concrete advice, Montgomery sets out to help scientists develop their own voice and become stronger communicators. He also teaches readers to think about their work in the larger context of communication about science, addressing the roles of media and the public in scientific attitudes as well as offering advice for those whose research concerns controversial issues such as climate change or emerging viruses.
More than ever, communicators need to be able to move seamlessly among platforms and styles. The Chicago Guide to Communicating Science’s comprehensive coverage means that scientists and researchers will be able to expertly connect with their audiences, no matter the medium.
“A column by Glenn Garvin on Dec. 20 stated that the National Science Foundation ‘funded a study on Jell-O wrestling at the South Pole.’ That is incorrect. The event took place during off-duty hours without NSF permission and did not involve taxpayer funds.”
Corrections such as this one from the Miami Herald have become a familiar sight for readers, especially as news cycles demand faster and faster publication. While some factual errors can be humorous, they nonetheless erode the credibility of the writer and the organization. And the pressure for accuracy and accountability is increasing at the same time as in-house resources for fact-checking are dwindling. Anyone who needs or wants to learn how to verify names, numbers, quotations, and facts is largely on their own.
Enter The Chicago Guide to Fact-Checking, an accessible, one-stop guide to the why, what, and how of contemporary fact-checking. Brooke Borel, an experienced fact-checker, draws on the expertise of more than 200 writers, editors, and fellow checkers representing the New Yorker, Popular Science, This American Life, Vogue, and many other outlets. She covers best practices for fact-checking in a variety of media—from magazine articles, both print and online, to books and documentaries—and from the perspective of both in-house and freelance checkers. She also offers advice on navigating relationships with writers, editors, and sources; considers the realities of fact-checking on a budget and checking one’s own work; and reflects on the place of fact-checking in today’s media landscape.
“If journalism is a cornerstone of democracy, then fact-checking is its building inspector,” Borel writes. The Chicago Guide to Fact-Checking is the practical—and thoroughly vetted—guide that writers, editors, and publishers need to maintain their credibility and solidify their readers’ trust.
Few people can write on the English language with the authority of Bryan A. Garner. The author of The Chicago Manual of Style’s popular “Grammar and Usage” chapter, Garner explains the vagaries of English with absolute precision and utmost clarity. With The Chicago Guide to Grammar, Usage, and Punctuation, he has written the definitive guide for writers who want their prose to be both memorable and correct.
Throughout the book Garner describes standard literary English—the forms that mark writers and speakers as educated users of the language. He also offers historical context for understanding the development of these forms. The section on grammar explains how the canonical parts of speech came to be identified, while the section on syntax covers the nuances of sentence patterns as well as both traditional sentence diagramming and transformational grammar. The usage section provides an unprecedented trove of empirical evidence in the form of Google Ngrams, diagrams that illustrate the changing prevalence of specific terms over decades and even centuries of English literature. Garner also treats punctuation and word formation, and concludes the book with an exhaustive glossary of grammatical terms and a bibliography of suggested further reading and references.
The Chicago Guide to Grammar, Usage, and Punctuation is a magisterial work, the culmination of Garner’s lifelong study of the English language. The result is a landmark resource that will offer clear guidelines to students, writers, and editors alike.
Many different people, from social scientists to government agencies to business professionals, depend on the results of multivariate models to inform their decisions. Researchers use these advanced statistical techniques to analyze relationships among multiple variables, such as how exercise and weight relate to the risk of heart disease, or how unemployment and interest rates affect economic growth. Yet, despite the widespread need to plainly and effectively explain the results of multivariate analyses to varied audiences, few are properly taught this critical skill.
The Chicago Guide to Writing about Multivariate Analysis is the book researchers turn to when looking for guidance on how to clearly present statistical results and break through the jargon that often clouds writing about applications of statistical analysis. This new edition features even more topics and real-world examples, making it the must-have resource for anyone who needs to communicate complex research results.
For this second edition, Jane E. Miller includes four new chapters that cover writing about interactions, writing about event history analysis, writing about multilevel models, and the “Goldilocks principle” for choosing the right size contrast for interpreting results for different variables. In addition, she has updated or added numerous examples, while retaining her clear voice and focus on writers thinking critically about their intended audience and objective. Online podcasts, templates, and an updated study guide will help readers apply skills from the book to their own projects and courses.
This continues to be the only book that brings together all of the steps involved in communicating findings based on multivariate analysis—finding data, creating variables, estimating statistical models, calculating overall effects, organizing ideas, designing tables and charts, and writing prose—in a single volume. When aligned with Miller’s twelve fundamental principles for quantitative writing, this approach will empower readers—whether students or experienced researchers—to communicate their findings clearly and effectively.
The Fifteenth Edition is available in book form and as a subscription Website. The same content from The Chicago Manual of Style is in both versions.
In the 1890s, a proofreader at the University of Chicago Press prepared a single sheet of typographic fundamentals intended as a guide for the University community. That sheet grew into a pamphlet, and the pamphlet grew into a book—the first edition of the Manual of Style, published in 1906. Now in its fifteenth edition, The Chicago Manual of Style—the essential reference for authors, editors, proofreaders, indexers, copywriters, designers, and publishers in any field—is more comprehensive and easier to use than ever before.
Those who work with words know how dramatically publishing has changed in the past decade, with technology now informing and influencing every stage of the writing and publishing process. In creating the fifteenth edition of the Manual, Chicago's renowned editorial staff drew on direct experience of these changes, as well as on the recommendations of the Manual's first advisory board, composed of a distinguished group of scholars, authors, and professionals from a wide range of publishing and business environments.
Every aspect of coverage has been examined and brought up to date—from publishing formats to editorial style and method, from documentation of electronic sources to book design and production, and everything in between. In addition to books, the Manual now also treats journals and electronic publications. All chapters are written for the electronic age, with advice on how to prepare and edit manuscripts online, handle copyright and permissions issues raised by technology, use new methods of preparing mathematical copy, and cite electronic and online sources.
A new chapter covers American English grammar and usage, outlining the grammatical structure of English, showing how to put words and phrases together to achieve clarity, and identifying common errors. The two chapters on documentation have been reorganized and updated: the first now describes the two main systems preferred by Chicago, and the second discusses specific elements and subject matter, with examples of both systems. Coverage of design and manufacturing has been streamlined to reflect what writers and editors need to know about current procedures. And, to make it easier to search for information, each numbered paragraph throughout the Manual is now introduced by a descriptive heading.
Clear, concise, and replete with commonsense advice, The Chicago Manual of Style, fifteenth edition, offers the wisdom of a hundred years of editorial practice while including a wealth of new topics and updated perspectives. For anyone who works with words, whether on a page or computer screen, this continues to be the one reference book you simply must have.
What's new in the Fifteenth Edition:
* Updated material throughout to reflect current style, technology, and professional practice
* Scope expanded to include journals and electronic publications
* Comprehensive new chapter on American English grammar and usage by Bryan A. Garner (author of A Dictionary of Modern American Usage)
* Updated and rewritten chapter on preparing mathematical copy
* Reorganized and updated chapters on documentation, including guidance on citing electronic sources
* Streamlined coverage of current design and production processes, with a glossary of key terms
* Descriptive headings on all numbered paragraphs for ease of reference
* New diagrams of the editing and production processes for both books and journals, keyed to chapter discussions
**The 16th edition of The Chicago Manual of Style has been superseded by the 17th edition.**
While digital technologies have revolutionized the publishing world in the twenty-first century, one thing still remains true: The Chicago Manual of Style is the authoritative, trusted source that writers, editors, and publishers turn to for guidance on style and process. For the sixteenth edition, every aspect of coverage has been reconsidered to reflect how publishing professionals work today. Though processes may change, the Manual continues to offer the clear, well-considered style and usage advice it has for more than a century.
The sixteenth edition offers expanded information on producing electronic publications, including web-based content and e-books. An updated appendix on production and digital technology demystifies the process of electronic workflow and offers a primer on the use of XML markup, and a revised glossary includes a host of terms associated with electronic as well as print publishing. The Chicago system of documentation has been streamlined and adapted for a variety of online and digital sources. Figures and tables are updated throughout the book—including a return to the Manual’s popular hyphenation table and new, comprehensive listings of Unicode numbers for special characters.
In his bestselling guide, Doing Honest Work in College: How to Prepare Citations, Avoid Plagiarism, and Achieve Real Academic Success, veteran teacher Charles Lipson brought welcome clarity to the principles of academic honesty as well as to the often murky issues surrounding plagiarism in the digital age. Thousands of students have turned to Lipson for no-nonsense advice on how to cite sources properly—and avoid plagiarism—when writing their research papers. With his latest book, Cite Right, Lipson once again provides much-needed counsel in a concise and affordable handbook for students and researchers. Building on Doing Honest Work in College, Lipson’s new book offers a wealth of information on an even greater range of citation styles and details the intricacies of many additional kinds of sources.
Lipson’s introductory essay, “Why Cite,” explains the reasons it is so important to use citations—and to present them accurately—in research writing. In subsequent chapters, Lipson explains the main citation styles students and researchers are likely to encounter in their academic work: Chicago; MLA; APA; CSE (biological sciences); AMA (medical sciences); ACS (chemistry, mathematics, and computer science); physics, astrophysics, and astronomy; Bluebook and ALWD (law); and AAA (anthropology and ethnography). His discussions of these styles are presented simply and clearly with examples drawn from a wide range of source types crossing all disciplines, from the arts and humanities to science, law, and medicine.
Based on deep experience in the academic trenches, Cite Right is an accessible, one-stop resource—a must-have guide for students and researchers alike who need to prepare citations in any of the major disciplines and professional studies.
Thousands of students have turned to veteran teacher Charles Lipson for no-nonsense advice on how to cite sources properly—and avoid plagiarism—when writing their research papers. This new edition of Cite Right, the popular overview of all major systems of citation, has been updated to reflect the most current versions of Chicago, MLA, APA, and other styles, and to discuss citation methods in the rapidly changing context of the Internet, digital publishing, and e-books. Best of all, it’s very easy to use.
Lipson first explains why it is so important to use citations—and to present them accurately—in research writing. He then outlines the main citation styles students and researchers are likely to encounter in their academic work: Chicago; MLA; APA; AAA (anthropology and ethnography); CSE (biological sciences); AMA (medical sciences); ACS (chemistry); physics, astrophysics, and astronomy;and mathematics, computer science, and engineering. New sections have been added on IEEE and ASCE styles, often used in engineering. Each style is presented simply and clearly with examples drawn from a wide range of source types crossing all disciplines, from the arts and humanities to the sciences and medicine. The second edition has also been updated to include a discussion of the merits and pitfalls of citation software, as well as new examples showing proper citation style for video blogs, instant messages, social networking sites, and other forms of digital media.
Based on deep experience in the academic trenches,this thoroughly revised edition is intended to appeal to anyone—student, professional, or academic—who needs an efficient, authoritative guide for citing sources across a wide range of disciplines.
Cite Right is the perfect guide for anyone who needs to learn a new citation style or who needs an easy reference to Chicago, MLA, APA, AMA, and other styles. Each chapter serves as a quick guide that introduces the basics of a style, explains who might use it, and then presents an abundance of examples. This edition includes updates reflecting the most recent editions of The Chicago Manual of Style and the MLA Handbook. With this book, students and researchers can move smoothly among styles with the confidence they are getting it right.
For anyone who has blanched at the uphill prospect of finishing a long piece of writing, this book holds out something more practical than hope: it offers a plan. The Clockwork Muse is designed to help prospective authors develop a workable timetable for completing long and often formidable projects.
The Craft of Research
Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams University of Chicago Press, 1995 Library of Congress Q180.55.M4B66 1995 | Dewey Decimal 001.42
This manual offers practical advice on the fundamentals of research to college and university students in all fields of study. The Craft of Research teaches much more than the mechanics of fact gathering: it explains how to approach a research project as an analytical process. The authors chart every stage of research, from finding a topic and generating research questions about it to marshalling evidence, constructing arguments, and writing everything up in a final report that is a model of authority. Their advice is designed for use by both beginners and seasoned practitioners, and for projects from class papers to dissertations.
