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Modern academia is increasingly competitive yet the writing style of social scientists is routinely poor and continues to deteriorate. Are social science postgraduates being taught to write poorly? What conditions adversely affect the way they write? And which linguistic features contribute towards this bad writing? Michael Billig's witty and entertaining book analyses these questions in a quest to pinpoint exactly what is going wrong with the way social scientists write. Using examples from diverse fields such as linguistics, sociology and experimental social psychology, Billig shows how technical terminology is regularly less precise than simpler language. He demonstrates that there are linguistic problems with the noun-based terminology that social scientists habitually use - 'reification' or 'nominalization' rather than the corresponding verbs 'reify' or 'nominalize'. According to Billig, social scientists not only use their terminology to exaggerate and to conceal, but also to promote themselves and their work.
"His use of language, his ability to twist the narrative and turn the obscure into the profound is outstanding." – The Stage Looking for a creative writing guide out there that will tell you how to write better? A book to tell you how to structure a perfect plot, create great characters, use language in a powerful and poetic way? This is not that book. 100 Ways to Write Badly Well is an adventure in drivel. It will teach you how to botch a plot, how to create characters that no one in their right mind would identify with and how to reduce the beauty of the English language to an incoherent mush. Using one hundred practical examples, each awful in its own unique way, blogger and creative writing tutor Joel Stickley will lead you methodically up the creek and carefully remove your paddle before running off and leaving you stranded. The route is lined with mixed metaphors, terrible plot twists, piles of adjectives and characters staring at themselves in mirrors for no apparent reason. Based on the popular blog and live comedy show How To Write Badly Well, this book is an invaluable guide to the art of awful writing that no would-be author should be without. Remember – if a thing's worth doing badly, it's worth doing badly well.
This is the one guide that anyone who writes--whether student, business person, or professional writer--should put on the desk beside pencil, pen, typewriter, or word processor. Filled with professional tips and a wealth of instructive examples, this valuable, easy-to-use handbook can help you solve any and all writing problems.
This book provides you with all the tools you need to write an excellent academic article and get it published.
Fasten your seat belt for a crash course in careful usage.... Just like automobile accidents, accidents of style occur all over the English-speaking world, in print and on the Internet, thousands of times every day. They range from minor fender benders, such as confusing their and there, to serious smashups, such as misusing sensual for sensuous or writing loathe when you mean loath. Charles Harrington Elster shows you how to navigate the hairpin turns of grammar, diction, spelling, and punctuation with an entertaining driver's manual covering 350 common word hazards and infractions, arranged in order of complexity for writers of all levels. Elster illustrates these surprisingly common accidents with quotations from numerous print and online publications, many of them highly regarded---which perhaps should make us feel better: If the horrendous redundancy closeproximity and the odious construction what it is, is have appeared in The New York Times, maybe our own accidents will be forgiven. But that shouldn't keep us from aspiring to accident-free writing and speaking. If you want to get on the road to writing well, The Accidents of Style will help you drive home what you want to say.
Covering the entire process from story building to manuscript preparation and marketing, Jerry Cleaver shows the novice and experienced writer how to start writing and how to get immediate results. Readers will find everything they need to know about managing time, finding an idea, getting the first word down on the page, staying unblocked, shaping ideas into compelling stories, and submitting their work to agents and publishers. Immediate Fiction goes beyond the old "Write what you know" to "Write what you can imagine." Filled with insightful tips on how to manage doubts, fears, blocks, and panic, Immediate Fiction will help writers develop their skills in as little minutes a day, if necessary. Believing that all writing is rewriting, Cleaver says, "You can't control what you put on the page. You can only control what you leave on the page." With this book Cleaver shows how to get that control and produce results.
A humorous, clearly written scholarly analysis of what is going wrong with the way that social scientists write.
On 19 August 1936 Hercules the boxer stands on the quayside at Coruña and watches Fascist soldiers piling up books and setting them alight. With this moment a young carefree group of friends are transformed into a broken generation. Out of this incident during the early months of Spain's tragic civil war, Manuel Rivas weaves a colourful tapestry of stories and unforgettable characters to create a panorama of twentieth-century Spanish history. For it is not only the lives of Hercules the boxer and his friends that are tainted by the unending conflict, but also those of a young washerwoman who sees souls in the clouded river water and the stammering son of a judge who uncovers his father's hidden library. As the singed pages fly away on the breeze, their stories live on in the minds of their readers.
The writing in this book is so bad, it deserves its own taxonomy of suckitude. Gillian Flynn, Mary Roach, Dave Eggers, Rick Moody, Chuck Palahniuk, Amy Tan, A.J. Jacobs, Daniel Clowes, Jeff Greenwald, Po Bronson…the list goes on. They all sucked once, and they all have the guts to share some of their crappiest early work in Drivel: an uplifting bit of voyeurism, based on the sold-out “Regreturature” stage shows in San Francisco, and brought to you by Litquake and the San Francisco Writers’ Grotto. Within these pages you’ll find abstruse and esoteric poetry (bad); incoherent and illogical short stories (worse); bumfuzzling proto-journalism (shameful); and pretentious, overwrought journal entries (we’ll not speak of this again). Thanks to these courageous but foolhardy writers, the world now knows the real meaning of a work-in-progress.
A hilarious reeducation in mathematics-full of joy, jokes, and stick figures-that sheds light on the countless practical and wonderful ways that math structures and shapes our world. In Math With Bad Drawings, Ben Orlin reveals to us what math actually is; its myriad uses, its strange symbols, and the wild leaps of logic and faith that define the usually impenetrable work of the mathematician. Truth and knowledge come in multiple forms: colorful drawings, encouraging jokes, and the stories and insights of an empathetic teacher who believes that math should belong to everyone. Orlin shows us how to think like a mathematician by teaching us a brand-new game of tic-tac-toe, how to understand an economic crises by rolling a pair of dice, and the mathematical headache that ensues when attempting to build a spherical Death Star. Every discussion in the book is illustrated with Orlin's trademark "bad drawings," which convey his message and insights with perfect pitch and clarity. With 24 chapters covering topics from the electoral college to human genetics to the reasons not to trust statistics, Math with Bad Drawings is a life-changing book for the math-estranged and math-enamored alike.