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Plenty of books tell you how to do research. This book helps you figure out WHAT to research in the first place, and why it matters.

The hardest part of research isn't answering a question. It's knowing what to do before you know what your question is. Where Research Begins tackles the two challenges every researcher faces with every new project: How do I find a compelling problem to investigate—one that truly matters to me, deeply and personally? How do I then design my research project so that the results will matter to anyone else?

This book will help you start your new research project the right way for you with a series of simple yet ingenious exercises. Written in a conversational style and packed with real-world examples, this easy-to-follow workbook offers an engaging guide to finding research inspiration within yourself, and in the broader world of ideas.

Read this book if you (or your students):

• have difficulty choosing a research topic
• know your topic, but are unsure how to turn it into a research project
• feel intimidated by or unqualified to do research
• worry that you’re asking the wrong questions about your research topic
• have plenty of good ideas, but aren’t sure which one to commit to
• feel like your research topic was imposed by someone else
• want to learn new ways to think about how to do research.

Under the expert guidance of award-winning researchers Thomas S. Mullaney and Christopher Rea, you will find yourself on the path to a compelling and meaningful research project, one that matters to you—and the world.

Film and literature can illuminate the experience of teaching and learning writing in ways that academic books and articles often miss. In particular, popular books and movies about teaching reveal the crucial importance of taking students seriously as writers and intellectuals. In this book, Joseph Harris explores how the work of teaching writing has been depicted in novels, films, and plays to reveal what teachers can learn from studying not just theories of discourse, rhetoric, and pedagogy but also accounts of the lived experience of teaching writing.
 
Each chapter examines a fictional representation of writing classes—as portrayed in Dead Poets Society, Up the Down Staircase, Educating Rita, Push, and more—and shifts the conversation from how these works portray teachers to how they dramatize the actual work of teaching. Harris considers scenes of instruction from different stages of the writing process and depictions of students and teachers at work together to highlight the everyday aspects of teaching writing.
 
In the writing classroom the ideas of teachers come to life in the work of their students. The Work of Teaching Writing shows what fiction, film, and drama can convey about the moment of exchange between teacher and student as they work together to create new insights into writing. It will interest both high school and undergraduate English teachers, as well as graduate students and scholars in composition and rhetoric, literary studies, and film studies.
 

Despite the adage “there are no writing emergencies,” at times situations invite or require immediate written response. In a modern era of social media and with the constancy of “crisis,” knowing when, how, and why to respond quickly is increasingly important. In Writing Emergencies, a diverse group of authors contribute scholarly, narrative-based discussions of writing emergencies, descriptions of more and less successful strategies, and a reflective conclusion that offers implications for writing studies praxis and theory.

In this collection, contributors demonstrate the reality of writing emergencies—in their own writing lives, classrooms, and programs—and they offer both self- and community-focused approaches for response. Chapters focus on discernment and prioritization, recognizing that all stressors are not necessarily emergencies. Instead, expanding our vocabulary for (and subsequent understanding) of the kinds of difficulties we come across can build our professional capacity and support greater career sustainability. The volume also illustrates the role of coalitions in navigating writing emergencies and how purposefully building and activating these coalitions subverts some challenges before they become emergencies, particularly those that are recurrent or manufactured.

Writing Emergencies both names and grapples with writing emergencies and offers insights for capacity-building in the acts of filtering and prioritizing competing urgent demands. The findings are meaningful for all leaders, students, and teachers who center care in their relationships with others.

An updated edition of the essential guide for all scientists—from undergraduates to senior scholars—who want to produce prose that anyone can understand.
 
Scientific writing is often dry, wordy, and difficult to understand. But, as biologist and experienced teacher of scientific writing 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 roughly a dozen such principles based on what readers need to understand complex information, including concrete subjects, strong verbs, consistent terms, organized paragraphs, and correct sentence structure. Greene illustrates each principle with real-life examples of both good and bad writing and shows how bad writing might be improved. She ends each chapter with revision exercises (and provides suggested answers in a separate key) so that readers can come away with new writing skills after just one sitting. To help readers understand the grammatical terms used in the book, an appendix offers a refresher course on basic grammar.
 
