Author Archives: Rachael Cayley

The Discomforts of Uncertainty

One of the overarching themes of this blog is my faith in the power of writing as a way of clarifying what we are thinking. Just write. Let yourself write. Make yourself write. Nothing is set in stone. Try things out. Decide later if you want it. Writing alone will tell you whether something needed to be written. While I remain entirely committed to this notion, I think it is important to articulate the ways that this practice can be hard. After the great reaction to my last post on the inherent difficulties of academic writing, I thought it might make sense to devote some time to difficulties we are likely to encounter when trying to put common writing advice into practice. In this post, I’m going to talk about two ways that exploratory writing can be a source of discomfort.

In the first place, exploratory writing can be nerve-racking. Even if we tell ourselves that nothing is set in stone, we may still feel the weight of the chisel in our hands as we write. What if this isn’t what I need to say and what if I’m unable to change it later? ‘Write now, edit later’ may in fact be good advice, but we can still feel as though we are digging our own graves with every new word. At some point in the drafting process, most of us will lose faith in our own abilities as an editor. This feeling of dread requires delicate handling. Good writing rarely feels like good writing. So giving up on a direction in our text because we’ve decided it’s awful is a risky proposition. In general, I try to keep faith with my early drafts, forestalling my own anxiety with the recollection of all those times that I’ve been pleasantly surprised by a text that I thought was irredeemable. Of course, there are times when we need to cut our losses. I’ve talked about being willing to get rid of ‘perfectly good writing’ later through editing. But there may also be times when we need to pull the plug on the grounds that the incoherence feels unmanageable. A compromise option is to carry on while using a different font to signal to ourselves that we’re on thin ice. The simplest way of doing this is by using all caps, but a distinct colour or a fancy handwriting fonts (I like Segoe Script) can also work. The important thing is convince ourselves that we’re just spitballing. This lack of commitment can help us to overcome anxiety that might otherwise stop us from writing.

A second difficulty with exploratory writing can be the disorienting experience of returning to the text during editing. We may experience a kind of vertigo caused by a sudden uncertainty about what we actually want to say. Did we mean to say ‘A causes B’ or should it be ‘B causes A’? And how are such fundamental questions even possible? Shouldn’t we just know what we are trying to say? We naturally feel that the decision ought to be made on some bedrock of intention. Which is fine except that the unsaid is often still unknown, especially in the case of writing that is very abstract; the first draft is often the first opportunity to make a decision about meaning. We are rarely in the position of simply ‘writing down what we think’. Instead, we are putting words together in a way that then shapes meaning. Sometimes the editing process can show us—in a helpful way—what we’ve been trying to figure out in our heads. But other times it shows us puzzling statements that we may or may not be able to claim as our own. The demands of syntax or the limits of our ability to craft sentences can lead us to say things that we may not recognize. This experience can be alienating and can easily make ourselves doubt our own capacity as writers.

These two types of anxiety can both be traced back to a decision to use writing as a way of figuring out what needs to be said. To me, the other option—waiting to write until we know what we want to say—would be fine except that it doesn’t work for most people. Without the challenge of writing, most of us can’t articulate meaning. But if we are going to treat exploratory writing as an essential part of our process, we need to be aware of the anxiety it can produce, during both the writing and editing process. That anxiety, while unpleasant, isn’t a sign that things are going badly; on the contrary, the uncomfortable uncertainty of a first draft is often a sign that we are on our way to making the decisions necessary for a successful final draft.

Imposter Syndrome and Academic Writing

I’ve always been a bit sceptical about the frequent invocation of imposter syndrome. I recently heard someone say that all academics have imposter syndrome, and that claim confirmed why I am hesitant about the designation. If everyone suffers from a particular syndrome, it starts to seem less like a syndrome and more like the human condition. Or, in this case, the academic condition. But before I explore my objections, let’s consider what imposter syndrome is.

