Writing and editing guides Books

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Book SynopsisA comprehensive guide to writing and drafting from the first stage of preparation to the final edit. Features checklists, worked examples and chapters on using email, and designed to accompany readers from vocational study through to their qualification as solicitors as well as throughout the early years of practice.Table of ContentsPART 1. PLAIN ENGLISH AND THE GENERAL PRINCIPLES OF LEGAL WRITING AND DRAFTING; PART 2. LETTERS, EMAILS AND AND OTHER FORMS OF WRITTEN COMMUNICATION; PART 3. DRAFTING

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Book SynopsisThe Oxford Guide to Effective Writing and Speaking is the essential guide for everyone who needs to communicate in clear and effective English, both written and spoken. John Seely looks at the key factors to consider in tailoring your material so that you get your message across, such as understanding the demands of particular audiences, subjects, and situations. Clearly organized, the book is arranged in four sections:A Communicating in everyday life - covers a wide range of communications including writing emails to giving presentations and preparing reports.B Getting your message across - focuses on important factors such as the audience, the subject, time, and purpose.C Communication tools - offers advice on grammar, vocabulary, spelling, and punctuation to ensure that communication is accurate as well as appropriate. D The process of writing - looks at what''s involved in writing longer pieces, including planning and drafting, research, summaries, editing, and presentation.Full of practical guidance, this book also includes helpful ''You Try'' sections and ''guidelines'' to practise and reinforce what you''ve learnt. The answers to the exercises in the ''You Try'' sections can be found at the back of the book. This is the most comprehensive guide to using English for effective communication available; it covers an unrivalled range of situations and requirements, making it ideal for use at work, at school and university, or at home.Trade ReviewHandy for keeping on one's desk, the Guide would provide instant answers to questions about how to write and speak effectively * Penny Dade, Reference Reviews *I am sure this book really helped me not to have a heart attack when speaking publicly. * Michele Clarke, Editing Matters (SfEP) *Table of ContentsHOW TO USE THIS BOOK; COMMUNICATING IN EVERYDAY LIFE; GETTING THE MESSAGE ACROSS; COMMUNICATION TOOLS; THE PROCESS OF WRITING; 'YOU TRY' ANSWERS; GLOSSARY; INDEX; ACKNOWLEDGEMENTS

