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• The journalist's craft
• The process of newswriting
• Explore: report for surprise
• Focus: find the tension
• Rehearse: writing before writing
• Draft: write for surprise
• Develop: work on what works
• Clarify: represent the reader
• How to remain an apprentice.

• Bd.
• 1. Von der Antike bis zum Buchdruck

• 1.
• 1. Introduction (by Janssen, Daniel)--
• 2.
• 2. How research can lead to better government forms (by Jansen, Carel)--
• 3.
• 3. Undercover research into text quality as a tool for communication management: The case of the Dutch tax department (by Renkema, Jan)--
• 4.
• 4. Optimizing public information brochures: Formative evaluation in document design processes (by Jong, Menno de)--
• 5.
• 5. Public documents in a multilingual context (by Hulst, Jacqueline)--
• 6.
• 6. Improving the quality of public documents: Or: Why training public writers often doesn&#39--t work (by Janssen, Daniel)--
• 7.
• 7. The lack of clarity in a sentence: The style of official documents in Dutch (by Jansen, Frank)--
• 8.
• 8. Convincing citizens: The role of argument quality (by Hoeken, Hans)--
• 9.
• 9. Collaborative writing for the government (by Janssen, Daniel)--
• 10.
• 10. Strategic revision of public documents: How policy writers revise documents in order to reach consensus (by Mast, Niels van der)--
• 11.
• 11. Trust but verify: Local suspensions of the cooperation principle in political communication (by Neutelings, Rob)--
• 12.
• 12. Reading to assess in professional life: Reading styles of Dutch parliamentarians (by Neutelings, Rob)--
• 13. References--
• 14. About the authors--
• 15. Index.
• (source: Nielsen Book Data)

Governments communicate with the public through all kinds of documents: forms, brochures, letters, policy papers, and so on. These public documents have an important role in any democracy and their design very much affects the efficiency with which governments can perform their tasks. Document designers, linguists and other communication experts in the Netherlands have been studying public documents from a design point of view as well as empirically for decades. In this book, the most prominent of these researchers present the results of their work, collectively giving an overview of various recurring problems in government-to-public communication, and providing suggestions for problem solving.
(source: Nielsen Book Data)

• Introduction: Looking Back to Travel Forward
• 1. The Potential of Creativity
• 2. The 'Voice Strewn Landscape'
• 3. Talking and Writing
• 4. Choice, Voice and Autonomy in Writing
• 5. Artistic Voices: Literature
• 6. Artistic Voices: Drama
• 7. Artistic Voices: Storytelling
• 8. Artistic Voices: Poetry
• 9. Teachers as Artists
• 10. Creative Teachers of Writing.
• (source: Nielsen Book Data)

This clear yet authoritative book affirms the vital role of creativity in writing and considers and encourages flexible, innovative practices in teaching. Importantly, the book reflects upon teachers' imaginative and artistic involvement in the writing process as role models, collaborators, artists, and as writers themselves. Arguing that children's creative use of language is key to the development of language and literacy skills, this book focuses on the composition process and how children can express their own ideas. In addition, the authors consider the many forms of creative language that influence the inner and outer voice of children, including reading, investigating, talking and engaging in a range of inspiring activities. Illustrated throughout with many examples of children's writing and drawing, this book also provides suggestions for classroom activities and is a source of inspiration and practical guidance for any teacher looking to deepen their understanding of literacy theory and practice.
(source: Nielsen Book Data)