Imposter syndrome is the feeling that we aren’t qualified or entitled or competent but that we have somehow managed to fool people into thinking that we are. It is often described as a failure to internalize success. (If you want more information, here is a webpage with an extensive bibliography.) It’s easy to see how these feelings take root in academics. At many points—especially early on—we are judged on our potential while being given very little concrete feedback on our finished work. The emphasis on the potential over the actual easily leads to anxiety. We are admitted to graduate school on the basis of past performance and a statement of what we hope to do in the future. The grant application, the conference abstract, and the dissertation proposal all follow the same pattern: we write a compact and aspirational text and then start to worry that we won’t be able to produce the actual work. Not living up to our promising promises will lead to us finally being revealed as the frauds we secretly believe ourselves to be.

Needless to say, this description rings true for lots of us and shows an awful cycle in which successes can make some people more uneasy. Instead of enjoying being ABD, a doctoral student might believe that, with all the ‘easier’ steps completed, she will now be unable to write the dissertation. The imposter mindset is pernicious because it often feels cumulative; each new success means that the fraud has still not been detected, making the eventual unmasking of the imposter even worse. Imposter syndrome thrives when we fail to take into account the meaning of all the success we experience. The antidote is to trust the people who grant us approval along the way. Think of how easily we often denigrate that approval: ‘I was just lucky.’ ‘It was a weak field of applicants.’ ‘Nobody else was available.’ Any of those statements could be true—and there are real benefits to humility—but we almost never know them to be true. We all need to trust the experience and expertise of the people who express approbation. Of course, any given evaluator may in fact be throwing a stack of papers down the stairs and using the results to make decisions, but such randomness is rare. Over time, positive results mean something, and dismissing those positive responses as error or luck denies us the opportunity to deepen our confidence in our own abilities. (Here is a helpful post from Inside Higher Ed on the role of mentoring in managing feelings of inadequacy in graduate school. And another from The Singular Scientist blog that deals with the full spectrum of under- and over-confidence.)

Given all this, surely it seems useful to talk about imposter syndrome. I certainly encourage graduate students to be reflective about the way that approbation functions in academia. We can all benefit from being able to take a compliment. And there are people whose sense of their own imposterhood is so deep as to be a significant impediment to their work. So I am not objecting to the use of the term, but rather to the notion that it applies to all of us. In other words, my objection is to the way that a universal application of the term appears to pathologize inevitable aspects of academic life.

This overuse of the term concerns me for two reasons. In the first place, if the term is used to describe everyone, then it doesn’t have much power left to help those who are genuinely suffering. Those who need  resources to help them find a way to internalize their successes might be helped by having the term reserved for a more specific condition. What’s more, the widespread use of the term can hide the ways in which some people are made to feel as though they are imposters. Some may experience imposterhood all on their own, but others are having these thoughts thrust upon them by an inhospitable academy. You can’t be expected to solve your own sense of imposterhood when attitudes towards your identity–as a woman, a racialized person, an LGBTQ person, a disabled person, a first gen graduate student, a second language user–demonstrate an ongoing belief that you don’t belong.

In the second place, I worry that treating dis-comfort as exceptional contributes to the notion that we ought to feel comfortable. In particular, I am troubled by the notion that we ought to feel comfortable about academic writing. Writers must learn to live with a great deal of uncertainty and vulnerability. Exposing our ideas to public scrutiny is uncomfortable, and recognizing that discomfort as inevitable can actually help make us more comfortable. The recognition of discomfort acknowledges the inherent and ongoing challenges of academic expression. It helps keep us humble, which matters if we are going to produce interesting and honest work. It makes us work harder than we might otherwise do. Academic writing is a struggle and not a realm in which confidence and complacency are ever likely to predominate. It’s not my intention to valorize any notion of suffering for art, but rather to accept the likelihood that producing good academic prose that we are willing to present to the public will be a struggle. Students often seek out writing instruction so that the writing process will become easier. However, in many cases, it’s more realistic to focus on writing better than to focus on lessening the emotional costs of writing. This acceptance of writing as an intrinsically challenging act seems particularly important for novice writers who often assume that the challenges come from their inexperience rather than from the very nature of academic writing.