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Book SynopsisTable of Contents Chapter 1: Writing and Reading A Process View of Writing and Reading The Reading Process Stephen King, “The Symbolic Language of Dreams” Prereading/Early Reading Personal and Interpretive Response Example of student response to King Critical and Evaluative Response Example of Student response to King The Writing Process and Self-Discovery Stages of the Writing Process Strategies for Prewriting Drafting Student essay: Leigh Haldeman, “Response to Mary Pipher’s ‘Saplings in the Storm’” Revising, and Final Draft Partnership/ Peer Sharing Chapter 2: Journeys and Reflections (Description and Reflection) Thematic Introduction Writing Descriptions Observing Words and Images Revising Initial Descriptions Establishing Vantage Point and Tone Thinking About Your Purpose and Audience Walt Whitman, From “Song of the Open Road” (poem) Donovan Webster, “Inside the Volcano” Andrew Pham, “Viet-Kieu” Kavita Sreedhar, “Travelling Home” (student essay) Francine Prose, “Confessions of a Ritual Tourist” Jane Goodall, “In the Forests of Gombe” Nadiv Rahman, “On the Bridge” (student essay) Topics for Research and Writing Chapter 3: Journeys in Memory (Narrative) Thematic Introduction Narration, Memory, and Self-Awareness Making Associations Focusing and Concentration: The Inner Screen Dialogue and Characters Main Idea or Dominant Impression Drafting and Shaping the Narrative Revising the Narrative: Point of View, Transition, and Style Patricia Hampl, “Memory and Imagination” bell hooks, “Writing Autobiography” Sandra Cisneros, “Monkey Garden” Saira Shah, “The Storyteller’s Daughter” Melissa Burns, “The Best Seat in the House” (student essay) Michael Ventura, “The Peril of Memory” Rachel Naomi Remen, “Remembering” Topics for Research and Writing Chapter 4: Dreams, Myths, and Fairy Tales (Comparison) Thematic Introduction Comparing and Contrasting: Strategies for Thinking and Writing Prewriting for Comparison Outlining and Transition, Evaluation Jorge Luis Borges, “The Circular Ruins” Joseph Campbell, “The Four Functions of Mythology” Marcelo Gleiser, “The Myths of Science—Creation” Portfolio of Creation Myths: From the Rig Veda “Genesis 1 and 2” “The Chameleon Finds” (Yao-Bantu, African) "The Making of the World" (Huron) “Spider Woman Creates the Humans” (Hopi, Native American) “The Beginning of the World” (Japanese) Joshua Groban, “Two Myths” (student essay) Lan Samantha Chang, “Water Names" Four Versions of Cinderella: The Brothers Grimm, “Aschenputtel” (German) “The Twelve Months” (Slavic) “The Algonquin Cinderella” (Native American) “Tam and Cam” (Vietnamese) Topics for Research and Writing Chapter 5: Obsessions and Transformation (Definition) Thematic Introduction Definition: Word Boundaries of the Self Public Meanings and Formal Definition Stipulative and Personal Definitions Contradiction W.S. Merwin, “Fog-Horn” (poem) Andrew Solomon, “Depression” Anne Lamott, “Hunger” Sharon Slayton, “The Good Girl” (student essay) Daniel King, Paul Delfabbro, and Mark Griffiths “Cognitive Behavioral Therapy for Video Game Players” Mary Sykes Wylie, “Sleepless in America: Making it Through the Night in a Wired World” Marc Ian Barasch, “What Is a Healing Dream?” Topics for Research and Writing Chapter 6: Journeys in Gender and Relationships (Causal Analysis) Thematic Introduction Causality and the Inward Journey Observing and Collecting Information Causal Logical Fallacies Pablo Neruda, “The Dream” (poem) Sigmund Freud, “Erotic Wishes and Dreams” Virginia Woolf, “Professions for Women” Mary Pipher, “Saplings in the Storm” Leigh Haldeman, “A Response to ‘Saplings in the Storm’” Michael Kimmel, “A War Against Boys” David Sedaris, “I Like Guys” Topics for Research and Writing Chapter 7: The Double / The Other (Argument and Dialogue) Thematic Introduction Argument and Dialogue Traditional Argument Dialogic Argument Dialogue and Prewriting Prewriting and the Audience Defining Key Terms Evaluating Facts Feelings in Argument Judith Ortiz Cofer, “The Other” (poem) Connie Zweig and Jeremiah Abrahms, “The Shadow Side of Everyday Life” Charlotte Perkins Gilman, “The Yellow Wallpaper” Sara Colvin, "Lady Gaga as Monster" (student essay) Fran Peavey (with Myrna Levy and Charles Varon), “Us and Them” Desmond Mpilo Tutu, “No Future Without Forgiveness” Jessica Rubenstein, “Coed Schools Help Students Excel” (student essay) Topics for Research and Writing Chapter 8: Pop Dreams (Research) Thematic Introduction Research Writing Finding a Topic Timetable and Process Your Voice and the Voices of Your Sources Purpose and Structure Language and Style The Computer as a Research Partner Juliet B. Schor, “Decommercialization of Childhood” Henry Jenkins, “Education, Media, and Violence” Lawrence C. Rubin, “Merchandising Madness Rob Walker, “Click ” Steven Johnson, “How Twitter will Change the World in Which We Live” Jonathan Cusick, “Do Benefit Concerts Affect Political Decisions?” Anne Ritchie, “Creativity, Drugs, and Rock ’n’ Roll” (student essay) Topics for Research and Writing Chapter 9: Voyages in Spirituality (Creativity) Thematic Introduction Creativity, Problem Solving, and Synthesis Habit Versus Risk Reason Versus Intuition Developing Self-Confidence: Learning to Trust Your Own Processes Evaluation and Application Synthesis Donna Lovong, “Are You Joining a Cult?” Norman Yeung Bik Chung, “A Faithful Taoist” (student essay) Chris Gill, James Rotondi, and Jas Obrecht, “Within You, Without You: The Guitarist’s Search for Spiritual Meaning” Jessie van Eerden, “The Soul Has Six Wings” Natalie Goldberg, “On the Shores of Lake Biwa” Noah Levine, “Death Is Not the End My Friend” Martin Luther King, Jr., “A Christmas Sermon on Peace” Topics for Research and Writing

