Using case examples of both good and bad student practice, the handbook takes students through each step of the dissertation process, from their initial research proposal to the final submission. The author uses clear illustrations of what students need to do - or not do - to reach their potential, helping them to avoid the most common pitfalls. This essential handbook covers: Producing focused and relevant research objectives Writing your literature review Citing your sources correctly Clearly explaining your use of research methods Writing up your findings Summarizing your work by linking your conclusions to your initial proposal Understanding marking schemes Aimed primarily at Master's students or students on short postgraduate courses in business, humanities and the social sciences, this book is also key reading for supervisors and undergraduates considering postgraduate study.

    Drawing on a wide range of  great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works.

    All chapters in this best-seller have been substantially revised to reflect recent discoveries and new understanding of linguistics and languages.

    In recent years, while continuing to learn more about strengths, Gallup scientists have also been ex....

    This text involves students in understanding and using the 'tools' of critical social and literary theory from the first day of class. It is an ideal first introduction before students encounter more difficult readings from critical and postmodern perspectives. Nealon and Giroux describe key concepts and illuminate each with an engaging inquiry that asks students to consider deeper and deeper questions. Written in students' own idiom, and drawing its examples from the social world, literature, popular culture, and advertising, The Theory Toolbox offers students the language and opportunity to theorize rather than positioning them to respond to theory as a reified history of various schools of thought. Clear and engaging, it avoids facile description, inviting students to struggle with ideas and the world by virtue of the book's relentless challenge to common assumptions and its appeal to common sense.

    Distinguished from the  detached formal essay by its friendly, conversational tone, its loose structure, and its drive toward candor and self-disclosure, the personal essay seizes on the minutiae of daily life-vanities, fashions, foibles, oddballs, seasonal rituals, love and  disappointment, the pleasures of solitude, reading, taking a walk -- to offer insight into the human condition and the great social and political issues of the day. The Art of the Personal Essay is the first anthology to celebrate this fertile genre. By presenting more than seventy-five personal essays, including influential forerunners from ancient Greece, Rome, and the Far East, masterpieces from the dawn of the personal essay in the sixteenth century, and a wealth of the finest personal essays from the last four centuries, editor Phillip Lopate, himself an acclaimed essayist, displays the tradition of the personal essay in all its historical grandeur, depth, and diversity.

    The Scientist's Guide to Writing provides practical advice to help scientists become more effective writers so that their ideas have the greatest possible impact.Drawing on his own experience as a scientist, graduate adviser, and editor, Stephen Heard emphasizes that the goal of all scientific writing should be absolute clarity; that good writing takes deliberate practice; and that what many scientists need are not long lists of prescriptive rules but rather direct engagement with their behaviors and attitudes when they write. He combines advice on such topics as how to generate and maintain writing momentum with practical tips on structuring a scientific paper, revising a first draft, handling citations, responding to peer reviews, managing coauthorships, and more.In an accessible, informal tone, The Scientist's Guide to Writing explains essential techniques that students, postdoctoral researchers, and early-career scientists need to write more clearly, efficiently, and easily.Emphasizes writing as a process, not just a productEncourages habits that improve motivation and productivityExplains the structure of the scientific paper and the function of each partProvides detailed guidance on submission, review, revision, and publicationAddresses issues related to coauthorship, English as a second language, and more

    I have to talk myself into bravery with every sentence, agreed Cynthia Ozick, sometimes every syllable. E. B. White said he admired anyone who has the guts to write anything at all.An author who has taught writing for more than thirty years,In The Courage to Write, Ralph Keyes, an author who has taught writing for more than thirty years, assures us that anxiety is felt by writers at every level, especially when they dare to do their best. He describes the sequence of courage points through which all writers must pass, from the challenge of identifying a worthwhile project to the mixture of pride and panic they feel when examining a newly published book or article.Keyes also offers specifics on how to root out dread of public performance and of the judgment of family and friends, make the best use of writers' workshops and conferences, and handle criticism of works in progress. Throughout, he includes the comments of many accomplished writers -- Pat Conroy, Amy Tan, Rita Dove, Isabel Allende, and others -- on how they transcended their own fears to produce great works.