• Contents-- Acknowledgements-- 'Introduction', Steven Earnshaw-- [B] Section One. Writing: Theories and Contexts.--
• 1. 'Theories of Creativity and Creative Writing Pedagogy', Mary Swander, Anna Leahy, and Mary Cantrell--
• 2. 'The Evaluation of Creative Writing at MA Level (UK)', Jenny Newman--
• 3. 'The Creative Writing MFA', Stephanie Vanderslice--
• 4. 'Creative Writing and Critical Theory', Lauri Ramey--
• 5. 'Literary Genres', David Rain--
• 6. 'The Writer as Artist', Steven Earnshaw--
• 7. 'The Future of Creative Writing', Paul Dawson-- [B] Section Two. The Craft of Writing.-- [C] Prose--
• 8. 'Reading, Writing and Teaching The Short Story', E. A. Markham--
• 9. 'Writing the Memoir', Judith Barrington--
• 10. 'Introduction to the Novel', Jane Rogers--
• 11. 'Crime Fiction', John Dale--
• 12. 'Writing Science Fiction and Fantasy', Crawford Kilian--
• 13. 'How Language Lives Us: Reading and Writing Historical Fiction', Brian Kiteley--
• 14. 'Writing Humorous Fiction', Susan Hubbard--
• 15. 'Writing for Children', Alan Brown--
• 16. 'Writing for Teenagers', Linda Newbery--
• 17. 'The 'Everything You Ever Wanted to Know About Creative Nonfiction, But were too Naive or Uninformed to Ask' Workshop Simulation', Lee Gutkind-- [C] Poetry--
• 18. 'Introduction to Poetry', Sean O'Brien--
• 19. 'What is Form?', W. N. Herbert--
• 20. 'New Poetries', Aaron Kunin--
• 21. 'The Poet in the Theatre: Verse Drama', Sean O'Brien--
• 22. 'The Sequence and the Long Poem', George Szirtes-- [C] Scriptwriting--
• 23. 'Introduction to Scriptwriting', Mike Harris--
• 24. 'Writing for the Stage', Brighde Mullins--
• 25. 'Writing for Radio', Mike Harris--
• 26. 'Writing for Television', Stephen V. Duncan--
• 27. 'Writing for Television - UK Differences', John Milne--
• 28. 'Writing for Film', Bonnie O'Neill-- [C] Other Writing--
• 29. 'Writing as Experimental Practice', Thalia Field--
• 30. 'Writing as 'Therapy", Fiona Sampson--
• 31. 'Writing in the Community', Linda Sargent--
• 32. 'Writing for the Web', James Sheard--
• 33. 'The Role of the Critical Essay', Scott McCracken--
• 34. 'Translation', Susan Bassnett--
• 35. 'Creative Writing Doctorates', Graeme Harper--
• 36. 'How to Start a Literary Magazine', Rebecca Wolff-- [B] Section Three. The Writer's Life--
• 37. 'How to be a Writer', John Milne--
• 38. 'How to Present Yourself as a Writer', Alison Baverstock--
• 39. 'Publishing Fiction', Mary Mount--
• 40. 'American PoBiz', Chase Twichell--
• 41. 'Publishing Poetry in Britain', Sean O'Brien--
• 42. 'The Literary Agent (Novel)', David Smith--
• 43. 'The Film Agent', Julian Friedmann--
• 44. 'The Literary Agent: Television, Theatre and Radio', Alan Brodie--
• 45. 'Copyright', Shay Humphrey with Lee Penhaligan--
• 46. 'Literary Life: Prizes, Anthologies, Festivals, Reviewing, Grants', Tom Shapcott--
• 47. 'The Writer as Teacher', Gareth Creer--
• 48. 'Making a Living as a Writer', Livi Michael-- [B] Glossary-- [B] Useful Websites-- [B] Contributors-- [B] Index.
• (source: Nielsen Book Data)

An extensive, practical and inspirational resource, this three-in-one volume is aimed at students and practitioners of creative writing at all levels. As well as the main creative writing activities, chapters cover other practices, from translation to starting a small magazine and from memoir writing to writing for children. Contributors are all experts in their fields: poets, novelists, dramatists, agents, publishers, editors, tutors, critics and academics. Anyone with an interest in creative writing will find this book invaluable in developing their own creative writing projects and as a way into new areas of writing activity.
(source: Nielsen Book Data)
An extensive, practical and inspirational resource, this three-in-one volume is aimed at students and practitioners of creative writing at all levels. In 48 distinctive chapters the Handbook: *examines the critical theories behind the practice of creative writing (Part 1). *explains the basics of how to write a novel, script or poetry (Part 2). *explores how to deal with the practicalities and problems of becoming a writer (Part 3). As well as the main creative writing activities, chapters cover other practices, from translation to starting a small magazine and from memoir writing to writing for children. Contributors are all experts in their fields: poets, novelists, dramatists, agents, publishers, editors, tutors, critics and academics. Anyone with an interest in creative writing will find this book invaluable in developing their own creative writing projects and as a way into new areas of writing activity. Key Features *The only book to combine the theory and practice of writing with detailed advice on the business of writing and living as a writer *Combines breadth and depth with original thinking on creativity and evaluation of creative work *Shows ways of approaching the task of writing and how to improve one's work *Presents material which is hard to find elsewhere, e.g. writing for teenagers; writing humorous fiction; finding a film agent.
(source: Nielsen Book Data)