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Book SynopsisBad writing is bad for science. The problem is so significant that clear writing has become a legal requirement for federal agencies, thanks to the Plain Writing Act of 2010, which requires that writing be accessible, consistent, written in plain language, and easy to understand. This book shows how to produce such clear, concise scientific prose.Trade Review"This is the best book of this sort I have read. Anne E. Greene practices what she preaches, writing clearly for a general scientific audience. She comes across as both highly knowledgeable and accessible. Greene makes achieving clarity look simple, and I found myself marveling at her wizardry. Readers will find the text empowering." -Gina Maranto, University of Miami"

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Book SynopsisIncludes a chapter arguing that the future of academic writing is in the hands of young scholars who meet the broader expectations of readers rather than the narrow requirements of academic committees. This title reveals to PhDs the secrets of careful and thoughtful revision.Trade Review"With insight, compassion, and wit, William Germano has done all dissertation writers (and dissertation supervisors) a great service. This book should be handed to the candidate at the conclusion of all doctoral defenses." (Eric Foner, Columbia University)"

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Book SynopsisBusiness 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.

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Book SynopsisNew edition of a classic reference work recognizes recent developments in information literacy--including finding, evaluating, and citing a wide range of digital sources--and the evolving use of software for citation management, graphics, and paper format and submission, while continuing to reflect best practices for research and writing.

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Book SynopsisAnton Chekhov is revered as a boldly innovative playwright and short story writer. This title 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".Trade Review"Balm for the loneliness and torment of the ethnographic writer, this manual by one of the most distinguished offers the user a personal writer's workshop, at once charming, therapeutic, and practical. The author's mother, her most astute reader, asks: 'A lot of people have no problem writing. The bigger thing I'd like to know is, do you have any thoughts on how to put all the different little bits together?' With the help of Anton Chekhov, her muse and obsession, Narayan does." (George Marcus, University of California, Irvine)"