Overall, while I see great benefit in understanding the dynamics of imposter syndrome, I want to be cautious about the idea that there is something wrong with us if we find academic writing deeply challenging. For most academic writers, the best course of action may be to acknowledge the psychic toll that writing takes and to focus on acquiring strategies to make both the writing and the writing process better.

Truth in Outlining

Recently I was working on a reverse outline of a text that I’d been struggling with. As I tried to write the outline, I could feel the basic incoherence of my text; it can be hard to write an outline when the paragraphs aren’t related to one another or even properly unified internally. But rather than let that incoherence become visible by honestly recording what I’d done, I began to nudge the outline into coherence. So I was left with a text that I knew was terrible, but an outline that allowed me to pretend that things were actually okay.

Despite the allure of the illusion that all was well, I did realize that I was cheating. Reluctantly, I returned to the document and did a proper reverse outline that showed what was wrong: necessary transitions were missing and the emphasis was misplaced. I was then able to rework the outline into a more coherent form, and, with that new-and-improved outline, I was able to revise the text. Problem solved. But the experience reminded me how easy it is to collapse the reverse outlining process by skipping the necessary step of creating a truthful and possibly terrible outline. Our immediate goal in reverse outlining isn’t the creation of a coherent outline. First, we must create an honest outline with all the warts showing; then we can craft a better outline that will act as a guide to revision. By collapsing those two steps into one, all I had done was paper over the ugly flaws in my early draft.

Reflecting on this experience reminded me of a recent reaction to reverse outlines from a student. After I described the process of creating a reverse outline, she argued that it was fine for all those people who write coherent first drafts but that it wouldn’t work for her. Clearly I wasn’t doing a very effective job in the classroom that day! First, I’d failed to make it clear that there aren’t any ‘people who write coherent first drafts’. Or maybe there are some, but they aren’t the norm, and aspiring to become one of those people can be a frustrating approach. Better to aspire to write coherent subsequent drafts and to allow those first draft to help you to figure out what you need to say about the topic. Second, I must have done a bad job describing the reverse outline itself because it is, in fact, the perfect strategy for handling chaotic first drafts. But it only works if we tell the absolute truth in the outline and don’t allow wishful thinking to creep in. The point is to find out what you’ve got. If you cheat—as I did above—you won’t be able to see that. Let the reverse outline do the work it was meant to do, even if that means confronting how far you still have to go.

Social Media and Expertise

This summer break from blogging was entirely necessary, but I have missed writing here. I’d like to ease my way back in with some reflections on the nature of the ‘expertise’ presented in a blog like this one.

In June, I was at a conference and, as usually happens, I found a theme emerging over the weekend. Not the explicit conference theme, but rather a notion that came up again and again regardless of the stated topic. Of course, to some extent, we all inevitably hear what we are primed to hear. And for me, this conference was about notions of expertise. How do we establish expertise about writing? In particular, given the topic of my own presentation, I was interested in questions of social media and expertise.

My presentation concerned the way social media participation might act as academic production for writing instructors in Canada. While allowing that a marginal status within the university might lead some writing instructors to adopt a more traditional attitude towards the established norms of scholarly publishing, I ultimately argued that writing instructors have much to gain from an expanded notion of academic production. In particular, I focused on three ways in which social media participation based around blogging might prove useful to writing instructors. First, a non-traditional appointment of the sort that is common for writing instructors gives latitude for exploring emerging styles of academic communication. Second, most writing instructors have limited time for research while still needing research engagement to thrive in our roles; social media participation offers a more flexible model of engagement. Third, our work as writing instructors requires that the needs of students be primary. As a species of academic publishing, blogging allows us to speak in a way that can reach students as well as peers.

At its root, blogging is about sharing expertise in a way that relies upon a crowd-sourced, DIY form of peer review. I give writing advice here on the blog in the same spirit that I give writing advice in the classroom. That is, I openly acknowledge that there can be no one-size-fits-all approach, and then I make very particular suggestions. In doing so, I am claiming a certain expertise about writing based on my previous work with writers. Readers and students alike have to decide if the approach is valuable to them. Advice about writing is always idiosyncratic, but tends on occasion to present itself as universal. In my view, far too much of what is said about academic writing underestimates its own specificity. In fact, writing advice gains value precisely by being framed as a matter of particular experience. Rather than rejecting the particular or framing the particular as universal, we should be offering support and concrete suggestions to improve the writing process.