For this second edition, Greene has incorporated the latest research on what makes writing effective and engaging and has revised or replaced exercises and exercise keys where needed. She has also added new features that make it easier to navigate the book. A new resource for instructors who use Writing Science in Plain English in their classes is a free, online teacher’s guide. Drawn from Greene’s long experience teaching students how to write science clearly, the teacher’s guide provides additional lectures, assignments, and activities that will inform and enliven any class.

In recent years, graduate writing programs have increasingly paid attention to the benefits of writing initiatives that harness the power of peer presence, interaction, and collectivity. These social-by-design writing initiatives—which could be boot camps, writing groups, write-alongs, retreats, peer review sessions, or show-up-and-write gatherings—rely on two central contentions: that graduate writers need support with the practical challenges of writing productivity and that writing alongside others can be a transformative experience for graduate writers. Social writing opportunities offer uniquely dynamic environments in which graduate students can develop their writing processes. 
 
Writing Together gathers accounts from graduate writing professionals about how social writing programs are imagined and delivered. It surveys the motivations, rationales, evaluation strategies, and structures that underpin these initiatives in order to create a practical resource for writing professionals who wish to establish or refine their own offerings. Rather than presenting “how to” approaches, the book presents “how we” accounts that enable readers to learn from the creative practices and experiences of others. By capturing a range of experiences, institutional models, and forms of social writing support, Writing Together explains the thinking behind social writing initiatives and the processes through which those initiatives have been assessed. It demonstrates that social writing practices are not just a means to an end, but an end in themselves—that writing together is a great way to write and a promising basis for graduate writing pedagogy and professional development.

Writing As a Human Activity offers a collection of original essays that attempt to account for Charles Bazerman’s shaping influence on the field of writing studies. Through scholarly engagement with his ideas, the 16 chapters—written by authors from Asia, Europe, North America, and South America—address Bazerman’s foundational scholarship on academic and scientific writing, genre theory, activity theory, writing research, writing across the curriculum, writing pedagogy, the sociology of knowledge, new media and technology, and international aspects of writing. Collectively, the authors use Bazerman’s work as a touchstone to consider contemporary contexts of writing as a human activity.
 

For more than thirty years, Writing for Social Scientists has been a lifeboat for writers in all fields, from beginning students to published authors. It starts with a powerful reassurance: Academic writing is stressful, and even accomplished scholars like sociologist Howard S. Becker struggle with it. And it provides a clear solution: In order to learn how to write, take a deep breath and then begin writing. Revise. Repeat.
This is not a book about sociological writing. Instead, Becker applies his sociologist’s eye to some of the common problems all academic writers face, including trying to get it right the first time, failing, and therefore not writing at all; getting caught up in the trappings of “proper” academic writing; writing to impress rather than communicate with readers; and struggling with the when and how of citations. He then offers concrete advice, based on his own experiences and those of his students and colleagues, for overcoming these obstacles and gaining confidence as a writer.

While the underlying challenges of writing have remained the same since the book first appeared, the context in which academic writers work has changed dramatically, thanks to rapid changes in technology and ever greater institutional pressures. This new edition has been updated throughout to reflect these changes, offering a new generation of scholars and students encouragement to write about society or any other scholarly topic clearly and persuasively.

As Becker writes in the new preface, “Nothing prepared me for the steady stream of mail from readers who found the book helpful. Not just helpful. Several told me the book had saved their lives; less a testimony to the book as therapy than a reflection of the seriousness of the trouble writing failure could get people into.” As academics are being called on to write more often, in more formats, the experienced, rational advice in Writing for Social Scientists will be an important resource for any writer’s shelf.

Have you ever wanted a writing and research manual that centered Chicanx and Latinx scholarship? Writing that Matters does just that.

While it includes a brief history of the roots of the fields of Chicanx literature and history, Writing that Matters emphasizes practice: how to research and write a Chicanx or Latinx history paper; how to research and write a Chicanx or Latinx literature or cultural studies essay; and how to conduct interviews, frame pláticas, and conduct oral histories. It also includes a brief chapter on nomenclature and a grammar guide. Each chapter includes questions for discussion, and all examples from across the subfields are from noted Chicanx and Latinx scholars. Women’s and queer scholarship and methods are not addressed in a separate chapter but are instead integral to the work.

For years Professors Heidenreich and Urquijo-Ruiz waited for a writing and research manual that was rooted in critical Chicanx and Latinx studies. Now, they have crafted one.