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Book SynopsisJack Hart, master writing coach and former managing editor of the Oregonian, has guided several Pulitzer Prizewinning narratives to publication. Since its publication in 2011, his book Storycraft has become the definitive guide to crafting narrative nonfiction. This is the book to read to learn the art of storytelling as embodied in the work of writers such as David Grann, Mary Roach, Tracy Kidder, and John McPhee. In this new edition, Hart has expanded the book's range to delve into podcasting and has incorporated new insights from recent research into storytelling and the brain. He has also added dozens of new examples that illustrate effective narrative nonfiction. This edition of Storycraft is also paired with Wordcraft, a new incarnation of Hart's earlier book A Writer's Coach, now also available from Chicago. Trade Review"Instructive and essential, reading Storycraft is like finding the secret set of blueprints to the writer's craft. Better still, it is engaging, funny, and wise—wonderful to read and wonderful to learn from." -- Susan Orlean, Author of The Orchid Thief and The Library Book “When I think back on what I have learned about storytelling over the last 30 years, the trail of memory leads back time and again to Jack Hart. No one has done more to inspire better narrative writing in America.” -- Roy Peter Clark, author of Writing Tools“This book is a master class in narrative nonfiction, a must-read for anyone who wants to tell true stories. Whether you’re a novice writer or seasoned veteran, you will learn from Hart’s insight and examples culled from decades of coaching and editing some of the country’s best reporters. He shows us how to seek scenes, build structure, explore voices, write riveting stories—then make them sing.” -- Lane DeGregory, Tampa Bay Times Pulitzer Prize–winning journalist"It’s no small feat to make the best better. Yet Jack Hart does just that with the updated version of Storycraft. Of the scores of journalism books on my shelves, Hart’s work is among the most essential. He puts language and structure behind the mysterious process of writing, with examples that give any journalist—from student to award-winning—work to aspire to. If you’re looking for a guide that is as useful as it is inspirational, this is it." -- Jacqui Banaszynski, Pulitzer Prize–winning journalist“Jack Hart was hands-down the best narrative editor ever to work in newspapers.” -- Jon Franklin, two-time Pulitzer-Prize winner"Jack Hart is one of the country's foremost writing coaches. Generations of writers found their voices, found their stories, found their heroes, heroines and villains in the news. Under his leadership the whole news industry learned a new way of connecting with its readers. I know I did. The lessons he teaches are about storytelling, structuring, pacing, tension and conflict.These lessons are perhaps even more important now in a digital age that sometimes forgets that—without a story to tell—words, videos, graphs, graphics, emails, alerts and news bulletins are just so much noise." -- Amanda Bennett, Pulitzer Prize-winning author, investigative journalist, and editorJack Hart is to writing coaches as Bill Belichick is to football coaches: the best of all time. In Storycraft he shares what he’s learned over a lifetime of working with writers on non-fiction narratives that won nearly every major journalism prize including the Pulitzer. -- Bruce DeSilva, former Associated Press writing coachTable of ContentsPreface to the Second Edition 1 Story 2 Structure 3 Point of View 4 Voice and Style 5 Character 6 Scene 7 Action 8 Dialogue 9 Theme 10 Reporting 11 Story Narratives 12 Explanatory Narratives 13 Other Narratives 14 Ethics Acknowledgments Notes Bibliography Index

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Book SynopsisA book-world veteran offers the first copyediting guide focused exclusively on fiction. Although The Chicago Manual of Style is widely used by writers and editors of all stripes, it is primarily concerned with nonfiction, a fact long lamented by the fiction community. In this long-awaited book from the publisher of the Manual, Amy J. Schneider, a veteran copyeditor who's worked on bestsellers across a wide swath of genres, delivers a companionable editing guide geared specifically toward fiction copyeditorsthe first book of its type. In a series of approachable thematic chapters, Schneider offers cogent advice on how to deal with dialogue, voice, grammar, conscious language, and other significant issues in fiction. She focuses on the copyediting tasks specific to fictionsuch as tracking the details of fictional characters, places, and events to ensure continuity across the workand provides a slew of sharp, practicable solutions drawn from her twenty-five years of experience worTrade Review“A roadmap that should be on the must-read list of any professional editor who’s serious about the art of copyediting fiction.” * Louise Harnby, advanced professional member of the Chartered Institute of Editing and Proofreading *"Copyeditors have long wished for a comprehensive and authoritative guide to working with fiction, and The Chicago Guide to Copyediting Fiction fills that void admirably. Amy Schneider takes you by the hand and provides valuable guidance on approach and fiction-specific style considerations based on her vast experience. New and seasoned fiction copyeditors both will find it useful in their day-to-day work. Authors, too, can benefit from the wealth of knowledge in this book, especially the sections on characters and timelines. This book is a must-read for every copyeditor who works with fiction." * Lori Paximadis, founder of Pax Studio *“A thoroughly helpful resource that I wish had been around when I first began my editing career. Now, years later, after meeting and interacting with writers and editors of all levels, I can say with confidence that Schneider’s guidance is sorely needed for those who don't realize that the world of make-believe is just as specialized and nuanced as any other field.” * Crystal Watanabe, owner and lead editor of Pikko's House *“From the details of building a useful stylesheet to the philosophical depths of the editor's role in fiction, Schneider has transformed decades of experience into an invaluable and engaging resource that will guide wordsmiths for years to come. Veterans of the field will find much of value here, and new or aspiring copyeditors should drop everything and read this book immediately.” * Sarah Grey, development editor at O'Reilly Media *"The Chicago Guide to Copyediting Fiction will please both fiction editors and authors who must self-edit. . . [Schneider] quickly but thoroughly covers style guides, characters, and locations. Each provides excellent advice to help authors create richer descriptions of these key story ingredients. The text is packed with good examples, as well as advice on handling issues you won’t find in other guides." * Technical Communication *"Schneider’s The Chicago Guide to Copyediting Fiction is a detailed, confidence-boosting resource for fiction editors at all levels of experience. . . Schneider puts the spotlight on fiction editing, writing with authority and a deep understanding of a fiction editor’s specific needs, and the hands-on experience to provide useful solutions to plenty of common issues." * Chartered Institute of Editing and Proofreading *"A sure-footed first move into the mill of copyediting contemporary fiction. . . . Schneider’s book will likely stand as gospel for copy editors who consider fiction their bread and butter." * Publishing Research Quarterly *"Schneider’s The Chicago Guide to Copyediting Fiction fills a need for an authoritative handbook focused on issues particular to fiction. . . An invaluable handbook for authors as well as editors." * Choice *Table of ContentsIntroduction Part I: The Process of Copyediting Fiction 1: The Fiction Copyeditor’s Mindset 2: The Fiction Copyeditor’s Workflow Part II: Building Your Fiction Style Sheet 3: General Style 4: Characters 5: Places 6: Timeline Part III: Editorial Issues Specific to Fiction 7: Grammar and Usage in Fiction 8: Copyediting Dialogue 9: When Fact and Fiction Collide Conclusion Acknowledgments Appendix A: Style Sheet Templates Appendix B: File Management Appendix C: Multiple Monitors Glossary Recommended Resources Index