Taking some time away from blogging has helped me to reflect on the status of the advice that I give here. I also had a chance to spend two amazing weeks at a research methods seminar; this experience gave me the time to think more about the way epistemological questions affect how we teach and talk about writing, both in the classroom and through social media. I’m so grateful to the seminar organizers and participants for giving me so much to think about as I embark on my year’s sabbatical.

I hope you’ve all had enjoyable and productive summers. I’d love to hear what topics you’d like me to cover in the coming weeks and months; if you have any thoughts, let me know in the comments or via Twitter.

Links: Summer Edition

Explorations of Style is going on a summer hiatus. I’ll be back in the middle of August, after a family vacation and a summer research institute. While I’m away, I’m going to experiment with reprinting some older posts. Many of you are recent followers of the blog and may not have seen the earlier posts. I’m going to resist the almost-irresistible temptation to update those posts, but I welcome, as always, your comments about what needs more clarity. When I return from the summer institute, I’m beginning a sabbatical, which will give me some time to devote to all the half-written posts I’ve accumulated over the course of the year. I also plan to create some sort of annotated table of contents to help new readers find what they need in the archives; if you have any thoughts about how to make any aspect of the blog easier to use, please let me know.

I wish you all a happy and productive summer of writing!

Recent links from @explorstyle on Twitter

From @thesiswhisperer, a post on finishing and feeling finished.

From @readywriting, a project to create a list of academic blogs across the disciplines. Add yours!

From @DocwritingSIG, an account of different disciplinary approaches to publishing during the PhD.

From @ThomsonPat, a great account of different reading strategies. Don’t try reading in graduate school without a strategy!

From @monkeycageblog, an interesting question about the relationship between academic writing and the humanities.

A good summary of what @Feedly has done over the last 100 days to welcome new users.

From @chronicle, interesting reflections from a self-aware grammar stickler.

From William Helmreich in @insidehighered, advice on the job interview.

From @chronicle, the Ph.D. Placement Project, an information gathering project on post-PhD employment.

From @NewYorker, the relationship between thought and writing on Twitter.

From @thesiswhisperer, a post on the status of research Masters students.

From @fishhookopeneye, a reminder that commenting on blogs is an important part of social media participation.

From Mary Ann Mason in @Slate, child-bearing and academia.

From Geoffrey Pullum in Lingua Franca, the tension between editorial practices and academic approaches to usage.

From the New APPS blog, strategies for productive writing for early career researchers.

From @insidehighered, guidance on the early stages of a job search.

From @WmGermano, in praise of very, very long words.

From @TheAmScho, interesting thoughts on the psychology of how we use acronyms.

From @qui_oui, a great piece on fat shaming in academia, reminding us it’s not just about social media etiquette.

From @ProfessorIsIn, creating space for writing amid the busyness of teaching, service, and family.

From @chrishumphrey, concrete and helpful advice on doing a non-academic job search.

From @ThomsonPat, a discussion of the value of specific headings and subheadings in academic writing.

Maybe I shouldn’t be spending so much time trying to craft the perfect ending to my blog posts, via @Slate.

From @GradHacker, advice about finding new productivity strategies to support graduate study.

From @DocwritingSIG, why doctoral study can be different for mothers.

Lots to think about here, but at what point does banning laptops become like banning pen and paper for some students?

From @byagoda, using the word ‘blog’ to refer to a ‘blog post’. I use ‘post’, but is there a better option?

From @RohanMaitzen, thoughtful comments on the relationship between blogging and academic publishing.

From Claire Goldstene, an interesting long read on the politics of contingent academic labour.

From the CAUT Bulletin, a reminder about the vital importance of childcare at conferences.

A Question of Parallelism

The following letter was sent to me recently. After replying to the letter directly, I asked if I could reprint a version of the letter here on the blog. The letter writer’s problem was simple, but extremely common: the almost-parallel sentence. The fact that the necessary changes are small doesn’t mean that they are insignificant.

