If you have ever been to one of my workshops in the last decade, you will probably have done this warm up. In fact, if you came to a multi-day writing retreat I ran, you would have done this at the beginning of each day. It is the most powerful, most flexible, simplest tool in my writing tool box.
Here is a list of 12 writing gifts to give the writer in your life this Christmas. (The writer is you).
With major strides forward in AI (artificial intelligence/machine learning), computers are increasingly able to produce music, images and text. So you might wonder if soon we’ll have an AI that can write your PhD for you.
There is another intermediate stage of editing, which is typically called ‘line edits’ in creative writing. This is the edit that is all about style and grace, about flow, about clarity and voice. In other words, this the edit that is absolutely not essential and many academic writers don’t bother with it. It’s a ‘nice to have’, a cherry on the cake, which is why I haven’t written about it before.
The book is now in with the series editor and going out to reviewers (2 weeks late, but also 2 weeks before the deadline I had written on my otherwise trusty whiteboard… a story for a later post!!). So in this little writing block I had in my day—too small for getting back into another big project—I thought I’d warm up the blog machine.
If you have ever learned the piano, you may have had to do ‘five finger exercises’—little pieces that are less about their musical value, and more about making you use all five fingers on your hands, to improve your technique. They are warm-ups, strengthening and skill-building exercises. They are part of the invisible part of performing music—I have never seen a concert performance of these exercises, but I’m also certain that every concert pianist I have ever paid to listen to, has done hours and hours of them in their time.
I just finished the first full draft of the Writing Well and Being Well book, and that means it’s time to go through the structural edits.
This blog post documents how I did it this time.
When I was part of the La Trobe RED team, and we were running our Accelerated Completion Programme for late-stage PhD candidates, we got people to do a thing we called a ‘writing audit’, where you counted up what was in all the sections of your PhD, and then worked out what was still missing. It could be scary, or a massive relief, but either way it gave you a sense of where you actually were.
You don’t have to use the traditional Aristotelian formula for structuring your research story—but it is the most common way to do it, so it’s what people will expect as a default. Doing something unexpected isn’t an issue, you’ll just have to be clear and upfront about what you are doing instead. Use your citations, your methods, key words, and your explanation of how you will structure your writing in the introduction to help the reader expect your non-linear path.
This post encourages us to think deeply about how authorship debates are part of broader questions of what authorship is for, who it is for, and who benefits from it. The examples in this post help us to see that there are established of ways of attributing authorship that can acknowledge these collectives, and perhaps encourage us to be innovative or accurate in our authorship practices.