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Book SynopsisThe leading guide to clear writingand clear thinkingin the legal profession for more than two decades, now newly updated. Admirably clear, concise, down-to-earth, and powerfulall too often, legal writing embodies none of these qualities. Its reputation for obscurity and needless legalese is widespread. Since 2001, Bryan A. Garner'sLegal Writing in Plain Englishhas 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: how to organize ideas, create and refine prose, and improve editing skills. Accessible and witty,Legal Writing in Plain Englishdraws on real-life writing samples that Garner has gathered through decades of teaching experience. Trenchant advice covers all types of legTable of ContentsPreface Introduction Part One: Principles for All Legal Writing 1. Framing Your Thoughts § 1. Have something to say, and think it through. Approach your task with a fervent desire to get your message across. § 2. Carry out your writing projects in four steps: think and research; plan and organize; write; revise. § 3. Order your material in a logical sequence. Present facts chronologically. For other material, make the order (a) deductive, (b) comparative, or (c) spatial. Keep related material together. § 4. Use informative headings to mark sections and, if helpful, subsections. 2. Phrasing Your Sentences § 5. Exclude unnecessary words. § 6. Keep your average sentence length to about 20 words. § 7. Keep the subject, the verb, and the object together—toward the beginning of the sentence. § 8. Use parallel phrasing for parallel ideas: don’t pair unlike grammatical forms. § 9. Use strong, precise verbs. Minimize is, are, was, and were—especially when they are part of a passive-voice construction. § 10. Avoid multiple negatives. § 11. End sentences emphatically. 3. Choosing Your Words § 12. Use plain English, not legalese. § 13. Be wary of pretension, officialese, and stiff formulas. § 14. Simplify wordy phrases—especially those containing of. § 15. Avoid zombie nouns—especially -ion words that you can turn into verbs. § 16. Avoid doublets and triplets. § 17. Refer to people and companies by name. Never use corresponding terms ending in -or and -ee. § 18. Use shorthand names only when you must. Shun unfamiliar acronyms. § 19. Make it snappy, vivid, and interesting. § 20. Be a companionable voice of reason. Make everything you write speakable. Part Two: Principles Mainly for Analytical and Persuasive Writing § 21. Plan all three parts: the beginning, the middle, and the end. § 22. For the all-important opener, use the deep issue to state the problem clearly. § 23. Summarize concretely and effectively. But don’t overparticularize with dates and similar unimportant details. § 24. Make your paragraphs cohesive. Introduce each one with a topic sentence. § 25. Link your paragraphs explicitly. § 26. Vary the length of your paragraphs, but keep them generally short. § 27. Provide textual signposts along the way. § 28. Unclutter the text by footnoting citations. Keep the footnotes free of sentences. § 29. Weave quotations deftly into your prose. “Quotation sandwiches” are hard to skip. § 30. Be forthright in dealing with counterarguments. Part Three: Principles Mainly for Legal Drafting § 31. Draft for an ordinary reader, not for a mythical judge who might someday review the document. § 32. Organize provisions in descending order of importance. Use a good numbering system and abundant headings to make things easy to find. § 33. Minimize definitions and cross-references. If you have more than a few definitions, put them in a schedule at the end, not at the beginning. § 34. Break down enumerations into parallel provisions. Put every list of subparts at the end of the sentence—never at the beginning or in the middle. § 35. Replace every shall. § 36. Don’t use provisos. § 37. Replace and/or wherever it appears. § 38. Prefer the singular over the plural. § 39. Use numerals, not words, to denote amounts. Avoid word–numeral doublets. § 40. If you don’t understand a form provision—or why it should be included in your document—try diligently to gain that understanding. If you still can’t understand it, cut it. Part Four: Principles for Document Design § 41. Make sensible choices about typography: use a readable font and type size, don’t underline, minimize all-caps and initial caps, and put one space between sentences. § 42. Create ample white space—and use it meaningfully. § 43. Highlight ideas with attention-getters such as bullets. § 44. Use graphics whenever they can enhance your message. § 45. For a long document, make a table of contents. Part Five: Methods for Continued Improvement § 46. Embrace constructive criticism. § 47. Edit your work rigorously and systematically. § 48. Seek out reliable answers to questions of grammar and usage. § 49. Habitually gauge your own readerly likes and dislikes, as well as those of other readers. § 50. Remember that good writing makes the reader’s job easy; bad writing makes it hard. Appendix A: A Restatement of Punctuation Appendix B: Four Model Documents 1. Research Memos 2. Motions 3. Appellate Briefs 4. Contracts Key to Basic Exercises Bibliography Index