This book is organized into four parts. Part One is a spirited introduction to the distinctive nature, values, and protocols of research. Part Two demystifies the art of discovering a topic. It outlines a wide range of sources, among them personal interests and passions. Parts Three and Four cover the essentials of argument—how to make a claim and support it—and ways to outline, draft, revise, rewrite, and polish the final report. Part Three is a short course in the logic, structure, uses, and common pitfalls of argumentation. The writing chapters in Part Four show how to present verbal and visual information effectively and how to shape sentences and paragraphs that communicate with power and precision.
"A well-constructed, articulate reminder of how important fundamental questions of style and approach, such as clarity and precision, are to all research."—Times Literary Supplement
The Craft of Research, Fourth Edition
Wayne C. Booth, Gregory G. Colomb, Joseph M. Williams, Joseph Bizup and William T. FitzGerald University of Chicago Press, 2016 Library of Congress Q180.55.M4B66 2016 | Dewey Decimal 001.42
With more than three-quarters of a million copies sold since its first publication, The Craft of Research has helped generations of researchers at every level—from first-year undergraduates to advanced graduate students to research reporters in business and government—learn how to conduct effective and meaningful research. Conceived by seasoned researchers and educators Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams, this fundamental work explains how to find and evaluate sources, anticipate and respond to reader reservations, and integrate these pieces into an argument that stands up to reader critique.
The fourth edition has been thoroughly but respectfully revised by Joseph Bizup and William T. FitzGerald. It retains the original five-part structure, as well as the sound advice of earlier editions, but reflects the way research and writing are taught and practiced today. Its chapters on finding and engaging sources now incorporate recent developments in library and Internet research, emphasizing new techniques made possible by online databases and search engines. Bizup and FitzGerald provide fresh examples and standardized terminology to clarify concepts like argument, warrant, and problem.
Following the same guiding principle as earlier editions—that the skills of doing and reporting research are not just for elite students but for everyone—this new edition retains the accessible voice and direct approach that have made The Craft of Research a leader in the field of research reference. With updated examples and information on evaluation and using contemporary sources, this beloved classic is ready for the next generation of researchers.
The Craft of Research, Third Edition
Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams University of Chicago Press, 2008 Library of Congress Q180.55.M4B66 2008 | Dewey Decimal 001.42
With more than 400,000 copies now in print, The Craft of Research is the unrivaled resource for researchers at every level, from first-year undergraduates to research reporters at corporations and government offices.
Seasoned researchers and educators Gregory G. Colomb and Joseph M. Williams present an updated third edition of their classic handbook, whose first and second editions were written in collaboration with the late Wayne C. Booth. The Craft of Research explains how to build an argument that motivates readers to accept a claim; how to anticipate the reservations of readers and to respond to them appropriately; and how to create introductions and conclusions that answer that most demanding question, “So what?”
The third edition includes an expanded discussion of the essential early stages of a research task: planning and drafting a paper. The authors have revised and fully updated their section on electronic research, emphasizing the need to distinguish between trustworthy sources (such as those found in libraries) and less reliable sources found with a quick Web search. A chapter on warrants has also been thoroughly reviewed to make this difficult subject easier for researchers
Throughout, the authors have preserved the amiable tone, the reliable voice, and the sense of directness that have made this book indispensable for anyone undertaking a research project.
The ability to communicate in print and person is essential to the life of a successful scientist. But since writing is often secondary in scientific education and teaching, there remains a significant need for guides that teach scientists how best to convey their research to general and professional audiences. The Craft of Scientific Communication will teach science students and scientists alike how to improve the clarity, cogency, and communicative power of their words and images.
In this remarkable guide, Joseph E. Harmon and Alan G. Gross have combined their many years of experience in the art of science writing to analyze published examples of how the best scientists communicate. Organized topically with information on the structural elements and the style of scientific communications, each chapter draws on models of past successes and failures to show students and practitioners how best to negotiate the world of print, online publication, and oral presentation.
Beginning with “The Writer’s Wonderland—Or: A Warning” and ending with “You’ve Published a Book—Now What?” The Creative Writer’s Survival Guide is a must-read for creative-writing students and teachers, conference participants, and aspiring writers of every stamp. Directed primarily at fiction writers but suitable for writers of all genres, John McNally’s guide is a comprehensive, take-no-prisoners blunt, highly idiosyncratic, and delightfully subjective take on the writing life.
McNally has earned the right to dispense advice on this subject. He has published three novels, two collections of short fiction, and hundreds of individual stories and essays. He has edited six anthologies and worked with editors at university presses, commercial houses, and small presses. He has earned three degrees, including an MFA from the Iowa Writers’ Workshop, and taught writing to thousands of students at nine different universities. But he has received far more rejections than acceptances, has endured years of underpaid adjunct work, and is presently hard at work on a novel for which he has no guarantee of publication. In other words, he’s been at the writing game long enough to rack up plenty of the highs and lows that translate into an invaluable guide for anyone who wants to become a writer or anyone who is already a writer but doesn’t know how to take the next step toward the writing life.
In the sections The Decision to Become a Writer, Education and the Writer, Getting Published, Publicity, Employment for Writers, and The Writer’s Life, McNally wrestles with writing degrees and graduate programs, the nuts and bolts of agents and query letters and critics, book signings and other ways to promote your book, alcohol and other home remedies, and jobs for writers from adjunct to tenure-track. Chapters such as “What Have You Ever Done That’s Worth Writing About?” “Can Writing Be Taught?” “Rejection: Putting It in Perspective,” “Writing as a Competitive Sport,” “Seven Types of MLA Interview Committees,” “Money and the Writer,” and the all-important “Talking about Writing vs. Writing” cover a vast range of writerly topics from learning your craft to making a living at it. McNally acts as the writer’s friendly drill sergeant, relentlessly honest but bracingly cheerful as he issues his curmudgeonly marching orders. Alternately cranky and philosophical, full of to-the-point anecdotes and honest advice instead of wonkish facts and figures, The Creative Writer’s Survival Guide is a snarky, truthful, and immensely helpful map to being a writer in today’s complex world.
For undergraduates following any course of study, it is essential to develop the ability to write effectively. Yet the processes by which students become more capable and ready to meet the challenges of writing for employers, the wider public, and their own purposes remain largely invisible. Developing Writers in Higher Education shows how learning to write for various purposes in multiple disciplines leads college students to new levels of competence.
This volume draws on an in-depth study of the writing and experiences of 169 University of Michigan undergraduates, using statistical analysis of 322 surveys, qualitative analysis of 131 interviews, use of corpus linguistics on 94 electronic portfolios and 2,406 pieces of student writing, and case studies of individual students to trace the multiple paths taken by student writers. Topics include student writers’ interaction with feedback; perceptions of genre; the role of disciplinary writing; generality and certainty in student writing; students’ concepts of voice and style; students’ understanding of multimodal and digital writing; high school’s influence on college writers; and writing development after college. The digital edition offers samples of student writing, electronic portfolios produced by student writers, transcripts of interviews with students, and explanations of some of the analysis conducted by the contributors.
This is an important book for researchers and graduate students in multiple fields. Those in writing studies get an overview of other longitudinal studies as well as key questions currently circulating. For linguists, it demonstrates how corpus linguistics can inform writing studies. Scholars in higher education will gain a new perspective on college student development. The book also adds to current understandings of sociocultural theories of literacy and offers prospective teachers insights into how students learn to write. Finally, for high school teachers, this volume will answer questions about college writing.
Editing is a tricky business. It requires analytical flair and creative panache, the patience of a saint and the vision of a writer. Transforming a manuscript into a book that edifies, inspires, and sells? That’s the job of the developmental editor, whose desk is the first stop for many manuscripts on the road to bookdom—a route ably mapped out in the pages of Developmental Editing.
Author Scott Norton has worked with a diverse range of authors, editors, and publishers, and his handbook provides an approach to developmental editing that is logical, collaborative, humorous, and realistic. He starts with the core tasks of shaping the proposal, finding the hook, and building the narrative or argument, and then turns to the hard work of executing the plan and establishing a style.
Developmental Editing includes detailed case studies featuring a variety of nonfiction books—election-year polemic, popular science, memoir, travel guide—and authors ranging from first-timer to veteran, journalist to scholar. Handy sidebars offer advice on how to become a developmental editor, create effective illustration programs, and adapt sophisticated fiction techniques (such as point of view, suspense, plotting, character, and setting) to nonfiction writing.
Norton’s book also provides freelance copyeditors with a way to earn higher fees while introducing more creativity into their work lives. It gives acquisitions, marketing, and production staff a vocabulary for diagnosing a manuscript’s flaws and techniques for transforming it into a bestseller. And perhaps most importantly, Developmental Editing equips authors with the concrete tools they need to reach their audiences.
Today’s researchers have access to more information than ever before. Yet the new material is both overwhelming in quantity and variable in quality. How can scholars survive these twin problems and produce groundbreaking research using the physical and electronic resources available in the modern university research library? In Digital Paper, Andrew Abbott provides some much-needed answers to that question.
Abbott tells what every senior researcher knows: that research is not a mechanical, linear process, but a thoughtful and adventurous journey through a nonlinear world. He breaks library research down into seven basic and simultaneous tasks: design, search, scanning/browsing, reading, analyzing, filing, and writing. He moves the reader through the phases of research, from confusion to organization, from vague idea to polished result. He teaches how to evaluate data and prior research; how to follow a trail to elusive treasures; how to organize a project; when to start over; when to ask for help. He shows how an understanding of scholarly values, a commitment to hard work, and the flexibility to change direction combine to enable the researcher to turn a daunting mass of found material into an effective paper or thesis.
More than a mere how-to manual, Abbott’s guidebook helps teach good habits for acquiring knowledge, the foundation of knowledge worth knowing. Those looking for ten easy steps to a perfect paper may want to look elsewhere. But serious scholars, who want their work to stand the test of time, will appreciate Abbott’s unique, forthright approach and relish every page of Digital Paper.
Since its publication in 2004, Doing Honest Work in College has become an integral part of academic integrity and first-year experience programs across the country. This helpful guide explains the principles of academic integrity in a clear, straightforward way and shows students how to apply them in all academic situations—from paper writing and independent research to study groups and lab work. Teachers can use this book to open a discussion with their students about these difficult issues. Students will find a trusted resource for citation help whether they are studying comparative literature or computer science. Every major reference style is represented. Most important of all, many universities that adopt this book report a reduction in cheating and plagiarism on campus.
For this second edition, Charles Lipson has updated hundreds of examples and included many new media sources. There is now a full chapter on how to take good notes and use them properly in papers and assignments. The extensive list of citation styles incorporates guidelines from the American Anthropological Association. The result is the definitive resource on academic integrity that students can use every day.
“Georgetown’s entering class will discover that we actually have given them what we expect will be a very useful book, Doing Honest Work in College. It will be one of the first things students see on their residence hall desks when they move in, and we hope they will realize how important the topic is.”—James J. O’Donnell, Provost, Georgetown University
“A useful book to keep on your reference shelf.”—Bonita L. Wilcox, English Leadership Quarterly
In just eight years, The Dramatic Writer’s Companion has become a classic among playwrights and screenwriters. Thousands have used its self-contained character, scene, and story exercises to spark creativity, hone their writing, and improve their scripts.
Having spent decades working with dramatists to refine and expand their existing plays and screenplays, Dunne effortlessly blends condensed dramatic theory with specific action steps—over sixty workshop-tested exercises that can be adapted to virtually any individual writing process and dramatic script. Dunne’s in-depth method is both instinctual and intellectual, allowing writers to discover new actions for their characters and new directions for their stories. The exercises can be used by those just starting the writing process and by those who have scripts already in development. With each exercise rooted in real-life issues from Dunne’s workshops, readers of this companion will find the combined experiences of more than fifteen hundred workshops in a single guide.
This second edition is fully aligned with a brand-new companion book, Character, Scene, and Story, which offers forty-two additional activities to help writers more fully develop their scripts. The two books include cross-references between related exercises, though each volume can also stand alone.