• Contents-- Acknowledgements-- 'Introduction', Steven Earnshaw-- [B] Section One. Writing: Theories and Contexts.--
• 1. 'Theories of Creativity and Creative Writing Pedagogy', Mary Swander, Anna Leahy, and Mary Cantrell--
• 2. 'The Evaluation of Creative Writing at MA Level (UK)', Jenny Newman--
• 3. 'The Creative Writing MFA', Stephanie Vanderslice--
• 4. 'Creative Writing and Critical Theory', Lauri Ramey--
• 5. 'Literary Genres', David Rain--
• 6. 'The Writer as Artist', Steven Earnshaw--
• 7. 'The Future of Creative Writing', Paul Dawson-- [B] Section Two. The Craft of Writing.-- [C] Prose--
• 8. 'Reading, Writing and Teaching The Short Story', E. A. Markham--
• 9. 'Writing the Memoir', Judith Barrington--
• 10. 'Introduction to the Novel', Jane Rogers--
• 11. 'Crime Fiction', John Dale--
• 12. 'Writing Science Fiction and Fantasy', Crawford Kilian--
• 13. 'How Language Lives Us: Reading and Writing Historical Fiction', Brian Kiteley--
• 14. 'Writing Humorous Fiction', Susan Hubbard--
• 15. 'Writing for Children', Alan Brown--
• 16. 'Writing for Teenagers', Linda Newbery--
• 17. 'The 'Everything You Ever Wanted to Know About Creative Nonfiction, But were too Naive or Uninformed to Ask' Workshop Simulation', Lee Gutkind-- [C] Poetry--
• 18. 'Introduction to Poetry', Sean O'Brien--
• 19. 'What is Form?', W. N. Herbert--
• 20. 'New Poetries', Aaron Kunin--
• 21. 'The Poet in the Theatre: Verse Drama', Sean O'Brien--
• 22. 'The Sequence and the Long Poem', George Szirtes-- [C] Scriptwriting--
• 23. 'Introduction to Scriptwriting', Mike Harris--
• 24. 'Writing for the Stage', Brighde Mullins--
• 25. 'Writing for Radio', Mike Harris--
• 26. 'Writing for Television', Stephen V. Duncan--
• 27. 'Writing for Television - UK Differences', John Milne--
• 28. 'Writing for Film', Bonnie O'Neill-- [C] Other Writing--
• 29. 'Writing as Experimental Practice', Thalia Field--
• 30. 'Writing as 'Therapy", Fiona Sampson--
• 31. 'Writing in the Community', Linda Sargent--
• 32. 'Writing for the Web', James Sheard--
• 33. 'The Role of the Critical Essay', Scott McCracken--
• 34. 'Translation', Susan Bassnett--
• 35. 'Creative Writing Doctorates', Graeme Harper--
• 36. 'How to Start a Literary Magazine', Rebecca Wolff-- [B] Section Three. The Writer's Life--
• 37. 'How to be a Writer', John Milne--
• 38. 'How to Present Yourself as a Writer', Alison Baverstock--
• 39. 'Publishing Fiction', Mary Mount--
• 40. 'American PoBiz', Chase Twichell--
• 41. 'Publishing Poetry in Britain', Sean O'Brien--
• 42. 'The Literary Agent (Novel)', David Smith--
• 43. 'The Film Agent', Julian Friedmann--
• 44. 'The Literary Agent: Television, Theatre and Radio', Alan Brodie--
• 45. 'Copyright', Shay Humphrey with Lee Penhaligan--
• 46. 'Literary Life: Prizes, Anthologies, Festivals, Reviewing, Grants', Tom Shapcott--
• 47. 'The Writer as Teacher', Gareth Creer--
• 48. 'Making a Living as a Writer', Livi Michael-- [B] Glossary-- [B] Useful Websites-- [B] Contributors-- [B] Index.
• (source: Nielsen Book Data)