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Book SynopsisTrade Review"This book is a cogently original account of skilled practice, its expression in writing, and its significance for the culture of knowledge as the new sciences developed in early modern Europe. With roots in the world-renewed Making and Knowing Project, it offers an important addition to the histories of skilled craft practice, of science and technology, and of the premodern and early modern periods." -- Pamela O. Long, author of Engineering the Eternal City "This is a brilliant, groundbreaking, and timely book. Through a particularly novel and exciting approach, Smith offers the first book-length study on the way early modern practitioners wrote about their skills. It is a must read for the growing community of scholars interested in material culture and in the ways how bodies, minds, things, and materials interact with each other." -- Christine Goettler, author of Last ThingsTable of ContentsIntroduction: Lived Experience and the Written Word Part 1: Vernacular Theorizing in Craft 1. Is Handwork Knowledge? 2. The Metalworker's Philosophy 3. Thinking with Lizards Part 2: Writing Down Experience 4. Artisan Authors 5. Writing Kunst 6. Recipes for Kunst Part 3: Reading and Collecting 7. Who Read and Used Little Books of Art? 8. Kunst as Power: Making and Collecting Part 4: Making and Knowing 9. Reconstructing Practical Knowledge: Hastening to Experience 10. A Vocabulary for Mind-Body Knowing Epilogue: Global Routes of Practical Knowledge Acknowledgments Notes References Index