    In Why They Can't Write, John Warner, who taught writing at the college level for two decades, argues that the problem isn't caused by a lack of rigor, or smartphones, or some generational character defect. Instead, he asserts, we're teaching writing wrong.Warner blames this on decades of educational reform rooted in standardization, assessments, and accountability. We have done no more, Warner argues, than conditioned students to perform "writing-related simulations," which pass temporary muster but do little to help students develop their writing abilities. This style of teaching has made students passive and disengaged. Worse yet, it hasn't prepared them for writing in the college classroom. Rather than making choices and thinking critically, as writers must, undergraduates simply follow the rules--such as the five-paragraph essay--designed to help them pass these high-stakes assessments.In Why They Can't Write, Warner has crafted both a diagnosis for what ails us and a blueprint for fixing a broken system. Combining current knowledge of what works in teaching and learning with the most enduring philosophies of classical education, this book challenges readers to develop the skills, attitudes, knowledge, and habits of mind of strong writers.

    It covers everything from questions of truth and ethics to questions of craft and the crucial retrospective voice. An appendix provides information on legal issues.Judith Barrington, an award-winning memoir writer and acclaimed writing teacher, is attuned to the forces, both external and internal, that work to stop a writer; her tone is respectful of the difficulties and encouraging of taking risks. Her nimble prose, her deep belief in the importance of this genre, and her delight in the rich array of memoirists writing today make this book more than the typical "how-to" creative writing book. In this second edition the author has added new material and reflects on issues raised since Writing the Memoir was written, early in the memoir boom."No student of memoir writing could fail to learn from this wise, pragmatic, and confiding book. One hears on every page the voice of an intelligent and responsive teacher, with years of thinking about memoir behind her."--Vivian GornickJudith Barrington is the author of Lifesaving: A Memoir and numerous individual memoirs which have been published in literary magazines and anthologies. She is the author of three volumes of poetry: Trying to Be an Honest Woman, History and Geography, and Horses and the Human Soul (forthcoming in 2002). She has taught creative writing for the past twenty years.

    Written with passion, humor, and wisdom, Reading Like a Writer will inspire readers to return to literature with a fresh eye and an eager heart - to take pleasure in the long and magnificent sentences of Philip Roth and the breathtaking paragraphs of Isaac Babel; she is deeply moved by the brilliant characterization in George Eliot's Middlemarch. She looks to John Le Carré for a lesson in how to advance plot through dialogue and to Flannery O'Connor for the cunning use of the telling detail. And, most important, Prose cautions readers to slow down and pay attention to words, the raw material out of which all literature is crafted.

    A celebrated writing coach with a sense of humor and a gentle touch, she’s also a master writer herself with a long and distinguished career in both teaching and practicing the art of writing.The Book on Writing contains 25 chapters in three sections: A dozen essential but easy-to-apply guidelines to good writing, from the importance of clarity to the value of a conversational tone. Paula LaRocque believes learning is easier and more successful when we are not only told but also shown. So her Book on Writing is chockfull of actual writing examples that supplement and illustrate principles that apply as naturally to fiction as they do to nonfiction.How to tell a story—from building suspense, to effective description, to the uses of metaphor and literary devices. Paula LaRocque also deals with the narrative “engine” and the value of the archetype in plotting and characterization—as well as with pace and speed and leveling what she terms writing’s “speedbumps.” A clear and concise handbook that deals with common problems in grammar, usage, punctuation, and style—the kind of problems that often trouble even wordsmiths. The handbook also debunks pesky language “rules” that are actually myths. The Book on Writing is one-stop shopping for writers. Read it once, and you’ll be a better writer. Read it often, and you’ll be among the best.

    Levitin shifts his keen insights from your brain on music to your brain in a sea of details.The information age is drowning us with an unprecedented deluge of data. At the same time, we’re expected to make more—and faster—decisions about our lives than ever before. No wonder, then, that the average American reports frequently losing car keys or reading glasses, missing appointments, and feeling worn out by the effort required just to keep up.But somehow some people become quite accomplished at managing information flow. In The Organized Mind, Daniel J. Levitin, PhD, uses the latest brain science to demonstrate how those people excel—and how readers can use their methods to regain a sense of mastery over the way they organize their homes, workplaces, and time.With lively, entertaining chapters on everything from the kitchen junk drawer to health care to executive office workflow, Levitin reveals how new research into the cognitive neuroscience of attention and memory can be applied to the challenges of our daily lives. This Is Your Brain on Music showed how to better play and appreciate music through an understanding of how the brain works. The Organized Mind shows how to navigate the churning flood of information in the twenty-first century with the same neuroscientific perspective.

    This guide shows that good research and lively writing do not have to be mutually exclusive.

    students, providing a practical, realistic understanding of the processes of doing research for a doctorate.New to this edition: a section on increasingly popular professional doctorates such as Ed.D., D.B.A., and D.Eng; material for supervisors of overseas, part-time, and mature students; and a diagnostic questionnaire for students to monitor progress.