No ordinary guide to plotting, this handbook centers on the principle that character is key. “The character is not something added to the scene or to the story,” writes Dunne. “Rather, the character is the scene. The character is the story.” With this new edition, Dunne’s remarkable creative method will continue to be the go-to source for anyone hoping to take their story to the stage.
Moss Hart once said that you never really learn how to write a play; you only learn how to write this play. Crafted with that adage in mind, The Dramatic Writer’s Companion is designed to help writers explore their own ideas in order to develop the script in front of them. No ordinary guide to plotting, this handbook starts with the principle that character is key. “The character is not something added to the scene or to the story,” writes author Will Dunne. “Rather, the character is the scene. The character is the story.”
Having spent decades working with dramatists to refine and expand their existing plays and screenplays, Dunne effortlessly blends condensed dramatic theory with specific action steps—over sixty workshop-tested exercises that can be adapted to virtually any individual writing process and dramatic script. Dunne’s in-depth method is both instinctual and intellectual, allowing writers to discover new actions for their characters and new directions for their stories.
Dunne’s own experience is a crucial element of this guide. His plays have been selected by the Eugene O’Neill Theatre Center for three U.S. National Playwrights Conferences and have earned numerous honors, including a Charles MacArthur Fellowship, four Bay Area Theatre Critics Circle Awards, and two Drama-Logue Playwriting Awards. Thousands of individuals have already benefited from his workshops, and The Dramatic Writer’s Companion promises to bring his remarkable creative method to an even wider audience.
Dreaming Out Loud brings together essays by many of the most well-known and respected African American writers of the twentieth and twenty-first centuries, discussing various aspects of the vocation, craft, and art of writing fiction. Though many of the writers included here are also accomplished poets, essayists, and playwrights, this collection and the essays it contains remains focused on the novel as a genre and an art form.
Some essays explore the challenges of being an African American writer in the United States, broadly addressing aesthetic and racial prejudice in American publishing and literature and its changing face over the decades. Others are more specific and personal, recounting how the authors came to be a reader and writer in a culture that did not always encourage them to do so. Some are more general and focus on practice and craft, while still other essays offer detailed behind-the-scenes accounts of how famous novels, such as Native Son, Invisible Man, The Autobiography of Miss Jane Pittman, and The Color Purple, came to life. Ranging from the Harlem Renaissance, through the Civil Rights movement, and into the twenty-first century, this anthology explores what it has meant to be an African American novelist over the past hundred years.
Found within are essays by twenty-one African American novelists, including Nobel Prize-winner Toni Morrison, National Book Award-winners Ralph Ellison and Charles Johnson, Pulitzer Prize-winners Alice Walker and James Alan McPherson, and well-known canonical writers such as W. E. B. Du Bois, James Weldon Johnson, Langston Hughes, Richard Wright, Zora Neale Hurston, and Margaret Walker. Dreaming Out Loud seeks to inspire writers and readers alike, while offering a fascinating and important portrait of novelists at work in their own words.
James Baldwin, Arna Bontemps, W. E. B. Du Bois, Ralph Ellison, Ernest Gaines, Chester Himes, Langston Hughes, Zora Neale Hurston, Charles Johnson, James Weldon Johnson, Gayl Jones, Terry McMillan, James Alan McPherson, Toni Morrison, Walter Mosley, Ishmael Reed, Martha Southgate, Alice Walker, Margaret Walker, John Edgar Wideman, Richard Wright
Economics is not a field that is known for good writing. Charts, yes. Sparkling prose, no.
Except, that is, when it comes to Deirdre Nansen McCloskey. Her conversational and witty yet always clear style is a hallmark of her classic works of economic history, enlivening the dismal science and engaging readers well beyond the discipline. And now she’s here to share the secrets of how it’s done.
Economical Writing is itself economical: a collection of thirty-five pithy rules for making your writing clear, concise, and effective. Proceeding from big-picture ideas to concrete strategies for improvement at the level of the paragraph, sentence, or word, McCloskey shows us that good writing, after all, is not just a matter of taste—it’s a product of adept intuition and a rigorous revision process. Debunking stale rules, warning us that “footnotes are nests for pedants,” and offering an arsenal of readily applicable tools and methods, she shows writers of all levels of experience how to rethink the way they approach their work, and gives them the knowledge to turn mediocre prose into magic.
At once efficient and digestible, hilarious and provocative, Economical Writing lives up to its promise. With McCloskey as our guide, it’s impossible not to see how any piece of writing—on economics or any other subject—can be a pleasure to read.
Eloquent Science evolved from a workshop aimed at offering atmospheric science students formal guidance in communications, tailored for their eventual scientific careers. Drawing on advice from over twenty books and hundreds of other sources, this volume presents informative and often humorous tips for writing scientific journal articles, while also providing a peek behind the curtain into the operations of editorial boards and publishers of major journals. The volume focuses on writing, reviewing, and speaking and is aimed at the domain of the student or scientist at the start of her career. The volume offers tips on poster presentations, media communication, and advice for non-native speakers of English, as well as appendices on proper punctuation usage and commonly misunderstood meteorological concepts. A further reading section at the end of each chapter suggests additional sources for the interested reader, and sidebars written by experts in the field offer diverse viewpoints on reference topics.
The ESL Writer’s Handbook is a reference work for ESL students who are taking college-level courses. Because its purpose is to provide help with the broad variety of writing questions students may have when working on school assignments, the text focuses on English for Academic Purposes. Unlike other handbooks on the market, this book’s sole purpose is to address the issues of second language learners.
The spiral-bound Handbook complements a student writer’s dictionary, thesaurus, and grammar reference book. It would be suitable as a text for an advanced ESL writing course when used together with the companion Workbook (978-0-472-03726-1).
The new edition features significant revisions to Sections 3 and 4; in particular, both APA and MLA style guides have been updated and new sample papers for each are included. The new edition includes new and revised exercises and many new samples of student writing.
Like its predecessor, the 2nd Edition has these special features:
The topic selection is based on ESL writers’ needs as observed by the authors over many years.
The coverage of topics is more complete than the limited amount usually provided for ESL writers in first language or L1 handbooks.
The explanatory language is appropriate for ESL students, in contrast to the more complex and idiomatic language of other English handbooks.
Many of the examples of paragraphs, essays, research papers, and exercise sentences were written by ESL students to help users realize that they too can become effective writers.
From climate to vaccination, stem-cell research to evolution, scientific work is often the subject of public controversies in which scientists and science communicators find themselves enmeshed. Especially with such hot-button topics, science communication plays vital roles. Gathering together the work of a multidisciplinary, international collection of scholars, the editors of Ethics and Practice in Science Communication present an enlightening dialogue involving these communities, one that articulates the often differing objectives and ethical responsibilities communicators face in bringing a range of scientific knowledge to the wider world.
In three sections—how ethics matters, professional practice, and case studies—contributors to this volume explore the many complex questions surrounding the communication of scientific results to nonscientists. Has the science been shared clearly and accurately? Have questions of risk, uncertainty, and appropriate representation been adequately addressed? And, most fundamentally, what is the purpose of communicating science to the public: Is it to inform and empower? Or to persuade—to influence behavior and policy? By inspiring scientists and science communicators alike to think more deeply about their work, this book reaffirms that the integrity of the communication of science is vital to a healthy relationship between science and society today.
Every person has a story to tell, but few beginners know how to uncover their story's narrative potential. And despite a growing interest among students and creative writers, few guides to the genre of memoirs and creative nonfiction highlight compelling storytelling strategies. Addressing this gap, authors Lynn C. Miller and Lisa Lenard-Cook provide a compact, accessible guide to memoir writing that shows how an aspiring memoir writer can use storytelling tools and tactics borrowed from fiction to weave personal experiences into the shape of a story.
Find Your Story, Write Your Memoir offers an overview of the building blocks of memoir writing. Individual chapters focus on key issues and challenges, such as the balance between the remembering narrator and the experiencing narrator, the capacity to honor the subjective voice, the occasion of telling (why does this narrator tell this story now?), creating an organically functional structure for a particular story, and taking the next steps with a written memoir. Drawing on their combined years of experience teaching memoir writing, authoring works of fiction and nonfiction, and working in autobiographical performance, Miller and Lenard-Cook provide a practical guide whose core philosophy is motivated by a key word: story.
Bronze winner, Foreword Book of the Year, Writing Guides
Writing was the central passion of Emerson’s life. While his thoughts on the craft are well developed in “The Poet,” “The American Scholar,” Nature, “Goethe,” and “Persian Poetry,” less well known are the many pages in his private journals devoted to the relationship between writing and reading. Here, for the first time, is the Concord Sage’s energetic, exuberant, and unconventional advice on the idea of writing, focused and distilled by the preeminent Emerson biographer at work today.
Emerson advised that “the way to write is to throw your body at the mark when your arrows are spent.” First We Read, Then We Write contains numerous such surprises—from “every word we speak is million-faced” to “talent alone cannot make a writer”—but it is no mere collection of aphorisms and exhortations. Instead, in Robert Richardson’s hands, the biographical and historical context in which Emerson worked becomes clear. Emerson’s advice grew from his personal experience; in practically every moment of his adult life he was either preparing to write, trying to write, or writing. Richardson shows us an Emerson who is no granite bust but instead is a fully fleshed, creative person disarmingly willing to confront his own failures. Emerson urges his readers to try anything—strategies, tricks, makeshifts—speaking not only of the nuts and bolts of writing but also of the grain and sinew of his determination. Whether a writer by trade or a novice, every reader will find something to treasure in this volume. Fearlessly wrestling with “the birthing stage of art,” Emerson’s counsel on being a reader and writer will be read and reread for years to come.
When a dissertation crosses my desk, I usually want to grab it by its metaphorical lapels and give it a good shake. “You know something!” I would say if it could hear me. “Now tell it to us in language we can understand!”
Since its publication in 2005, From Dissertation to Book has helped thousands of young academic authors get their books beyond the thesis committee and into the hands of interested publishers and general readers. Now revised and updated to reflect the evolution of scholarly publishing, this edition includes a new chapter arguing that the future of academic writing is in the hands of young scholars who must create work that meets the broader expectations of readers rather than the narrow requirements of academic committees.
At the heart of From Dissertation to Book is the idea that revising the dissertation is fundamentally a process of shifting its focus from the concerns of a narrow audience—a committee or advisors—to those of a broader scholarly audience that wants writing to be both informative and engaging. William Germano offers clear guidance on how to do this, with advice on such topics as rethinking the table of contents, taming runaway footnotes, shaping chapter length, and confronting the limitations of jargon, alongside helpful timetables for light or heavy revision.
Germano draws on his years of experience in both academia and publishing to show writers how to turn a dissertation into a book that an audience will actually enjoy, whether reading on a page or a screen. Germano also acknowledges that not all dissertations can or even should become books and explores other, often overlooked, options, such as turning them into journal articles or chapters in an edited work.
With clear directions, engaging examples, and an eye for the idiosyncrasies of academic writing, From Dissertation to Book reveals to recent PhDs the secrets of careful and thoughtful revision—a skill that will be truly invaluable as they add “author” to their curriculum vitae.
Ethnography centers on the culture of everyday life. So it is ironic that most scholars who do research on the intimate experiences of ordinary people write their books in a style that those people cannot understand. In recent years, the ethnographic method has spread from its original home in cultural anthropology to fields such as sociology, marketing, media studies, law, criminology, education, cultural studies, history, geography, and political science. Yet, while more and more students and practitioners are learning how to write ethnographies, there is little or no training on how to write ethnographies well.
From Notes to Narrative picks up where methodological training leaves off. Kristen Ghodsee, an award-winning ethnographer, addresses common issues that arise in ethnographic writing. Ghodsee works through sentence-level details, such as word choice and structure. She also tackles bigger-picture elements, such as how to incorporate theory and ethnographic details, how to effectively deploy dialogue, and how to avoid distracting elements such as long block quotations and in-text citations. She includes excerpts and examples from model ethnographies. The book concludes with a bibliography of other useful writing guides and nearly one hundred examples of eminently readable ethnographic books.