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Book SynopsisThe definitive guide to starting and running a freelance editing business. You've been thinking about shifting into the world of freelance editing, but you don't know where to start. In a time when editors are seeking greater flexibility intheir work arrangements and schedules, freelancing is an increasingly common career option. But deciding to go it alone means balancing the risks with the rewards. From the publisher of The Chicago Manual of Style comes The Chicago Guide for Freelance Editors, the definitive guide to running your business and finding greater control and freedom in your work life. In this book, Erin Brenneran industry leader and expert on the business of editorial freelancinggathers everything you need to know into a single resource. Brenner has run her own successful editing business for over two decades and has helped hundreds of editors launch or improve their businesses through her teaching, blog writing, and coaching. The Chicago Guide for Freelance Edito

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Book SynopsisThe 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. This book collects the research and theory in the field and applies it to real-world problems faced by practitioners.Trade Review"Solving Problems in Technical Communication is excellent, sound, and credible. Every chapter is engaging, easy to follow, and accurate, which doesn't surprise me given the editors and contributors - all are distinguished leaders with long vitas chronicling the major conversations in the field." (Tracy Bridgeford, University of Nebraska at Omaha)"

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Book SynopsisThis comprehensive handbook will guide readers through the process of publishing their research. It helps readers to establish successful writing practices and habits which will enable them to write well, complete their work to a high standard and have their work published. Drawing on her experience as a writer, editor and supervisor, Gina Wisker covers the practicalities of writing and provides tried-and-tested techniques for managing time, overcoming writer's block and developing a confident academic voice.This book is ideal for postgraduates, academics, researchers and professionals wishing to write effectively and share their work with others through academic publication.Trade Review"Getting Published is hugely knowledgeable and useful; it is full of good sense and will almost certainly become the handbook for training postgraduates in this vital area." Professor Martin Coyle, Cardiff University, UKTable of ContentsPART I: WHY WRITE? FORMS OF ACADEMIC WRITING AND HOW TO GO ABOUT WRITING THEM 1.Introduction 2.Why Are We Writing? Setting Up Effective Writing Practices, Managing Time, Space And Writing Energy 3. Writing For And Publishing In Academic Journals 4. Writing For And Publishing In Books 5.Writing For Academic Publication When English Is Not Your First Language PART II: A CLOSER LOOK AT THE PROCESS 6.Writing From Research And Practice Planning And Writing Different Parts Of The Thesis Or Article 7. Writing Literature Reviews And Thinking About Methodology And Methods 8. Writing Abstracts And Conclusions: Emphasising Meaning And Worth 9. Developing Good Writing According To Structures 10. Publishing From Your Phd PART III: THE WRITING PROCESS AND YOU 11. Finding And Developing Your Voice In The Disciplines 12. Managing Time, Overcoming Blocks And Getting The Writing Done 13. Writing Creatively And Reflectively To Support Your Academic Writing For Publication PART IV: LEARNING FROM FEEDBACK, AND PLAYING A FULL PART IN THE WORLD OF WRITING 14.Responding To Feedback 15.Turning Your Conference Presentation Or Paper Into A Publication 16. Writing For Online Outlets And Publications 17. Edited Books And New Editions 18. You're Not Alone Developing And Working With Writing Groups, Communities And Critical Friends 19. The Politics And Impact Of Writing For Academic Publication Conclusion.

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Book SynopsisAn indispensable insider''s guide for writers