An extensive, practical and inspirational resource, this three-in-one volume is aimed at students and practitioners of creative writing at all levels. In 48 distinctive chapters the Handbook: *examines the critical theories behind the practice of creative writing (Part 1). *explains the basics of how to write a novel, script or poetry (Part 2). *explores how to deal with the practicalities and problems of becoming a writer (Part 3). As well as the main creative writing activities, chapters cover other practices, from translation to starting a small magazine and from memoir writing to writing for children. Contributors are all experts in their fields: poets, novelists, dramatists, agents, publishers, editors, tutors, critics and academics. Anyone with an interest in creative writing will find this book invaluable in developing their own creative writing projects and as a way into new areas of writing activity. Key Features *The only book to combine the theory and practice of writing with detailed advice on the business of writing and living as a writer *Combines breadth and depth with original thinking on creativity and evaluation of creative work *Shows ways of approaching the task of writing and how to improve one's work *Presents material which is hard to find elsewhere, e.g. writing for teenagers; writing humorous fiction; finding a film agent.
(source: Nielsen Book Data)
An extensive, practical and inspirational resource, this three-in-one volume is aimed at students and practitioners of creative writing at all levels. As well as the main creative writing activities, chapters cover other practices, from translation to starting a small magazine and from memoir writing to writing for children. Contributors are all experts in their fields: poets, novelists, dramatists, agents, publishers, editors, tutors, critics and academics. Anyone with an interest in creative writing will find this book invaluable in developing their own creative writing projects and as a way into new areas of writing activity.
(source: Nielsen Book Data)

• PART ONE: LEARNING At the Beginning The Training Course Learning Style in a Learning Community Skills and Techniques Experiential Learning PART TWO: COMMUNICATING LEARNING How Do I Know What I Mean Unless I Say (or Write) It? The Requirements of the Course Assessment Starting To Write Writing Takes Form Using Other People's Work Problems, Problems, Problems Motivation, Concentration and Writing Block Writing about Practice PART THREE: CONTINUING TO LEARN AND TO WRITE Beyond the Training Course Continuing To Write Our Experience of Writing This Book.
• (source: Nielsen Book Data)

`This is a very practical "how to" book, written for students on counselling skills courses. It is intended to help them through the various problems faced by people returning to education, perhaps after a long gap.... how useful this book could be to students who [are] confused by the increasingly academic requirements of counselling training courses... I would recommend this book as a companion for anyone who is starting a course with little or no experience of academic expectations. It is written in a friendly and reassuring style' - Counselling, The Journal of the British Association for Counselling This book provides a comprehensive overview of the tasks and the processes of learning and writing required on counselling training courses and in the practice of counselling. The authors cover the entire period of training, from choosing a course to the early stages of professional practice. The first part of the book discusses learning skills, methods and approaches, looking at, for example, the context for learning, motivation and experiential learning. Part Two focuses on course requirements, the form of written assignments - how to complete them and the difficulties that can be encountered - as well as the basics of writing, including language, form and style. The final part looks at the involvement of practising counsellors in continued learning and the kinds of writing that they may develop throughout their careers.
(source: Nielsen Book Data)

• 1. Getting going and warming up
• 2. Theme
• 3. Issue
• 4. Building a character
• 5. Finding the story
• 6. Location
• 7. The individual voice
• 8. Second draft
• 9. Performance projects
• App. A. Adapting the work to the context
• App. B. Leading the process.