Since 2001 William Germano’s Getting It Published has helped thousands of scholars develop a compelling book proposal, find the right academic publisher, evaluate a contract, handle the review process, and, finally, emerge as published authors.
But a lot has changed in the past seven years. With the publishing world both more competitive and more confusing—especially given the increased availability of electronic resources—this second edition of Germano’s best-selling guide has arrived at just the right moment. As he writes in a new chapter, the “via electronica” now touches every aspect of writing and publishing. And although scholars now research, write, and gain tenure in a digital world, they must continue to ensure that their work meets the requirements of their institutions and the needs of their readers.
Germano, a veteran editor with experience in both the university press and commercial worlds, knows this audience. This second edition will teach readers how to think about, describe, and pitch their manuscripts before they submit them. They’ll discover the finer points of publishing etiquette, including how to approach a busy editor and how to work with other publishing professionals on matters of design, marketing, and publicity. In a new afterword, they’ll also find helpful advice on what they can—and must—do to promote their work.
A true insider’s guide to academic publishing, the second edition of Getting It Published will help authors understand what to expect from the publishing process, from manuscript to finished book and beyond.
For more than a decade, writers have turned to William Germano for his insider’s take on navigating the world of scholarly publishing. A professor, author, and thirty-year veteran of the book industry, Germano knows what editors want and what writers need to know to get their work published.
Today there are more ways to publish than ever, and more challenges to traditional publishing. This ever-evolving landscape brings more confusion for authors trying to understand their options. The third edition of Getting It Published offers the clear, practicable guidance on choosing the best path to publication that has made it a trusted resource, now updated to include discussions of current best practices for submitting a proposal, of the advantages and drawbacks of digital publishing, and tips for authors publishing textbooks and in open-access environments.
Germano argues that it’s not enough for authors to write well—they also need to write with an audience in mind. He provides valuable guidance on developing a compelling book proposal, finding the right publisher, evaluating a contract, negotiating the production process, and, finally, emerging as a published author.
“This endlessly useful and expansive guide is every academic’s pocket Wikipedia: a timely, relevant, and ready resource on scholarly publishing, from the traditional monograph to the digital e-book. I regularly share it, teach it, and consult it myself, whenever I have a question on titling a chapter, securing a permission, or negotiating a contract. Professional advice simply does not get any savvier than this pitch-perfect manual on how to think like a publisher.”—Diana Fuss, Princeton University
At a time when policy discussions are dominated by “I feel” instead of “I know,” it is more important than ever for social scientists to make themselves heard. When those who possess in-depth training and expertise are excluded from public debates about pressing social issues—such as climate change, the prison system, or healthcare—vested interests can sway public opinion in uninformed ways. Yet few graduate students, researchers, or faculty know how to do this kind of work—or feel empowered to do it.
While there has been an increasing call for social scientists to engage more broadly with the public, concrete advice for starting the conversation has been in short supply. Arlene Stein and Jessie Daniels seek to change this with Going Public, the first guide that truly explains how to be a public scholar. They offer guidance on writing beyond the academy, including how to get started with op-eds and articles and later how to write books that appeal to general audiences. They then turn to the digital realm with strategies for successfully building an online presence, cultivating an audience, and navigating the unique challenges of digital world. They also address some of the challenges facing those who go public, including the pervasive view that anything less than scholarly writing isn’t serious and the stigma that one’s work might be dubbed “journalistic.”
Going Public shows that by connecting with experts, policymakers, journalists, and laypeople, social scientists can actually make their own work stronger. And by learning to effectively add their voices to the conversation, researchers can help make sure that their knowledge is truly heard above the digital din.
The Grammar Crammer is a concise, sensible grammar handbook that explains lucidly how to remember correct word forms and sentence structures. Useful as a reference tool for high school and beyond, it packs an entire grammar encyclopedia into just over a hundred pages.
Whether sharing a spectacular shot from a deep-space probe, announcing a development in genetic engineering, or crafting an easy-to-reference list of cancer risk factors, science public information officers, or PIOs, serve as scientific liaisons, connecting academic, nonprofit, government, and other research organizations with the public. And as traditional media outlets cut back on their science coverage, PIOs are becoming a vital source for science news.
W. Matthew Shipman’s Handbook for Science Public Information Officers covers all aspects of communication strategy and tactics for members of this growing specialty. It includes how to pitch a story, how to train researchers to navigate interviews, how to use social media effectively, and how to respond to a crisis. The handbook offers a wealth of practical advice while teaching science PIOs how to think critically about what they do and how they do it, so that they will be prepared to take advantage of any situation, rather than being overwhelmed by it.
For all science communicators—whether they’re starting their careers, crossing over from journalism or the research community, or professional communicators looking to hone their PIO skills—Shipman’s Handbook for Science Public Information Officers will become their go-to reference.
Ask a scientist about Hollywood, and you’ll probably get eye rolls. But ask someone in Hollywood about science, and they’ll see dollar signs: moviemakers know that science can be the source of great stories, with all the drama and action that blockbusters require.
That’s a huge mistake, says Randy Olson: Hollywood has a lot to teach scientists about how to tell a story—and, ultimately, how to do science better. With Houston, We Have a Narrative, he lays out a stunningly simple method for turning the dull into the dramatic. Drawing on his unique background, which saw him leave his job as a working scientist to launch a career as a filmmaker, Olson first diagnoses the problem: When scientists tell us about their work, they pile one moment and one detail atop another moment and another detail—a stultifying procession of “and, and, and.” What we need instead is an understanding of the basic elements of story, the narrative structures that our brains are all but hardwired to look for—which Olson boils down, brilliantly, to “And, But, Therefore,” or ABT. At a stroke, the ABT approach introduces momentum (“And”), conflict (“But”), and resolution (“Therefore”)—the fundamental building blocks of story. As Olson has shown by leading countless workshops worldwide, when scientists’ eyes are opened to ABT, the effect is staggering: suddenly, they’re not just talking about their work—they’re telling stories about it. And audiences are captivated.
Written with an uncommon verve and enthusiasm, and built on principles that are applicable to fields far beyond science, Houston, We Have a Narrative has the power to transform the way science is understood and appreciated, and ultimately how it’s done.
Following his recent Biography: A Brief History (from Harvard), award-winning biographer and teacher Nigel Hamilton tackles the practicalities of doing biography in the first succinct primer to elucidate the tools of the biographer's craft.
How to Write a BA Thesis is the only book that directly addresses the needs of undergraduate students writing a major paper. This book offers step-by-step advice on how to move from early ideas to finished paper. It covers choosing a topic, selecting an advisor, writing a proposal, conducting research, developing an argument, writing and editing the thesis, and making through a defense. Lipson also acknowledges the challenges that arise when tackling such a project, and he offers advice for breaking through writer’s block and juggling school-life demands. This is a must-read for anyone writing a BA thesis, or for anyone who advises these students.
Over three and a half decades, Ted Conover has ridden the rails with hoboes, crossed the border with Mexican immigrants, guarded prisoners in Sing Sing, and inspected meat for the USDA. His books and articles chronicling these experiences, including the award-winning Newjack: Guarding Sing Sing, have made him one of the premier practitioners of immersion reporting.
In immersion reporting—a literary cousin to ethnography, travel writing, and memoir—the writer fully steps into a new world or culture, participating in its trials, rites, and rituals as a member of the group. The end results of these firsthand experiences are familiar to us from bestsellers such as Nickel and Dimed and Behind the Beautiful Forevers. But in a world of wary strangers, where does one begin?
Conover distills decades of knowledge into an accessible resource aimed at writers of all levels. He covers how to “get into” a community, how to conduct oneself once inside, and how to shape and structure the stories that emerge. Conover is also forthright about the ethics and consequences of immersion reporting, preparing writers for the surprises that often surface when their piece becomes public. Throughout, Conover shares anecdotes from his own experiences as well as from other well-known writers in this genre, including Alex Kotlowitz, Anne Fadiman, and Sebastian Junger. It’s a deep-in-the-trenches book that all aspiring immersion writers should have in hand as they take that first leap into another world.
For nearly one hundred years, The Chicago Manual of Style has been the authoritative reference for writers, editors, and publishers. Now in its fifteenth edition, the Manual has been thoroughly revised and updated. The chapter on indexing presented here has been reorganized, streamlined, and revised for the electronic age. It provides examples and recommendations on style and method for professionals, authors, and others who prepare indexes for published works.
This volume contains all the material from The Chicago Manual of Style, 16th Edition that relates to indexes and the work of indexing. Thoroughly updated to reflect current accepted practices, it is an indispensable guide for anyone preparing an index.
Preparing an index for a book or other type of publication is a specialized skill. This volume presents the chapter from The Chicago Manual of Style, 17th Edition devoted to best practices for preparing and editing indexes as well as current standards for style and format of indexes. Thoroughly updated, it is an indispensable guide for anyone involved in preparing an index.
Since 1994, Nancy Mulvany's Indexing Books has been the gold standard for thousands of professional indexers, editors, and authors. This long-awaited second edition, expanded and completely updated, will be equally revered.
Like its predecessor, this edition of Indexing Books offers comprehensive, reliable treatment of indexing principles and practices relevant to authors and indexers alike. In addition to practical advice, the book presents a big-picture perspective on the nature and purpose of indexes and their role in published works. New to this edition are discussions of "information overload" and the role of the index, open-system versus closed-system indexing, electronic submission and display of indexes, and trends in software development, among other topics.
Mulvany is equally comfortable focusing on the nuts and bolts of indexing—how to determine what is indexable, how to decide the depth of an index, and how to work with publisher instructions—and broadly surveying important sources of indexing guidelines such as TheChicago Manual of Style, Sun Microsystems, Oxford University Press, NISO TR03, and ISO 999. Authors will appreciate Mulvany's in-depth consideration of the costs and benefits of preparing one's own index versus hiring a professional, while professional indexers will value Mulvany's insights into computer-aided indexing. Helpful appendixes include resources for indexers, a worksheet for general index specifications, and a bibliography of sources to consult for further information on a range of topics.
Indexing Books is both a practical guide and a manifesto about the vital role of the human-crafted index in the Information Age. As the standard indexing reference, it belongs on the shelves of everyone involved in writing and publishing nonfiction books.
Every day researchers face an onslaught of irrelevant, inaccurate, and sometimes insidious information. While new technologies provide powerful tools for accessing knowledge, not all information is created equal. Valuable information may be tucked away on a shelf, buried on the hundredth page of search results, or hidden behind digital barriers. With so many obstacles to effective research, it is vital that higher education students master the art of inquiry.
Information Now is an innovative approach to information literacy that will reinvent the way college students think about research. Instead of the typical textbook format, it uses illustrations, humor, and reflective exercises to teach students how to become savvy researchers. Students will learn how to evaluate information, to incorporate it into their existing knowledge base, to wield it effectively, and to understand the ethical issues surrounding its use. Written by two library professionals, it incorporates concepts and skills drawn from the Association of College and Research Libraries’ Information Literacy Competency Standards for Higher Education and their Framework for Information Literacy for Higher Education. Thoroughly researched and highly engaging, Information Now offers the tools that students need to become powerful consumers and creators of information.
Whether used by a high school student tackling a big paper, an undergrad facing the newness of a university library, or a writer wanting to go beyond Google, Information Now is a powerful tool for any researcher’s arsenal.
Admirably clear, concise, down-to-earth, and powerful—all too often, legal writing embodies none of these qualities. Its reputation for obscurity and needless legalese is widespread. Since 2001 Bryan A. Garner’s Legal Writing in Plain English has helped address this problem by providing lawyers, judges, paralegals, law students, and legal scholars with sound advice and practical tools for improving their written work. Now the leading guide to clear writing in the field, this indispensable volume encourages legal writers to challenge conventions and offers valuable insights into the writing process that will appeal to other professionals: how to organize ideas, create and refine prose, and improve editing skills.