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Book SynopsisDesigned for presenters of scholarly or data-intensive content, Better Presentations details essential strategies for developing clear, sophisticated, and visually captivating presentations. With a range of clear examples for what to do (and what not to do), Jonathan Schwabish shares the best techniques to display work and win over audiences.Trade ReviewMany smart people often become selfish idiots when they give a presentation. Jon's much-needed book is a must read for just about anyone asked to share some slides. -- Seth Godin, author of Really Bad Powerpoint Do us all a favor: read this book before your next presentation. From font size to data visualization, Schwabish guides you through creating a presentation that will both hold your audience's attention and effectively deliver information. -- Susan Dynarski, University of Michigan Modern scholars spend many hours a week watching or giving presentations; every one of us should be forced to practice the wisdom of Jonathan Schwabish's wonderful short book. I thought I had mastered this craft and imposed my mastery on others, but I learned so much from Better Presentations that from now on, I'll just say "Read the book!" -- Robert E. Hall, Stanford University Your work can shape the future only when others understand you. You can show how your ideas matter if you master the fundamentals of communication, and this book shows how to do just that. -- Carmen Simon, author of Impossible to Ignore If you are a scientist or scholar who doesn't care about designing beautiful slides for your presentations, you are doing it wrong. Elegance, clarity, and good visual composition make your messages understandable. In this concise book, Jonathan Schwabish outlines simple but essential rules of design and data visualization that anybody can benefit from. Apply them, and I guarantee that you will never again see a bored face in your audience. -- Alberto Cairo, University of Miami, author of The Truthful Art: Data, Charts, and Maps for Communication Data visualization has provided a new set of powerful tools to help analysts communicate their ideas more clearly and effectively. Jon Schwabish helped to pioneer the use of these tools in the policy community, and Better Presentations is full of valuable insights that teach his approach to others. Both new and experienced analysts would benefit immensely from reading this book. -- Douglas Elmendorf, former director of the Congressional Budget OfficeTable of ContentsAcknowledgments Introduction Part I. Designing Your Presentation 1. Theory, Planning, and Design 2. Color 3. Type Part II. Building Your Presentation 4. The Text Slide 5. The Data Visualization Slide 6. The Image Slide 7. The Scaffolding Slides Part III. Giving Your Presentation 8. Presenting 9. The Technical Nitty Gritty Conclusions Further Readings References

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Book SynopsisIntroduces readers to large-scale literary computing and the revolutionary potential of macroanalysis.Trade Review"Jockers dares us to consider what the future can hold now that so much of the literary canon is accessible digitally."--Library Journal "An instructive introduction to the history of computing in the humanities and its increasingly sophisticated methodology."--Library Journal"Jockers puts data mining and word crunching to good use in analyzing textual components across large textual databases. . . . A fascinating blend of statistics and sociolinguistic analysis. Recommended."--Choice "A truly significant exploration of the intersection of literary studies and computer-assisted text analysis. Through a series of perspectives and methodologies, Macroanalysis convincingly demonstrates the power and potential of literary text analysis."--Stéfan Sinclair, coauthor of Visual Interface Design for Digital Cultural Heritage"A showcase for the range and the potential of. . . . 'big data' literary study. A new, turbocharbged sort of philology—one covering wider swaths of literature than even the most diligent and asocial researcher could ever read."--Chronicle of Higher Ed "A massively important book. . . . If you want to know what a major part of literary criticism will look like in 20 years, you need to read Macroanalysis.--Los Angeles Review of Books

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Book SynopsisRoger Horberry is a freelance copywriter and works for various design, branding and advertising agencies. www.rogerhorberry.comTrade ReviewKeep it clear, keep it simple, make it brilliant and original. I’ve been saying that for years. It’s a real joy to find that Roger and I think alike. Read the book and learn. Yes, it is brilliant. Wally Olins - Chairman, Saffron Brand Consultants Most of us reckon we can write. Wrong. But here’s book that will help you be persuasive, interesting and brilliant in print, then help you do it again, and again, and again. Michael Johnson, johnson banks Table of ContentsAbout the author Acknowledgements How to use this book Preface Part One – BackgroundChapter One – The basics Chapter Two – Three key thoughts Chapter Three – Brands and tone of voice Part Two – Method Chapter Four - Before Chapter Five - During Chapter Six - After Chapter Seven – Here’s one I made earlier Part Three – Interviews Chapter Eight - How brilliant copywriters write their copy

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Book SynopsisThis highly practical book reveals that there are many ways of being creative that will help us grow as Christians.

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