Playwriting offers a practical guide to the creation of text for live performance. It contains a wealth of exercises for amateur and professional playwrights. Usable in a range of contexts, the book works as: a step-by-step guide to the creation of an individual play a handy resource for a teacher or workshop leader a stimulus for the group-devised play. The result of Noel Greig's thirty years' experience as a playwright, actor, director and teacher, Playwriting is the ideal handbook for anyone who engages with playwriting and is ultimately concerned with creating a story and bringing it to life on the stage.
(source: Nielsen Book Data)

• 1. Preface. Roz Ivanic's writing and identity (by Barton, David)--
• 2. Introduction (by Carter, Awena)--
• 3. List of contributors--
• 4. Acknowledgements--
• 5. List of figures--
• 6. Part I. Creativity and identity--
• 7. Reflection
• 1. Writing a narrative of multiple voices (by Cazden, Courtney B.)--
• 8.
• Chapter 1. Writers and meaning making in the context of online learning (by Lea, Mary R.)--
• 9.
• Chapter 2. 'Wrighting' a multimodal text. (by Parkin, Sue)--
• 10. Reflection
• 2. Identity without identification (by Gee, James Paul)--
• 11.
• Chapter 3. Authoring research, plagiarising the self ? (by Edwards, Richard)--
• 12.
• Chapter 4. Creativity in academic writing: Escaping from the straitjacket of genre (by Hamilton, Mary)--
• 13. Reflection
• 3. Overcoming barriers (by Horner, Bruce)--
• 14. Part II. Pedagogy--
• 15. Reflection
• 4. Writing pictures, painting stories with Roz Ivanic (by Taylor, Denny)--
• 16.
• Chapter 5. Discourses of learning and teaching: A dyslexic child learning to write (by Carter, Awena)--
• 17.
• Chapter 6. Accommodation for success: Korean EFL students' writing practices in personal opinion writing (by Lee, Younghwa)--
• 18. Reflection
• 5. Collegiality and collaboration (by Tusting, Karin)--
• 19.
• Chapter 7. Advanced EFL students' revision practices throughout their writing process (by Camps, David)--
• 20.
• Chapter 8. Reconceptualising student writing: From conformity to heteroglossic complexity. (by Scott, Mary)--
• 21. Reflection
• 6. Roz and critical language studies at Lancaster (by Fairclough, Norman)--
• 22. Part III. Methodology--
• 23. Reflection
• 7. Sharing writing, sharing names (by Janks, Hilary)--
• 24.
• Chapter 9. Bringing writers' voices to writing research: Talk around texts (by Lillis, Theresa)--
• 25.
• Chapter 10. Listening to children think about punctuation (by Hall, Nigel)--
• 26. Reflection
• 8. Ivanic and the joy of writing (by Russell, David)--
• 27.
• Chapter 11. Recontextualising classroom experience in undergraduate writing: An exploration using case study and linguistic analysis (by Walko, Zsuzsanna)--
• 28.
• Chapter 12. Researcher identity in the writing of collaborative-action research (by Qadir, Samina Amin)--
• 29. Reflection
• 9. An appreciation of Roz Ivanic (by Street, Brian)--
• 30. Works by Roz Ivanic referred to in this book--
• 31. Index.
• (source: Nielsen Book Data)

This book brings together the work of scholars from around the world - UK, Pakistan, US, South Africa, Hungary, Korea, Mexico - to illustrate and celebrate the many ways in which Roz Ivanic has advanced the academic study of writing. Focusing on writing in different formal contexts of education, from primary through to further and higher education in a range of national contexts, the twenty one original contributions in the book critically engage with theoretical and empirical issues raised in Ivanic's influential body of work. In their exploration of writers' struggles with the demands of dominant literacy the authors significantly extend understandings of writing practices in formal institutions. Organized around three themes central to Ivanic's work - creativity and identity; pedagogy; and research methodologies - the twelve chapters and nine personal and scholarly reflections reveal the powerful ways in which Ivanic's work has influenced thinking in the field of writing and continues to open up avenues for future questioning and research.
(source: Nielsen Book Data)

• Cover; Contents; Introduction;
• 1. The Soap Writer''s Remit;
• 2. Once Upon a Story Conference;
• 3. Whey-hey! A Commission! Now What?;
• 4. Page One, Scene One, Speech One;
• 5. More Soap Ingredients;
• 6. Really Nearly Real;
• 7. On the Hook;
• 8. No, I Liked It. I Did. It''s Just ... ;
• 9. Health Warnings;
• 10. Sample Storyline Breakdown;
• 11. Sample Script;
• 12. And the Next Exciting Episode?; Index; A; B; C; D; E; F; G; H; I; L; M; N; P; R; S; T; V; W.

