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All students and professors need to write, and many struggle to finish their stalled dissertations, journal articles, book chapters, or grant proposals. Writing is hard work and can be difficult to wedge into a frenetic academic schedule. In this practical, light-hearted, and encouraging book, Paul Silvia explains that writing productively does not require innate skills or special traits but specific tactics and actions. Drawing examples from his own field of psychology, he shows readers how to overcome motivational roadblocks and become prolific without sacrificing evenings, weekends, and vacations. After describing strategies for writing productively, the author gives detailed advice from the trenches on how to write, submit, revise, and resubmit articles, how to improve writing quality, and how to write and publish academic work.
Twenty of America's bestselling authors share tricks, tips, and secrets of the successful writing life. Anyone who's ever sat down to write a novel or even a story knows how exhilarating and heartbreaking writing can be. So what makes writers stick with it? In Why We Write, twenty well-known authors candidly share what keeps them going and what they love most—and least—about their vocation. Contributing authors include: Isabel Allende David Baldacci Jennifer Egan James Frey Sue Grafton Sara Gruen Kathryn Harrison Gish Jen Sebastian Junger Mary Karr Michael Lewis Armistead Maupin Terry McMillan Rick Moody Walter Mosley Susan Orlean Ann Patchett Jodi Picoult Jane Smiley Meg Wolitzer
How We Write is an accessible guide to the entire writing process, from forming ideas to formatting text. Combining new explanations of creativity with insights into writing as design, it offers a full account of the mental, physical and social aspects of writing. How We Write explores: how children learn to write the importance of reflective thinking processes of planning, composing and revising visual design of text cultural influences on writing global hypertext and the future of collaborative and on-line writing. By referring to a wealth of examples from writers such as Umberto Eco, Terry Pratchett and Ian Fleming, How We Write ultimately teaches us how to control and extend our own writing abilities. How We Write will be of value to students and teachers of language and psychology, professional and aspiring writers, and anyone interested in this familiar yet complex activity.
How We Write: The Varieties of Writing Experience is based on the series of "How I Write" public conversations with faculty and other advanced writers conducted by Hilton Obenzinger at Stanford University since 2002. These conversations explored the nuts and bolts, pleasures and pains, of all types of writing. "How I Write" conversations were informal, with no pretense of plumbing the depths of anyone's scholarly expertise or art, although much was revealed. Rather, these talks probed what the writing part of these scholars' and artists' work entailed-whether their field was physics or anthropology or fiction-in an easygoing fashion. Participants included such authors as Pulitzer Prize-winning novelist Adam Johnson and historian David Kennedy, physicist Leonard Susskind, poets Evan Boland, Gwyneth Lewis, and Diane di Prima, literary critics and biographers Arnold Rampersad and Diane Middlebrook, novelists Abraham Verghese, Valerie Miner and Irvin Yalom, playwrights David Henry Hwang and Amy Freed, philosopher Richard Rorty, historian Ian Morris, environmental scientist Terry Root, cultural critic Rebecca Solnit, anthropologist Renato Rosaldo, and neuroscientist Robert Sapolsky. The chapters of How We Write follow the major line of topics that came up in the conversations: Chapter One, the different ways people learned how to write; Chapter Two, their attitudes and feelings toward writing and what motivates them; Chapter Three, what happens when a writer gets blocked; Chapter Four, the different ways people work-their physical environment and how they handle time, relationships, and more; Chapter Five, how writers get ideas and how they launch into a project; Chapter Six, the ways writers fashion arguments or create ideas, images, and stories; Chapter Seven, how style is driven by field or genre; Chapter Eight, how research connects to style; Chapter Nine, the different approaches writers employ to revise their work; and Chapter Ten, a final reflection. How We Write: The Varieties of Writing Experience is not a textbook or a handbook on how to become a writer. It's primarily a conversation, a medley of voices celebrating a craft that delights and dismays each of us, and a conversation the reader is invited to join.
Author and former literary agent Nathan Bransford shares his secrets for creating killer plots, fleshing out your first ideas, crafting compelling characters, and staying sane in the process. Read the guide that New York Times bestselling author Ransom Riggs called "The best how-to-write-a-novel book I've read."
An indispensable and distinctive book that will help anyone who wants to write, write better, or have a clearer understanding of what it means for them to be writing, from widely admired writer and teacher Verlyn Klinkenborg. Klinkenborg believes that most of our received wisdom about how writing works is not only wrong but an obstacle to our ability to write. In Several Short Sentences About Writing, he sets out to help us unlearn that “wisdom”—about genius, about creativity, about writer’s block, topic sentences, and outline—and understand that writing is just as much about thinking, noticing, and learning what it means to be involved in the act of writing. There is no gospel, no orthodoxy, no dogma in this book. Instead it is a gathering of starting points in a journey toward lively, lucid, satisfying self-expression.
This book provides you with all the tools you need to write an excellent academic article and get it published.
This book will help those wishing to teach a course in technical writing, or who wish to write themselves.
During the later Middle Ages, new optical theories were introduced that located the power of sight not in the seeing subject, but in the passive object of vision. This shift had a powerful impact not only on medieval science but also on theories of knowledge, and this changing relationship of vision and knowledge was a crucial element in late medieval religious devotion. In Seeing through the Veil, Suzanne Conklin Akbari examines several late medieval allegories in the context of contemporary paradigm shifts in scientific and philosophical theories of vision. After a survey on the genre of allegory and an overview of medieval optical theories, Akbari delves into more detailed studies of several medieval literary works, including the Roman de la Rose, Dante's Vita Nuova, Convivio, and Commedia, and Chaucer's dream visions and Canterbury Tales. The final chapter, 'Division and Darkness, ' centres on the legacy of allegory in the fifteenth century. Offering a new interdisciplinary, synthetic approach to late medieval intellectual history and to major works within the medieval literary canon, Seeing through the Veil will be an essential resource to the study of medieval literature and culture, as well as philosophy, history of art, and history of science.
Medieval European literature was once thought to have been isolationist in its nature, but recent scholarship has revealed the ways in which Spanish and Italian authors – including Cervantes and Marco Polo – were influenced by Arabic poetry, music, and philosophy. A Sea of Languages brings together some of the most influential scholars working in Muslim-Christian-Jewish cultural communications today to discuss the convergence of the literary, social, and economic histories of the medieval Mediterranean. This volume takes as a starting point María Rosa Menocal's groundbreaking work The Arabic Role in Medieval Literary History, a major catalyst in the reconsideration of prevailing assumptions regarding the insularity of medieval European literature. Reframing ongoing debates within literary studies in dynamic new ways, A Sea of Languages will become a critical resource and reference point for a new generation of scholars and students on the intersection of Arabic and European literature.