I did the basic research for my PhD in about twelve months, then spent two years writing up the results - and producing possibly too much. It succeeded, but I think I might have made a better job of it if I had read a book like this first. But they didn't exist in those days." Mantex This book looks at things the other books don’t tell you about doing a PhD - what it’s really like and how to come through it with a happy ending! It covers all the things you wish someone had told you before you started: What a PhD is really about, and how to do one well The "unwritten rules" of research and of academic writing What your supervisor actually means by terms like "good referencing" and "clean research question" How to write like a skilled researcher How academic careers really work An ideal resource if someone you care about (including yourself!) is undergoing or considering a PhD. This book turns lost, clueless students back into people who know what they are doing, and who can enjoy life again.

    She said she had two rules she followed absolutely: to tell the truth, and not to do anything she didn't want to do. Her integrity shines throughout If You Want to Write, her best-selling classic on the process of writing that has already inspired thousands to find their own creative center. Carl Sandburg called this book "The best book ever written about how to write." Yet Ueland reminds us that "Whenever I say 'writing' in this book, I also mean anything that you love and want to do or to make." Ueland's writing and her teaching are made compelling by her feisty spirit of independence and joy.

    This definitive anthology enables you to learn from some of the genre's biggest names as they share their wisdom on developing horror that will shock and excite readers and editors alike.

    Like its predecessor, this edition of Academic Writing for Graduate Students" explains understanding the intended audience, the purpose of the paper, and academic genres." includes the use of task-based methodology, analytic group discussion, and genre consciousness-raising." shows how to write summaries and critiques." features "language focus" sections that address linguistic elements as they affect the wider rhetorical objectives." helps students position themselves as junior scholars in their academic communities.The Commentary has also been revised and is available.

    Using examples from a wide range of disciplines, the authors give readers expert advice on the entire dissertation process: selecting a suitable topic; conducting a literature review; managing data overload; building an argument; presenting the material, data, and results; and working with faculty committees. The entire text has been updated and fresh examples have been added to it. This edition features an up-to-the-minute discussion of online research and the use of software packages. The authors have expanded their coverage of qualitative work, and added information about the use of mixed methods to the book. These updates and more make the Third Edition of Surviving Your Dissertation a must have resource for graduate students.Key Features of the Third Edition: Walks readers through the dissertation process as an ideal mentor would.Devotes more attention to qualitative work, and touches upon mixed methods.Discusses online library resources and completing one′s dissertation via the Internet.Features new material on the use of graphics.Includes information about informed consent forms.

    Book in a Month shows you how to: Set realistic goals and monitor your progress Manage your time so that your writing life has room to flourish Select a story topic that will continue to inspire you throughout the writing process Quickly outline your entire story so that you have a clear idea of how your plot and characters are going to develop before you start writing Draft each act of your story by focusing on specific turning points Keep track of the areas you want to revise without losing your momentum in the middle of your story Relax and have fun-you are, after all, doing something you love So what are you waiting for? If you've been putting off your book project, let Book in a Month be your guide and find out just how much you can accomplish.

    Patricia Goodson offers weekly exercises and tools to achieve these goals. The exercises are theoretically-grounded and empirically-based, comprising a set of behavioral principles (e.g., writing regularly, separating generating from editing) and specific practices (weekly exercises) which ensure success. The author draws on research on writing and productivity in college settings, together with insights into the practice patterns of elite performers (such as Olympic athletes), to develop a set of key principles. This book uniquely combines these successful principles with a set of original exercises applicable to the writing needs of college professors and students.

    

    Write Is a Verb: Sit Down, Start Writing, No Excuses

    It’s the harmful debris of your education—a mixture of half-truths, myths, and false assumptions that prevents you from writing well. Drawing on years of experience as a writer and teacher of writing, Verlyn Klinkenborg offers an approach to writing that will change the way you work and think. There is no gospel, no orthodoxy, no dogma in this book. What you’ll find here isn’t the way to write. Instead, you’ll find a way to clear your mind of illusions about writing and discover how you write. Several Short Sentences About Writing is a book of first steps and experiments. They will revolutionize the way you think and perceive, and they will change forever the sense of your own authority as a writer. This is a book full of learning, but it’s also a book full of unlearning—a way to recover the vivid, rhythmic, poetic sense of language you once possessed. An indispensable and unique book that will give you a clear understanding of how to think about what you do when you write and how to improve the quality of your writing.

    This ultimate insider's guide reveals the secrets that none dare admit, told by a show biz veteran who's proven that you can sell your script if you can save the cat!