This updated edition looks at all the latest markets for comedy writers, with new material on writing 'The Office' style docu-comedies, writing for children's TV, and even how to try out your own jokes in stand-up comedy routines. Comedy has blossomed into one of the most high profile and glamorous areas of the entertainment industry but it is often perceived as one of the hardest writing jobs. In the third edition of this highly regarded handbook, John Byrne breaks down the basics of writing comedy into simple steps and shows how to make the most of your writing talent and your ability to market that talent.
(source: Nielsen Book Data)

• T.
• 1. Vom Sinn des Schreibens : Schrift und soziales Gedächtnis bei den Franken
• Überleitung
• T.
• 2. Vom Gebrauch des Geschriebenen : Herrschaft, Verwaltung und pragmatische Schriftlichkeit im Spätmittelalter
• Ausblick.

• Foreword: Writing and Civilization
• 1. Aristotle's Abecedary
• 2. Structuralism in the Scriptorium
• 3. Writing off the Page
• 4. Notes on Notation
• 5. Alphabetical Disorder
• 6. Ideographic Hallucinations
• 7. On the Dotted Line
• 8. Beyond the Linguistic Pale
• 9. Mightier than the Word.
• (source: Nielsen Book Data)

The traditional Western view of writing, from Aristotle down to the present day, has treated the written word as a visual substitute for the spoken word. The eminent Swiss linguist Ferdinand de Saussure (1857-1913) was the first to provide this traditional assumption with a reasoned basis by incorporating it into a more general theory of signs. In the wake of Saussure's work, modern linguistics has ignored or marginalized writing in favour of the study of speech. In all literate societies, however, speech in turn is interpreted by reference to the culturally dominant writing system. This puts in place a system of educational values which ensures that the more literate members of society maintain superiority over the less literate, and at the same time establishes a hierarchy among literate societies which favours the local product (alphabetic scripts in the Western Case). Roy Harris shows that the theory of writing adopted in modern linguistics is deeply flawed. Reversing the orthodox priorities, the author argues that writing is a far more powerful mode of linguistic communication than speech could ever be. His book is a major contribution to current debates about human communication written and spoken.
(source: Nielsen Book Data)

• pt.
• 1. Linguistic aspects of writing
• pt.
• 2. Historical aspects of writing
• pt.
• 3. Psychological aspects of writing.

TRENDS IN LINGUISTICS is a series of books that open new perspectives in our understanding of language. The series publishes state-of-the-art work on core areas of linguistics across theoretical frameworks, as well as studies that provide new insights by approaching language from an interdisciplinary perspective. TRENDS IN LINGUISTICS considers itself a forum for cutting-edge research based on solid empirical data on language in its various manifestations, including sign languages. It regards linguistic variation in its synchronic and diachronic dimensions as well as in its social contexts as important sources of insight for a better understanding of the design of linguistic systems and the ecology and evolution of language. TRENDS IN LINGUISTICS publishes monographs and outstanding dissertations as well as edited volumes, which provide the opportunity to address controversial topics from different empirical and theoretical viewpoints. High quality standards are ensured through anonymous reviewing.
(source: Nielsen Book Data)

• Introduction-- How To Create Marketable Premises For Motion Pictures And TV-- How To Develop A Marketable Story-- How To Write The Story-- Dramatic Elements And Act Structure-- How To Develop Credible And Castable Characters-- How To Write Realistic Dialogue-- Spec Screenplay Format-- How To Write Effective Scenes In Screenplays-- Script Revisions-- Television Sitcom Format-- How To Write Professional Scenes In Sitcoms-- Animation, Interactive And New Media, And Nonfiction Entertainment-- Television Drama Format-- How To Write Professional Scenes In TV Drama-- Soap, Talk Show, And Variety-- How To Create New Television Series-- How To Sell Your Motion Picture Screenplay-- How To Sell Your Television Script-- National And State Funding Sources-- Where To Go Next-- Annotated And Selected Bibliography.
• (source: Nielsen Book Data)