Accessible and witty, Legal Writing in Plain English draws on real-life writing samples that Garner has gathered through decades of teaching experience. Trenchant advice covers all types of legal materials, from analytical and persuasive writing to legal drafting, and the book’s principles are reinforced by sets of basic, intermediate, and advanced exercises in each section.
In this new edition, Garner preserves the successful structure of the original while adjusting the content to make it even more classroom-friendly. He includes case examples from the past decade and addresses the widespread use of legal documents in electronic formats. His book remains the standard guide for producing the jargon-free language that clients demand and courts reward.
The human presence that animates the personal essay is surely one of the most beguiling of literary phenomena, for it comes across in so familiar a voice that it’s easy to believe we are listening to the author rather than a textual stand-in. But the “person” in a personal essay is always a written construct, a fabricated character, its confessions and reminiscences as rehearsed as those of any novelist. In this first book-length study of the personal essay, Carl Klaus unpacks this made-up self and the manifold ways in which a wide range of essayists and essays have brought it to life.
By reconceiving the most fundamental aspect of the personal essay—the I of the essayist—Klaus demonstrates that this seemingly uncontrived form of writing is inherently problematic, not willfully devious but bordering upon the world of fiction. He develops this key idea by explaining how structure, style, and voice determine the nature of a persona and our perception of it in the works of such essayists as Michel de Montaigne, Charles Lamb, E. B. White, and Virginia Woolf. Realizing that this persona is shaped by the force of culture and the impress of personal experience, he explores the effects of both upon the point of view, content, and voice of such essayists as George Orwell, Nancy Mairs, Richard Rodriguez, and Alice Walker. Throughout, in full command of the history of the essay, he calls up numerous passages in which essayists themselves acknowledge the element of impersonation in their work, drawing upon the perspectives of Joan Didion, Edward Hoagland, Joyce Carol Oates, Leslie Marmon Silko, Scott Russell Sanders, Annie Dillard, Vivian Gornick, Loren Eiseley, James Baldwin, and a host of other literary guides.
Finally, adding yet another layer to the made-up self, Klaus succumbs to his addiction to the personal essay by placing some of the different selves that various essayists have called forth in him within the essays that he has crafted so carefully for this book. Making his way from one essay to the next with a persona variously learned, whimsical, and poignant, he enacts the palimpsest of ways in which the made-up self comes to life in the work of a single essayist. Thus over the course of this highly original, beautifully structured study, the personal essay is revealed to be more complex than many readers have supposed. With its lively analyses and illuminating examples, The Made-Up Self will speak to anyone who wishes to understand—or to write—personal essays.
A little more than seventy-five years ago, Kate L. Turabian drafted a set of guidelines to help students understand how to write, cite, and formally submit research writing. Seven editions and more than nine million copies later, the name Turabian has become synonymous with best practices in research writing and style. Her Manual for Writers continues to be the gold standard for generations of college and graduate students in virtually all academic disciplines. Now in its eighth edition, A Manual for Writers of Research Papers, Theses, and Dissertations has been fully revised to meet the needs of today’s writers and researchers.
The Manual retains its familiar three-part structure, beginning with an overview of the steps in the research and writing process, including formulating questions, reading critically, building arguments, and revising drafts. Part II provides an overview of citation practices with detailed information on the two main scholarly citation styles (notes-bibliography and author-date), an array of source types with contemporary examples, and detailed guidance on citing online resources.
The final section treats all matters of editorial style, with advice on punctuation, capitalization, spelling, abbreviations, table formatting, and the use of quotations. Style and citation recommendations have been revised throughout to reflect the sixteenth edition of The Chicago Manual of Style. With an appendix on paper format and submission that has been vetted by dissertation officials from across the country and a bibliography with the most up-to-date listing of critical resources available, A Manual for Writers remains the essential resource for students and their teachers.
When Kate L. Turabian first put her famous guidelines to paper, she could hardly have imagined the world in which today’s students would be conducting research. Yet while the ways in which we research and compose papers may have changed, the fundamentals remain the same: writers need to have a strong research question, construct an evidence-based argument, cite their sources, and structure their work in a logical way. A Manual for Writers of Research Papers, Theses, and Dissertations—also known as “Turabian”—remains one of the most popular books for writers because of its timeless focus on achieving these goals.
This new edition filters decades of expertise into modern standards. While previous editions incorporated digital forms of research and writing, this edition goes even further to build information literacy, recognizing that most students will be doing their work largely or entirely online and on screens. Chapters include updated advice on finding, evaluating, and citing a wide range of digital sources and also recognize the evolving use of software for citation management, graphics, and paper format and submission. The ninth edition is fully aligned with the recently released Chicago Manual of Style, 17th edition, as well as with the latest edition of The Craft of Research.
Teachers and users of the previous editions will recognize the familiar three-part structure. Part 1 covers every step of the research and writing process, including drafting and revising. Part 2 offers a comprehensive guide to Chicago’s two methods of source citation: notes-bibliography and author-date. Part 3 gets into matters of editorial style and the correct way to present quotations and visual material. A Manual for Writers also covers an issue familiar to writers of all levels: how to conquer the fear of tackling a major writing project.
Through eight decades and millions of copies, A Manual for Writers has helped generations shape their ideas into compelling research papers. This new edition will continue to be the gold standard for college and graduate students in virtually all academic disciplines.
Dewey. Bellow. Strauss. Friedman. The University of Chicago has been the home of some of the most important thinkers of the modern age. But perhaps no name has been spoken with more respect than Turabian. The dissertation secretary at Chicago for decades, Kate Turabian literally wrote the book on the successful completion and submission of the student paper. Her Manual for Writers of Research Papers, Theses, and Dissertations, created from her years of experience with research projects across all fields, has sold more than seven million copies since it was first published in 1937.
Now, with this seventh edition, Turabian’s Manual has undergone its most extensive revision, ensuring that it will remain the most valuable handbook for writers at every level—from first-year undergraduates, to dissertation writers apprehensively submitting final manuscripts, to senior scholars who may be old hands at research and writing but less familiar with new media citation styles. Gregory G. Colomb, Joseph M. Williams, and the late Wayne C. Booth—the gifted team behind The Craft of Research—and the University of Chicago Press Editorial Staff combined their wide-ranging expertise to remake this classic resource. They preserve Turabian’s clear and practical advice while fully embracing the new modes of research, writing, and source citation brought about by the age of the Internet.
Booth, Colomb, and Williams significantly expand the scope of previous editions by creating a guide, generous in length and tone, to the art of research and writing. Growing out of the authors’ best-selling Craft of Research, this new section provides students with an overview of every step of the research and writing process, from formulating the right questions to reading critically to building arguments and revising drafts. This leads naturally to the second part of the Manual for Writers, which offers an authoritative overview of citation practices in scholarly writing, as well as detailed information on the two main citation styles (“notes-bibliography” and “author-date”). This section has been fully revised to reflect the recommendations of the fifteenth edition of The Chicago Manual of Style and to present an expanded array of source types and updated examples, including guidance on citing electronic sources.
The final section of the book treats issues of style—the details that go into making a strong paper. Here writers will find advice on a wide range of topics, including punctuation, table formatting, and use of quotations. The appendix draws together everything writers need to know about formatting research papers, theses, and dissertations and preparing them for submission. This material has been thoroughly vetted by dissertation officials at colleges and universities across the country.
This seventh edition of Turabian’s Manual for Writers of Research Papers, Theses, and Dissertations is a classic reference revised for a new age. It is tailored to a new generation of writers using tools its original author could not have imagined—while retaining the clarity and authority that generations of scholars have come to associate with the name Turabian.
"One of the most assured voices in contemporary poetry."
"Engaging and delightful."
A volume in the Poets on Poetry series, which collects critical works by contemporary poets, gathering together the articles, interviews, and book reviews by which they have articulated the poetics of a new generation.
Ezra Pound famously said that literature is "news that stays news," but recent experiments in poetry and the sciences allow us to enlarge the statement to bring information theory and biology to bear on the issue---in particular, how the information theory–based model of self-organization from noise offers a way to look at language as an art material as well as a mode of communication. This concept directs these essays on poetry by contemporary poet Cole Swensen.
Noise That Stays Noise covers a variety of subjects relevant to contemporary poetry and will give the general reader a broad notion of the issues that inform discourse around poetry today. Space---the conceptual geometry of poetry and its concrete mise-en-page---is an underlying theme of this collection, sometimes approached directly through the work of other twentieth-century poets, sometimes more obliquely through considerations of the role of the visual arts in contemporary poetry. This question of space and the shapes it includes and acquires offers a different way to look at some familiar writers, such as Mallarmé and Olson, and a way to introduce several more recent writers who may not yet be known to the general public.
A Poet's Craft transcends the limitations of current books, combining the best of three types of poetry-writing guides: textbooks for academic use, general guides to writing poetry, and guides to writing in form. Like textbooks, it includes poetry-writing exercises and discussion of classic and contemporary poems as examples, and is logically organized to provide a complete overview of the elements of poetry writing, from diction to trope to free verse. Like general poetry guides, it has a tone lively and mature enough for the nonundergraduate, and includes sections on journaling and inspiration, revision, publishing, and even how to assemble a poetry book. Like form guides, A Poet's Craft provides an introduction to meter and to writing formal poetry. Finch's book goes further than any poetry-writing guide now available to give readers a thorough, eclectic, and exciting introduction to every aspect of the art of poetry.
“ A self-proclaimed ‘ postmodern poetess,’ Annie Finch lives up to the moniker, presenting a simultaneously thorough and mercurial array of musings on poetics focusing on form and meter, remaining three beats ahead of the rank-and-file herd of traditional prosodists.”
— Art New England
For beginning or advanced students of poetry focused on the art of structuring a poem, A Poet’ s Ear serves as a handbook to writing in numerous fixed forms. Here, Annie Finch’ s remarkably in-depth introduction to poetic form in English opens a new and exciting world to contemporary poets. From the basic meters and traditional European forms of the ballad and the sonnet to poetic forms brought to English from worldwide cultures and postmodern forms and techniques, A Poet’ s Ear serves as both a survey and a guide to the exploration of poetic form. More diverse and comprehensive than any other form handbook, A Poet’ s Ear will be essential to the serious student of poetry.
In A Poet’s Guide to Poetry, Mary Kinzie brings her decades of expertise as poet, critic, and director of the creative writing program at Northwestern University to bear in a comprehensive reference work for any writer wishing to better understand poetry. Detailing the formal concepts of poetry and methods of poetic analysis, she shows how the craft of writing can guide the art of reading poems. Using examples from the major traditions of lyric and meditative poetry in English from the medieval period to the present, Kinzie considers the sounds and rhythms of poetry along with the ideas and thought-units within poems. Kinzie also shares her own successful classroom tactics that encourage readers to approach a poem as if it were provisional.
The three parts of A Poet’s Guide to Poetry lead the reader through a carefully planned introduction to the ways we understand poetry. The first section provides careful, step-by-step instruction to familiarize students with the formal elements of poems, from the most obvious feature through the most subtle. The second part carefully examines meter and rhythm, as well as providing a theoretical and practical overview of free verse. The final section offers helpful chapters on writing in form. Rounding out the volume are writing exercises for beginning and advanced writers, a dictionary of poetic terms, and a bibliography of further reading.
For this new edition, Kinzie has carefully reworked the introductory material and first chapter, as well as amended the annotated bibliography to include the most recent works of criticism. The updated guide also contains revised exercises and adjustments throughout the text to make the work as lucid and accessible as possible.
In response to a lack of source works for wide-ranging approaches to teaching poetry, award-winning poet Joshua Marie Wilkinson has gathered ninety-nine micro-essays for poets, critics, and scholars who teach and for students who wish to learn about the many ways poets think about how a poem comes alive from within—and beyond—a classroom. Not narrowly concerned with how to read poetry or how to write poetry, by virtue of their central concern with teaching poetry, the essays in this fresh and innovative volume address both reading and writing and give teachers and students useful tools for the classroom and beyond.