    Writing fiction is a similar process. Sometimes it might take a while before the story gets some balance and moves forward. Sometimes the story takes off as if motor-driven, then crashes into something not foreseen or expected. Learning to be a writer is all about finding your legs, and doing your best to convince onlookers that you know what you're doing and where you're going.In Pep Talks, Warnings & Screeds, acclaimed Southern story writer and novelist George Singleton serves up everything you ever need to know to become a real writer (meaning one who actually writes), in bite-sized aphorisms. It's Nietzsche's Beyond Good & Evil meets Anne Lamott's Bird by Bird. It's cough syrup that tastes like chocolate cake. In other words, don't expect to get better unless you get a good dose of it, maybe two.Accompanied by more than fifty original full-color illustrations by novelist Daniel Wallace, these laugh-out-loud funny, candid, and surprisingly useful lessons will help you find your own writerly balance so you can continue to move forward.

    The handbook includes profiles of fifty creative writing programs, guidance through the application process, advice from current students and professors including George Saunders, Aimee Bender, Tracy K. Smith, and Geoffrey Wolff, and the most comprehensive listings of graduate writing programs in and outside the United States. The handbook also includes special sections about Low-Residency writing programs, Ph.D. programs, publishing in literary journals, and workshop and teaching advice.In a remarkably concise, user-friendly fashion, The Creative Writing MFA Handbook answers as many questions as possible, and is packed with information, advice, and experience.

    If an editor or agent (or reader) loses interest after a page or two, you've lost him or her completely, even if the middle of your novel is brilliant and the ending phenomenal. Noah Lukeman, an agent in Manhattan, has taken this advice and created a book that examines just what this means, and I have to tell you, it's one of the best I've read. I've written (and seen published) pretty close to a dozen novels in as many years -- some are still to be published and will be out shortly; others are already out of print after four years. But I wish I had read Lukeman's book, The First Five Pages, when I began writing fiction. I'm glad I did now. It has helped, immediately. I'm already embarrassed about some of the goofs I made in my writing -- and I've been revising recent prose with his advice in mind. First off, Lukeman is a literary agent who once was an editor, and his editorial eye is sharp. If every novelist and short story writer in this country had Lukeman as an editor, we'd have a lot more readable prose out there. He writes: Many writers spend the majority of their time devising their plot. What they don't seem to understand is that if their execution -- if their prose -- isn't up to par, their plot may not even be considered.This bears repeating, because in all the books I've read on writing, this is an element that is most often forgotten in the rush to come up with snappy ideas and sharp plot progressions. You can always send a hero on a journey, after all, but if no reader wants to follow him, you've wasted your time. In a tone that can be a bit professorial at times, Lukeman brings what prose is -- and how it reads to others -- into sharp focus. He deals with dialogue, style, and, most importantly, sound. Sound. How does prose sound? It must have rhythm, its own kind of music, in order to draw the reader into the fictive dream. Lukeman's tips and pointers are genuinely helpful, and even important with regard to the sound of the prose itself. Lukeman also brings in on-target exercises for writers of prose and the wonderful advice for novelists to read poetry -- and often. Those first five pages are crucial, for all concerned. But forget the editor and agent and reader. They are important for you, the writer, because they determine the sharpness of your focus, the completeness of your vision, the confidence you, as a writer, need to plunge into a three- or four- or five-hundred-page story. The First Five Pages should be on every writer's shelf. This is the real thing.P#151;Douglas Clegg Douglas Clegg is the author of numerous novels and stories, including The Halloween Man and the collection The Nightmare Chronicles. In addition, Clegg is the author of the world's first publisher-sponsored Internet email novel, Naomi.

    -Emest Hemingway In October 1984, the weak writing in a scientific report made national news. The report, which outlined safety procedures during a nuclear attack, advised industrial workers "to don heavy clothes and immerse themselves in a large body of water. " The logic behind this advice was sound: Water is a good absorber of heat, neutrons, and gamma rays. Unfortunately, the way the advice was worded was unclear. Was everyone supposed to be com- up for air? Be- pletely submerged? Was it safe to come sides being unclear, the writing conveyed the wrong im- pression to the public. The report came across as saying "go jump in a lake"-not the impression you want to give someone spending thousands of dollars to fund your re- search. Chances are that Dan Rather will not quote sentences from your documents on national television, no matter how weak the writing iso Still, your writing is important. On a personal level, your writing is the principal way in which people learn about your work. When you commu- nicate weIl, you receive credit for that work. When you do not communicate weIl or are too slow to communi- cate, the credit often go es to someone else. On a larger level, your writing and the writing of other scientists and vii viii Foreword engineers influenees publie poliey about scienee and en- gineering.