Now in its fourth edition, Television and Screen Writing: From Concept to Contract is a classic resource for students and professionals in screenwriting and television writing. This book will teach you how to become a creative and marketable writer in every professional arena - including major studios, production companies, networks, cable and pay TV, animation, and interactive programs. Specific techniques and script samples for writing high-quality and producible "spec" scripts for theatrical motion pictures, the sitcom series, one-hour dramatic series, longform television, soaps, talk show, variety, animation, interactive and new media are provided. Television and Screen Writing: From Concept to Contract, Fourth Edition also offers a fully detailed examination of the current marketplace, and distinct strategies for marketing your scripts, from registering and copyrighting the script to signing with an agent. This new edition has been expanded to include the most up-to-date creative and professional script samples, marketing resources, and practical information possible. The companion website (www.focalpress.com/companions) offers a wide range of contacts and resources for you to explore, and Internet links to professional resources. There is also an Annotated and Selected Bibliography for your reference.
(source: Nielsen Book Data)

• Part one: The dissertation and its assessment
• Judging dissertations
• Achieving excellence
• Universal qualities of a dissertation
• Disciplinary approaches to doctoral training and the development of a dissertation
• Converting performance expectations into rubrics
• Conclusions, implications, and recommendations
• Part two: The disciples
• The biology dissertation
• The physics dissertation
• The electrical and computer engineering dissertation
• The mathematics dissertation
• The economics dissertations
• The psychology dissertation
• The sociology dissertation
• The English dissertation
• The history dissertation
• The philosophy dissertation
• Appendix A: List of participating universities, deans, coordinators, and facilitators
• Appendix B: Details on the study's methodology.

An excellent resource for graduate students beginning the dissertation phase, for faculty who serve on dissertation committees or as dissertation advisors, and for faculty who may teach dissertation process courses. The text is also a valuable resource for academic departments who may want or need to develop dissertation standards from the ground up or to revamp their existing standards and expectations. The strength of Lovitts' book lies in the practical usefulness of the text...and its functionality for different academic disciplines. "?The Review of Higher EducationThis book and the groundbreaking study on which it is based is about making explicit to doctoral students the tacit rules for the assessment of the final of all final educational products the dissertation. The purpose of defining performance expectations is to make them more transparent to graduate students while they are in the researching and writing phases, and thus to help them achieve to higher levels of accomplishment.".
(source: Nielsen Book Data)

• Getting Started in Medical Writing.- Basic Writing Skills.- From Page One to the End.- Technical Issues in Medical Writing.- What's Special About Medical Writing?- How to Write a Review Article.- Case Reports, Editorials, Letters to the Editor, Book Reviews and Other Publication Models.- Writing Book Chapters and Books.- How to Write a Report of a Clinical Study.- Getting Your Writing Published.
• (source: Nielsen Book Data)

This book is for any clinician who wants to write. It is for the physician, physician assistant, or nurse practitioner who sees patients and also wants to contribute to the medical literature. It is for the assistant professor aspiring to promotion and the clinician in private practice seeking personal enrichment. Loaded with practical advice and real-world examples, this text benefits readers who are new to medical writing and those who have authored a few articles or chapters and want to improve. Readers relate to this book because it is written by someone who has been in their shoes. Dr. Robert B. Taylor is a leader in the field of family medicine. Unlike the authors of many other books who have little experience outside of academia or publishing, writing is just one component of his career. He wrote this book to share what works and what doesn't in medical writing. Clinicians learn how to translate observations and ideas from their practices into written form and eventually into print.
(source: Nielsen Book Data)

Writing in Psychoanalysis is the first volume in the projected Monograph Series, Psychoanalytic Issues, the Rivista di Psicoanalisi (the Journal of the Italian Psychoanalytic Society) is undertaking in conjunction with Karnac Books. The series constitutes a major effort to bring about a dialogue among psychoanalysts who while ultimately bound together by a common psychoanalytic heritage nonetheless are separated in their thinking by different idioms, whether linguistic or theoretical. While featuring writers of very different idioms, this series will also present a venue to make some important Italian voices known to English speaking analystsA beautiful and thoughtful collection of essays on writing, reading and learning, it grows out of a colloquium. The results are wondrous and impact on the reader at many different levels. In the act of writing, we all discover something about what we know previously unknown to us, and we learn more about our inner world than we knew before we set pen to paper (or hand to computer). Patrick Mahony goes as far as to argue that Freud's self-analysis was essentially a "writing cure".
(source: Nielsen Book Data)