Divided into four sections—“Reflections / Poetics,” “Exercises / Praxis,” “New Approaches to Poetry Courses and Methodology,” and “Talks / Directives”—Poets on Teaching provides practical, intelligent advice. “Reflections / Poetics” encompasses the most expansive approaches to teaching poetry, where poets reflect variously on what teachers can cultivate in their classrooms. “Exercises / Praxis” consists of hands-on approaches to reading and, especially, writing poems. “New Approaches to Poetry Courses and Methodology” features essays on rethinking specific courses, offering new ideas for course design and pedagogy. “Talks / Directives” contains a series of more informal and conversational discussions geared toward becoming a stronger reader, writer, teacher, and student of poetry. Poets on Teaching will be required reading for new and experienced teachers alike.
Kazim Ali, Rae Armantrout, Hadara Bar-Nadav, Dan Beachy-Quick, Bruce Beasley, Claire Becker, Jaswinder Bolina, Jenny Boully, Joel Brouwer, Lily Brown, Laynie Browne, Stephen Burt, Julie Carr, Joshua Clover, Matthew Cooperman, Oliver de la Paz, Linh Dinh, Ben Doller, Sandra Doller, Julie Doxsee, Lisa Fishman, Graham Foust, John Gallaher, Forrest Gander, C. S. Giscombe, Peter Gizzi, Lara Glenum, Kenneth Goldsmith, Johannes Göransson, Noah Eli Gordon, Arielle Greenberg, Richard Greenfield, Sarah Gridley, Anthony Hawley, Terrance Hayes, Eric Hayot, Brian Henry, Brenda Hillman, Jen Hofer, Paul Hoover, Christine Hume, Brenda Iijima, Lisa Jarnot, Kent Johnson, Bhanu Kapil, Karla Kelsey, Aaron Kunin, Quraysh Ali Lansana, Dorothea Lasky, Sueyeun Juliette Lee, Ada Limón, Timothy Liu, Sabrina Orah Mark, Dawn Lundy Martin, Kristi Maxwell, Joyelle McSweeney, Christina Mengert, Albert Mobilio, K. Silem Mohammad, Fred Moten, Jennifer Moxley, Laura Mullen, Sawako Nakayasu, Aimee Nezhukumatathil, Hoa Nguyen, Jena Osman, D. A. Powell, Kristin Prevallet, Bin Ramke, Jed Rasula, Srikanth Reddy, Barbara Jane Reyes, Boyer Rickel, Elizabeth Robinson, Martha Ronk, Emily Rosko, Prageeta Sharma, Evie Shockley, Eleni Sikelianos, Richard Siken, Ron Silliman, Tracy K. Smith, Juliana Spahr, Sasha Steensen, Peter Streckfus, Cole Swensen, Michael Theune, Tony Trigilio, Spring Ulmer, Karen Volkman, Catherine Wagner, G. C. Waldrep, Mark Wallace, Tyrone Williams, Mark Yakich, Jake Adam York, Stephanie Young, Timothy Yu, Matthew Zapruder, Andrew Zawacki, and Rachel Zucker
A follow-up to the highly praised Poets Teaching Poets, Daniel Tobin and Pimone Triplett's Poet's Work, Poet's Play gathers together essays by some of the most important voices in contemporary poetry: Carl Dennis, Stephen Dobyns, Tony Hoagland, Heather McHugh, Ellen Bryant Voigt, Eleanor Wilner, Dean Young, and the late Larry Levis and Agha Shahid Ali.
Lively, accessible, and erudite, the pieces range from discussions on syntax and the syllable to an exploration of the complexities of canon formation under the shadow of imperialism, race, and history. Exploring the work of John Donne, William Butler Yeats, Robert Frost, Philip Larkin, Charles Olsen, Ezra Pound, Anne Carson, Robert Herrick, Harryette Mullen, and many others, Poet's Work, Poet's Play---like its predecessor volume---will be an invaluable tool for teachers, students, and poets at every level.
"Much more than a set of essays on poetic craft or aesthetic understandings, this collection takes on two of the most prevalent anxieties about writing poetry in our time: the place of subjectivity in poetry, and how to make a significant shape in language while both affirming and interrogating the poetic I's authority. This is a book for anyone who wants to write better poems, who wants to read with greater passion, and who believes that poetry is an independent category of human consciousness that can be as capaciousness as the world, and as nuanced."
---Tom Sleigh, author of Space Walk and Far Side of the Earth
"Gathering together essays by unquestionably important poets, Poet's Work, Poet's Play has immense pedagogical value in the way it demonstrates how to discover in poetry resources of language and structure often overlooked in first, and ensuing, readings of complex texts."
---Laurence Goldstein, Professor of English, University of Michigan, and Editor, Michigan Quarterly Review
"A valuable document illuminating critical aspects of the contemporary American poetry scene."
---John Koethe, Distinguished Professor of Philosophy at the University of Wisconsin, Milwaukee, and author of Sally's Hair: Poems
The Promise of Failure is part memoir of the writing life, part advice book, and part craft book; sometimes funny, sometimes wrenching, but always honest. McNally uses his own life as a blueprint for the writer’s daily struggles as well as the existential ones, tackling subjects such as when to quit and when to keep going, how to deal with depression, what risking something of yourself means, and ways to reenergize your writing through reinvention.
What McNally illuminates is how rejection, in its best light, is another element of craft, a necessary stage to move the writer from one project to the next, and that it’s best to see rejection and failure on a life-long continuum so that you can see the interconnectedness between failure and success, rather than focusing on failure as a measure of self-worth. As brutally candid as McNally can sometimes be, The Promise of Failure is ultimately an inspiring book—never in a Pollyannaish self-help way. McNally approaches the reader as a sympathetic companion with cautionary tales to tell. Written by an author who has as many unpublished books under his belt as published ones, The Promise of Failure is as much for the newcomer as it is for the established writer.
For more than fifty years, authors, editors, and publishers in the scientific community have turned to Scientific Style and Format for authoritative recommendations on all matters of writing style and citation. Developed by the Council of Science Editors (CSE), the leading professional association in science publishing, this indispensable guide encompasses all areas of the sciences. Now in its eighth edition, it has been fully revised to reflect today’s best practices in scientific publishing.
Scientific Style and Format citation style has been comprehensively reorganized, and its style recommendations have been updated to align with the advice of authoritative international bodies. Also new to the eighth edition are guidelines and examples for citing online images and information graphics, podcasts and webcasts, online videos, blogs, social networking sites, and e-books. Style instructions for physics, chemistry, genetics, biological sciences, and astronomy have been adjusted to reflect developments in each field. The coverage of numbers, units, mathematical expressions, and statistics has been revised and now includes more information on managing tables, figures, and indexes. Additionally, a full discussion of plagiarism and other aspects of academic integrity is incorporated, along with a complete treatment of developments in copyright law, including Creative Commons.
For the first time in its history, Scientific Style and Format will be available simultaneously in print and online at www.scientificstyleandformat.org. Online subscribers will receive access to full-text searches of the new edition and other online tools, as well as the popular Chicago Manual of Style Online Forum, a community discussion board for editors and authors. Whether online or in print, the eighth edition of Scientific Style and Format remains the essential resource for those writing, editing, and publishing in the scientific community.
Screenwriting for Neurotics is a quirky and accessible handbook for beginning screenwriters. Whether you are a student in a screenwriting class or just someone who wants to try their hand at writing for film or television, this handy guidebook makes the entire process simple and unintimidating. Scott Winfield Sublett, a veteran screenwriter and screenwriting teacher, walks you step by step from start to finish and helps you navigate potential and unforeseen difficulties along the way, offering handy tips and suggestions to keep you from becoming blocked or stalled.
Rather than throwing you into the writing process headfirst, Sublett guides you through the various decisions you need to make—about plot, character, structure, conflict—in the order you need to make them. He explains in straightforward terms the terminology and jargon, the theory and industry standards, and dispels common myths about screenwriting that can discourage or hold back a beginning writer.
Balancing theory and practice and offering valuable and insightful examples from recognizable and well-known classic and contemporary films, ranging from Casablanca to A Christmas Story to Clerks, Sublett provides the new writer with the necessary tools to successfully write a feature-length screenplay and offers a roadmap of where to go next. With an emphasis on helping a writer not just to begin, but also to finish a script, Screenwriting for Neurotics is the screenwriting book to help you actually write one.
Secrets to Writing Great Papers
Judi Kesselman-Turkel and Franklynn Peterson University of Wisconsin Press, 2003 Library of Congress PE1408.K557 2003 | Dewey Decimal 808.042
Secrets to Writing Great Papers illustrates how to work with ideas—develop them, hone them, and transform them into words. It provides techniques and exercises for brainstorming, choosing the right approach, working with an unknown or boring assigned topic, overcoming writer’s block, and selecting the best point of view.
Confident or fretful, solemn or sassy, tough or tender, casual or formal: the self you project in writing—your persona—is the byproduct of numerous decisions you make about what to say and how to say it. Though any single word or phrase or sentence might make little difference within the scope of an entire essay or book, collectively they create an impression of who you are or seem to be—an impression that’s sure to influence how readers respond to your work. Thus it’s essential to take charge of how you come across on the page, to craft an appropriate persona for whatever you’re writing, whether it’s a personal essay, a blog, a technical report, a letter to the editor, or a memoir. In this wise and ingenious little guide, noted essayist Carl Klaus shows you how to adapt your self to the needs of such varied nonfiction, by varying his own persona to illustrate the distinctive effect produced by each aspect and element of writing.
Klaus divides his book into two parts: first, an introduction to the nature and function of a persona, then a survey of the most important elements of writing that contribute to the character of a persona, from point of view and organization to diction and sentence structure. Both parts contain exercises that will give you practice in developing a persona of your choice. Challenging and stimulating, each of his exercises focuses on a distinctly different aspect of composition and style, so as to help you develop the skills of a versatile and personable writer. By focusing on the most important ways of projecting your self in nonfiction prose, you can learn to craft a distinctive self in your writing.
In Simple & Direct, Jacques Barzun, celebrated author and educator, distills from a lifetime of writing and teaching his thoughts about the craft of writing. In chapters on diction, syntax, tone, meaning, composition, and revision, Barzun describes and prescribes the techniques to correct even the most ponderous style. Exercises, model passages — both literary and unorthodox — and hundreds of often amusing examples of usage gone wrong demonstrate the process of making intelligent choices and guide us toward developing strong and distinctive prose.
The field of technical communication is rapidly expanding in both the academic world and the private sector, yet a problematic divide remains between theory and practice. Here Stuart A. Selber and Johndan Johnson-Eilola, both respected scholars and teachers of technical communication, effectively bridge that gap.
Solving Problems in Technical Communication collects the latest research and theory in the field and applies it to real-world problems faced by practitioners—problems involving ethics, intercultural communication, new media, and other areas that determine the boundaries of the discipline. The book is structured in four parts, offering an overview of the field, situating it historically and culturally, reviewing various theoretical approaches to technical communication, and examining how the field can be advanced by drawing on diverse perspectives. Timely, informed, and practical, Solving Problems in Technical Communication will be an essential tool for undergraduates and graduate students as they begin the transition from classroom to career.
From the work of the New Journalists in the 1960s, to the New Yorker essays of John McPhee, Susan Orlean, Atul Gawande, and a host of others, to blockbuster book-length narratives such as Mary Roach’s Stiff or Erik Larson’s Devil in the White City, narrative nonfiction has come into its own. Yet writers looking for guidance on reporting and writing true stories have had few places to turn for advice. Now in Storycraft, Jack Hart, a former managing editor of the Oregonian who guided several Pulitzer Prize–winning narratives to publication, delivers what will certainly become the definitive guide to the methods and mechanics of crafting narrative nonfiction.
Hart covers what writers in this genre need to know, from understanding story theory and structure, to mastering point of view and such basic elements as scene, action, and character, to drafting, revising, and editing work for publication. Revealing the stories behind the stories, Hart brings readers into the process of developing nonfiction narratives by sharing tips, anecdotes, and recommendations he forged during his decades-long career in journalism. From there, he expands the discussion to other well-known writers to show the broad range of texts, styles, genres, and media to which his advice applies. With examples that draw from magazine essays, book-length nonfiction narratives, documentaries, and radio programs, Storycraft will be an indispensable resource for years to come.
Students of all levels need to know how to write a well-reasoned, coherent research paper—and for decades Kate L. Turabian’s Student’s Guide to Writing College Papers has helped them to develop this critical skill. For its fifth edition, Chicago has reconceived and renewed this classic work for today’s generation. Addressing the same range of topics as Turabian’s A Manual for Writers of Research Papers, Theses, and Dissertations but for beginning writers and researchers, this guide introduces students to the art of formulating an effective argument, conducting high-quality research with limited resources, and writing an engaging class paper.
This new edition includes fresh examples of research topics, clarified terminology, more illustrations, and new information about using online sources and citation software. It features updated citation guidelines for Chicago, MLA, and APA styles, aligning with the latest editions of these popular style manuals. It emphasizes argument, research, and writing as extensions of activities that students already do in their everyday lives. It also includes a more expansive view of what the end product of research might be, showing that knowledge can be presented in more ways than on a printed page.
Friendly and authoritative, the fifth edition of Student’s Guide to Writing College Papers combines decades of expert advice with new revisions based on feedback from students and teachers. Time-tested and teacher-approved, this book will prepare students to be better critical thinkers and help them develop a sense of inquiry that will serve them well beyond the classroom.
High school students, two-year college students, and university students all need to know how to write a well-reasoned, coherent research paper—and for decades Kate Turabian’s Student’s Guide to Writing College Papers has helped them to develop this critical skill. In the new fourth edition of Turabian’s popular guide, the team behind Chicago’s widely respected The Craft of Research has reconceived and renewed this classic for today’s generation. Designed for less advanced writers than Turabian’s Manual of Writers of Research Papers, Theses, and Dissertations, Seventh Edition, Gregory G. Colomb and Joseph M. Williams here introduce students to the art of defining a topic, doing high-quality research with limited resources, and writing an engaging and solid college paper.
The Student’s Guide is organized into three sections that lead students through the process of developing and revising a paper. Part 1, "Writing Your Paper," guides students through the research process with discussions of choosing and developing a topic, validating sources, planning arguments, writing drafts, avoiding plagiarism, and presenting evidence in tables and figures. Part 2, "Citing Sources," begins with a succinct introduction to why citation is important and includes sections on the three major styles students might encounter in their work—Chicago, MLA, and APA—all with full coverage of electronic source citation. Part 3, "Style," covers all matters of style important to writers of college papers, from punctuation to spelling to presenting titles, names, and numbers.
With the authority and clarity long associated with the name Turabian, the fourth edition of Student’s Guide to Writing College Papers is both a solid introduction to the research process and a convenient handbook to the best practices of writing college papers. Classroom tested and filled with relevant examples and tips, this is a reference that students, and their teachers, will turn to again and again.
This acclaimed book is a master teacher's tested program for turning clumsy prose into clear, powerful, and effective writing. A logical, expert, easy-to-use plan for achieving excellence in expression, Style offers neither simplistic rules nor endless lists of dos and don'ts. Rather, Joseph Williams explains how to be concise, how to be focused, how to be organized. Filled with realistic examples of good, bad, and better writing, and step-by-step strategies for crafting a sentence or organizing a paragraph, Style does much more than teach mechanics: it helps anyone who must write clearly and persuasively transform even the roughest of drafts into a polished work of clarity, coherence, impact, and personality.
"Buy Williams's book. And dig out from storage your dog-eared old copy of The Elements of Style. Set them side by side on your reference shelf."—Barbara Walraff, Atlantic
"Let newcoming writers discover this, and let their teachers and readers rejoice. It is a practical, disciplined text that is also a pleasure to read."—Christian Century
"An excellent book....It provides a sensible, well-balanced approach, featuring prescriptions that work."—Donald Karzenski, Journal of Business Communication
"Intensive fitness training for the expressive mind."—Booklist
(The college textbook version, Style: Ten Lessons in Clarity and Grace, 9th edition, is available from Longman. ISBN 9780321479358.)
Each year writers and editors submit over three thousand grammar and style questions to the Q&A page at The Chicago Manual of Style Online. Some are arcane, some simply hilarious—and one editor, Carol Fisher Saller, reads every single one of them. All too often she notes a classic author-editor standoff, wherein both parties refuse to compromise on the "rights" and "wrongs" of prose styling: "This author is giving me a fit." "I wish that I could just DEMAND the use of the serial comma at all times." "My author wants his preface to come at the end of the book. This just seems ridiculous to me. I mean, it’s not a post-face."
In The Subversive Copy Editor, Saller casts aside this adversarial view and suggests new strategies for keeping the peace. Emphasizing habits of carefulness, transparency, and flexibility, she shows copy editors how to build an environment of trust and cooperation. One chapter takes on the difficult author; another speaks to writers themselves. Throughout, the focus is on serving the reader, even if it means breaking "rules" along the way. Saller’s own foibles and misadventures provide ample material: "I mess up all the time," she confesses. "It’s how I know things."
Writers, Saller acknowledges, are only half the challenge, as copy editors can also make trouble for themselves. (Does any other book have an index entry that says "terrorists. See copy editors"?) The book includes helpful sections on e-mail etiquette, work-flow management, prioritizing, and organizing computer files. One chapter even addresses the special concerns of freelance editors.
Saller’s emphasis on negotiation and flexibility will surprise many copy editors who have absorbed, along with the dos and don’ts of their stylebooks, an attitude that their way is the right way. In encouraging copy editors to banish their ignorance and disorganization, insecurities and compulsions, the Chicago Q&A presents itself as a kind of alter ego to the comparatively staid Manual of Style. In The Subversive Copy Editor, Saller continues her mission with audacity and good humor.
Longtime manuscript editor and Chicago Manual of Style guru Carol Fisher Saller has negotiated many a standoff between a writer and editor refusing to compromise on the “rights” and “wrongs” of prose styling. Saller realized that when these sides squared off, it was often the reader who lost. In her search for practical strategies for keeping the peace, The Subversive Copy Editor was born. Saller’s ideas struck a chord, and the little book with big advice quickly became a must-have reference for copy editors everywhere.
In this second edition, Saller adds new chapters, on the dangers of allegiance to outdated grammar and style rules and on ways to stay current in language and technology. She expands her advice for writers on formatting manuscripts for publication, on self-editing, and on how not to be “difficult.” Saller’s own gaffes provide firsthand (and sometimes humorous) examples of exactly what not to do. The revised content reflects today’s publishing practices while retaining the self-deprecating tone and sharp humor that helped make the first edition so popular. Saller maintains that through carefulness, transparency, and flexibility, editors can build trust and cooperation with writers.
The Subversive Copy Editor brings a refreshingly levelheaded approach to the classic battle between writers and editors. This sage advice will prove useful and entertaining to anyone charged with the sometimes perilous task of improving the writing of others.
Telling About Society
Howard S. Becker University of Chicago Press, 2007 Library of Congress HM511.B43 2007 | Dewey Decimal 301.01
I Remember, one of French writer Georges Perec’s most famous pieces, consists of 480 numbered paragraphs—each just a few short lines recalling a memory from his childhood. The work has neither a beginning nor an end. Nor does it contain any analysis. But it nonetheless reveals profound truths about French society during the 1940s and 50s.
Taking Perec’s book as its cue, Telling About Society explores the unconventional ways we communicate what we know about society to others. The third in distinguished teacher Howard Becker’s best-selling series of writing guides for social scientists, the book explores the many ways knowledge about society can be shared and interpreted through different forms of telling—fiction, films, photographs, maps, even mathematical models—many of which remain outside the boundaries of conventional social science. Eight case studies, including the photographs of Walker Evans, the plays of George Bernard Shaw, the novels of Jane Austen and Italo Calvino, and the sociology of Erving Goffman, provide convincing support for Becker’s argument: that every way of telling about society is perfect—for some purpose. The trick is, as Becker notes, to discover what purpose is served by doing it this way rather than that.
With Becker’s trademark humor and eminently practical advice, Telling About Society is an ideal guide for social scientists in all fields, for artists interested in saying something about society, and for anyone interested in communicating knowledge in unconventional ways.
Each year, tens of thousands of students who are interested in politics go through a rite of passage: they take a course in research methods. Many find the subject to be boring or confusing, and with good reason. Most of the standard books on research methods fail to highlight the most important concepts and questions. Instead, they brim with dry technical definitions and focus heavily on statistical analysis, slighting other valuable methods. This approach not only dulls potential enjoyment of the course, but prevents students from mastering the skills they need to engage more directly and meaningfully with a wide variety of research.
With wit and practical wisdom, Christopher Howard draws on more than a decade of experience teaching research methods to transform a typically dreary subject and teach budding political scientists the critical skills they need to read published research more effectively and produce better research of their own. The first part of the book is devoted to asking three fundamental questions in political science: What happened? Why? Who cares? In the second section, Howard demonstrates how to answer these questions by choosing an appropriate research design, selecting cases, and working with numbers and written documents as evidence. Drawing on examples from American and comparative politics, international relations, and public policy, Thinking Like a Political Scientist highlights the most common challenges that political scientists routinely face, and each chapter concludes with exercises so that students can practice dealing with those challenges.
Even before the controversy that surrounded the publication of A Million Little Pieces, the question of truth has been at the heart of memoir. From Elie Wiesel to Benjamin Wilkomirski to David Sedaris, the veracity of writers’ claims has been suspect. In this fascinating and timely collection of essays, leading writers meditate on the subject of truth in literary nonfiction. As David Lazar writes in his introduction, “How do we verify? Do we care to? (Do we dare to eat the apple of knowledge and say it’s true? Or is it a peach?) Do we choose to? Is it a subcategory of faith? How do you respond when someone says, ‘This is really true’? Why do they choose to say it then?”
The past and the truth are slippery things, and the art of nonfiction writing requires the writer to shape as well as explore. In personal essays, meditations on the nature of memory, considerations of the genres of memoir, prose poetry, essay, fiction, and film, the contributors to this provocative collection attempt to find answers to the question of what truth in nonfiction means.
Contributors: John D’Agata, Mark Doty, Su Friedrich, Joanna Frueh, Ray González, Vivian Gornick, Barbara Hammer, Kathryn Harrison, Marianne Hirsch, Wayne Koestenbaum, Leonard Kriegel, David Lazar, Alphonso Lingis, Paul Lisicky, Nancy Mairs, Nancy K. Miller, Judith Ortiz Cofer, Phyllis Rose, Oliver Sacks, David Shields, and Leo Spitzer
Taking off from The Creative Writer’s Survival Guide, John McNally’srelentlessly blunt, bracingly cheerful, and immensely helpful map to being a writer, Vivid and Continuousis an equally blunt, cheerful, and helpful map to learning to be a writer. While acknowledging that many fine books cover such essentials of fiction writing as point of view, characterization, and setting, McNally sets out in this new book—intended as a supplement to beginning fiction-writing classes or as the sole text for upper-level or graduate courses—to solve the tricky second-tier problems that those books cover only in footnotes.
Vivid and Continuous takes its inspiration from John Gardner, whose essential truths in On Becoming a Novelist clarified McNally’s goal of communicating a “vivid and continuous dream” with his own writing. In fifteen concise, energizing chapters, he dispenses advice gained from almost thirty years of studying, writing, and teaching. How do you avoid the pitfalls inherent in the most common subjects for stories? How do you create memorable minor characters? What about managing references to pop culture without distracting your readers, revising a story to bring its subtext into focus, or exploring the twenty most common craft-related quirks that lessen immediacy for your readers? How do you keep from overdosing on similes and metaphors or relying on too many flashbacks to provide necessary backstory? How do you learn to listen when your story tries to talk to you? Finally, how can you resist “John McNally’s Sure-Fire Formula for Becoming Funnier in 30 Days”?
McNally cites many novels and short stories as examples that best illustrate the lessons he wants to impart, the writer’s life, or the writer’s craft, as well as his own favorite authors’ novels and short story collections. Exercises at the end of each chapter reinforce its point and serve as practical catalysts for new writings and directions.
Just blunt enough to get your attention but not blunt enough to crush you, challenging but not discouraging, personal but not ego-ridden, snarky but not mean, John McNally will prompt you to think more deeply about a variety of issues that will push you toward writing more meaningful, more accomplished work.
Editing is an invisible art where the very best work goes undetected. Editors strive to create books that are enlightening, seamless, and pleasurable to read, all while giving credit to the author. This makes it all the more difficult to truly understand the range of roles they inhabit while shepherding a project from concept to publication.
In What Editors Do, Peter Ginna gathers essays from twenty-seven leading figures in book publishing about their work. Representing both large houses and small, and encompassing trade, textbook, academic, and children’s publishing, the contributors make the case for why editing remains a vital function to writers—and readers—everywhere.
Ironically for an industry built on words, there has been a scarcity of written guidance on how to actually approach the work of editing. This book will serve as a compendium of professional advice and will be a resource both for those entering the profession (or already in it) and for those outside publishing who seek an understanding of it. It sheds light on how editors acquire books, what constitutes a strong author-editor relationship, and the editor’s vital role at each stage of the publishing process—a role that extends far beyond marking up the author’s text.
This collection treats editing as both art and craft, and also as a career. It explores how editors balance passion against the economic realities of publishing. What Editors Do shows why, in the face of a rapidly changing publishing landscape, editors are more important than ever.
Research publications have always been key to building a successful career in science, yet little if any formal guidance is offered to young scientists on how to get research papers peer reviewed, accepted, and published by leading scientific journals. With What Editors Want, Philippa J. Benson and Susan C. Silver, two well-respected editors from the science publishing community, remedy that situation with a clear, straightforward guide that will be of use to all scientists.
Benson and Silver instruct readers on how to identify the journals that are most likely to publish a given paper, how to write an effective cover letter, how to avoid common pitfalls of the submission process, and how to effectively navigate the all-important peer review process, including dealing with revisions and rejection. With supplemental advice from more than a dozen experts, this book will equip scientists with the knowledge they need to usher their papers through publication.
When most people think of wikis, the first---and usually the only---thing that comes to mind is Wikipedia. The editors of Wiki Writing: Collaborative Learning in the College Classroom, Robert E. Cummings and Matt Barton, have assembled a collection of essays that challenges this common misconception, providing an engaging and helpful array of perspectives on the many pressing theoretical and practical issues that wikis raise. Written in an engaging and accessible manner that will appeal to specialists and novices alike, Wiki Writing draws on a wealth of practical classroom experiences with wikis to offer a series of richly detailed and concrete suggestions to help educators realize the potential of these new writing environments.
Robert E. Cummings began work at Columbus State University in August 2006 as Assistant Professor of English and Director of First-Year Composition. Currently he also serves as the Writing Specialist for CSU's Quality Enhancement Plan, assisting teachers across campus in their efforts to maximize student writing in their curriculum. He recently concluded a three-year research study with the Inter/National Coalition for Electronic Portfolio Research and continues to research in the fields of computers and writing, writing across the curriculum, writing in the disciplines, and curricular reform in higher education.
Matt Barton is Assistant Professor, St. Cloud State University, Department of English-Rhetoric and Applied Writing Program. His research interests are rhetoric, new media, and computers and writing. He is the author of Dungeons and Desktops: A History of Computer Role-Playing Games and has published in the journals Text and Technology, Computers and Composition, Game Studies, and Kairos. He is currently serving as Associate Editor of Kairosnews and Managing Editor of Armchair Arcade.
"Wiki Writing will quickly become the standard resource for using wikis in the classroom."
---Jim Kalmbach, Illinois State University
digitalculturebooks is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.
With growing academic responsibilities, family commitments, and inboxes, scholars are struggling to fulfill their writing goals. A finished book—or even steady journal articles—may seem like an impossible dream. But, as Joli Jensen proves, it really is possible to write happily and productively in academe.
Jensen begins by busting the myth that universities are supportive writing environments. She points out that academia, an arena dedicated to scholarship, offers pressures that actually prevent scholarly writing. She shows how to acknowledge these less-than-ideal conditions, and how to keep these circumstances from draining writing time and energy. Jensen introduces tools and techniques that encourage frequent, low-stress writing. She points out common ways writers stall and offers workarounds that maintain productivity. Her focus is not on content, but on how to overcome whatever stands in the way of academic writing.
Write No Matter What draws on popular and scholarly insights into the writing process and stems from Jensen’s experience designing and directing a faculty writing program. With more than three decades as an academic writer, Jensen knows what really helps and hinders the scholarly writing process for scholars in the humanities, social sciences,and sciences.
Cut down the academic sword of Damocles, Jensen advises. Learn how to write often and effectively, without pressure or shame. With her encouragement, writers of all levels will find ways to create the writing support they need and deserve.
Writing, for most of us, is bound up with anxiety. It’s even worse when it feels like your whole future—or at least where you’ll spend the next four years in college—is on the line. It’s easy to understand why so many high school seniors put off working on their applications until the last minute or end up with a generic and clichéd essay.
The good news? You already have the “secret sauce” for crafting a compelling personal essay: your own experiences and your unique voice.
The best essays rarely catalog how students have succeeded or achieved. Good writing shows the reader how you’ve struggled and describes mistakes you’ve made. Excellent essays express what you’re fired up about, illustrate how you think, and illuminate the ways you’ve grown.
More than twenty million students apply to college every year; many of them look similar in terms of test scores, grades, courses taken, extracurricular activities. Admissions officers wade through piles of files. As an applicant, you need to think about what will interest an exhausted reader. What can you write that will make her argue to admit you instead of the thousands of other applicants?
A good essay will be conversational and rich in vivid details, and it could only be written by one person—you. This book will help you figure out how to find and present the best in yourself. You’ll acquire some useful tools for writing well—and may even have fun—in the process.
Do your sentences sag? Could your paragraphs use a pick-me-up? If so, The Writer’s Diet is for you! It’s a short, sharp introduction to great writing that will help you energize your prose and boost your verbal fitness.
Helen Sword dispenses with excessive explanations and overwrought analysis. Instead, she offers an easy-to-follow set of writing principles: use active verbs whenever possible; favor concrete language over vague abstractions; avoid long strings of prepositional phrases; employ adjectives and adverbs only when they contribute something new to the meaning of a sentence; and reduce your dependence on four pernicious “waste words”: it, this, that, and there.
Sword then shows the rules in action through examples from William Shakespeare, Emily Dickinson, Martin Luther King Jr., John McPhee, A. S. Byatt, Richard Dawkins, Alison Gopnik, and many more. A writing fitness test encourages you to assess your own writing and get immediate advice on addressing problem areas. While The Writer’s Diet is as sleek and concise as the writing ideals contained within, this slim volume packs a powerful punch.
With Sword’s coaching writers of all levels can strengthen and tone their sentences with the stroke of a pen or the click of a mouse. As with any fitness routine, adhering to the rules requires energy and vigilance. The results, however, will speak for themselves.
The Writer’s Workshop takes an approach to teaching writing that is new only because it is so old. Today, rhetoric and composition typically proceed by ignoring what was done for 2,500 years in Western education. Gregory Roper, on the other hand, helps students learn to write in the way the great writers of the past themselves learned: by carefully imitating masters of the craft, including Cicero, Thomas Aquinas, Charles Dickens, Sojourner Truth, James Joyce, and Ernest Hemingway. By living in their workshops and apprenticing to these and other masters, apprentice writers—like apprentice musicians, painters, and blacksmiths of the past—will rapidly improve the complexity of their art and discover their own native voices.
Interspersed into chapters full of sound practical advice and challenging assignments are reflections on Great Ideas from “Realism and Impressionism” to “Nominalism and Modern Science.” Perfect for the college or even high school writing classroom—as well as a marvelous book for homeschoolers and others who would like to improve their own writing—The Writer’s Workshop is a fine practical guide, and Dr. Roper a friendly yet demanding teacher-mentor.
“Tell me all about your trip!” It’s a request that follows travelers as they head out into the world, and one of the first things they hear when they return. When we leave our homes to explore the wider world, we feel compelled to capture the experiences and bring the story home. But for those who don’t think of themselves as writers, putting experiences into words can be more stressful than inspirational. Writing Abroad is meant for travelers of all backgrounds and writing levels: a student embarking on overseas study; a retiree realizing a dream of seeing China; a Peace Corps worker in Kenya. All can benefit from documenting their adventures, whether on paper or online. Through practical advice and adaptable exercises, this guide will help travelers hone their observational skills, conduct research and interviews, choose an appropriate literary form, and incorporate photos and videos into their writing.
Writing about travel is more than just safeguarding memories—it can transform experiences and tease out new realizations. With Writing Abroad, travelers will be able to deepen their understanding of other cultures and write about that new awareness in clear and vivid prose.
In Writing Ethnographic Fieldnotes, Robert M. Emerson, Rachel I. Fretz, and Linda L. Shaw present a series of guidelines, suggestions, and practical advice for creating useful fieldnotes in a variety of settings, demystifying a process that is often assumed to be intuitive and impossible to teach. Using actual unfinished notes as examples, the authors illustrate options for composing, reviewing, and working fieldnotes into finished texts. They discuss different organizational and descriptive strategies and show how transforming direct observations into vivid descriptions results not simply from good memory but from learning to envision scenes as written. A good ethnographer, they demonstrate, must learn to remember dialogue and movement like an actor, to see colors and shapes like a painter, and to sense moods and rhythms like a poet.
This new edition reflects the extensive feedback the authors have received from students and instructors since the first edition was published in 1995. As a result, they have updated the race, class, and gender section, created new sections on coding programs and revising first drafts, and provided new examples of working notes. An essential tool for budding social scientists, the second edition of Writing Ethnographic Fieldnotes will be invaluable for a new generation of researchers entering the field.
Students and researchers all write under pressure, and those pressures—most lamentably, the desire to impress your audience rather than to communicate with them—often lead to pretentious prose, academic posturing, and, not infrequently, writer’s block.
Sociologist Howard S. Becker has written the classic book on how to conquer these pressures and simply write. First published nearly twenty years ago, Writing for Social Scientists has become a lifesaver for writers in all fields, from beginning students to published authors. Becker’s message is clear: in order to learn how to write, take a deep breath and then begin writing. Revise. Repeat.
It is not always an easy process, as Becker wryly relates. Decades of teaching, researching, and writing have given him plenty of material, and Becker neatly exposes the foibles of academia and its “publish or perish” atmosphere. Wordiness, the passive voice, inserting a “the way in which” when a simple “how” will do—all these mechanisms are a part of the social structure of academic writing. By shrugging off such impediments—or at the very least, putting them aside for a few hours—we can reform our work habits and start writing lucidly without worrying about grades, peer approval, or the “literature.”
In this new edition, Becker takes account of major changes in the computer tools available to writers today, and also substantially expands his analysis of how academic institutions create problems for them. As competition in academia grows increasingly heated, Writing for Social Scientists will provide solace to a new generation of frazzled, would-be writers.
Scientific writing is often dry, wordy, and difficult to understand. But, as Anne E. Greene shows in Writing Science in Plain English,writers from all scientific disciplines can learn to produce clear, concise prose by mastering just a few simple principles.
This short, focused guide presents a dozen such principles based on what readers need in order to understand complex information, including concrete subjects, strong verbs, consistent terms, and organized paragraphs. The author, a biologist and an experienced teacher of scientific writing, illustrates each principle with real-life examples of both good and bad writing and shows how to revise bad writing to make it clearer and more concise. She ends each chapter with practice exercises so that readers can come away with new writing skills after just one sitting.
Writing Science in Plain English can help writers at all levels of their academic and professional careers—undergraduate students working on research reports, established scientists writing articles and grant proposals, or agency employees working to follow the Plain Writing Act. This essential resource is the perfect companion for all who seek to write science effectively.