Dear Rachael:

Could you please tell me if the punctuation in the following sentence is correct?

I have learned humility and empathy volunteering in remote barefoot hospitals on the Burmese border; I have learned the values of respect and dedication working alongside families in the rice fields of Thailand; I have learned patience and responsibility while educating both children and elders in village schools in Ecuador, and I have discovered the worth of companionship and the value of support systems while working with abandoned children in Cambodia.

Here is a reworked version of my reply:

The problem with the punctuation in this sentence is inconsistency. These list items could be separated by either semicolons or commas, but the pattern should be followed consistently. Here are three options:

ONE: The same pattern, used consistently

I have learned humility and empathy volunteering in remote barefoot hospitals on the Burmese border; I have learned the values of respect and dedication working alongside families in the rice fields of Thailand; I have learned patience and responsibility while educating both children and elders in village schools in Ecuador; and I have learned the worth of companionship and the value of support systems while working with abandoned children in Cambodia.

The simplest solution: use the same verb in all four instances and replace the final comma with a semicolon. The benefit of this approach is the emphasis that comes via the repetition of ‘I have learned’; that simple repetition can help to draw the reader’s attention to the four different experiences. The downside is the repetition and the limits imposed by using a single verb to express many different things.

TWO: A similar pattern, with four different verbs

I have learned humility and empathy volunteering in remote barefoot hospitals on the Burmese border; I have experienced the values of respect and dedication working alongside families in the rice fields of Thailand; I have demonstrated patience and responsibility while educating both children and elders in village schools in Ecuador; and I have discovered the worth of companionship and the value of support systems while working with abandoned children in Cambodia.

In this case, the four different sentences are given different verbs. This version avoids repetition and gives the writer the opportunity to express more nuance.

THREE: A different pattern, with one verb followed by a list

I have learned many things from my work in the field: humility and empathy volunteering in remote barefoot hospitals on the Burmese border; the values of respect and dedication working alongside families in the rice fields of Thailand; patience and responsibility while educating both children and elders in village schools in Ecuador; and the worth of companionship and the value of support systems while working with abandoned children in Cambodia.

Here, the list is placed after a single verb. This approach works well when repetition is undesirable and when that single verb applies equally well in all cases.

Overall, the writer must consider meaning, preference, and context to decide on the best way to establish parallelism. Once we identify faulty parallelism, our decision about how to fix it must be based on a renewed understanding of what we are trying to say. And once that meaning is clearer to us, we can make further refinements based on our own stylistic preferences and any particular demands of the context in which we are writing.

Finally, the original question asked only about punctuation, so I focused my revision on the punctuation and the structuring of the list. Parallelism, of course, also relies on parallel expression. In this example, parallelism could be further improved by a consistent use (or omission) of ‘while’ and by a more consistent pattern across the four sentences.

You Know It and I Know It

A recent post from the After Deadline blog about the use of ‘of course’ got me thinking. Mostly I started thinking about how much I rely on ‘of course’ and similar expressions such as ‘needless to say’ or ‘obviously’. These expressions are so handy since they allow us to reiterate or reinforce aspects of our text without appearing too obvious or unsophisticated. Here are some examples, found with very little effort from earlier posts:

According to this breakdown, signposting is, of course, a form of metadiscourse. The reason I like to pull signposting out and treat it separately is the tendency of novice academic writers to neglect it. (Signposting and Metadiscourse)

There are, of course, many different strategies for making the initial drafting process more fluid. (The Pace of Academic Writing)

The extent of the context given here will depend on what follows the introduction; if there will be a full lit review or a full context chapter to come, the detail provided here will, of course, be less extensive. If, on the other hand, the next step after the introduction will be a discussion of method, the work of contextualizing will have to be completed in its entirely here. (Structuring a Thesis Introduction)

 I recognize, of course, that academic writing is not an engine that will run on love alone. (Writing and Enjoyment)

In all of these cases, you can see that the ‘of course’-statements are pretty obvious; the reader isn’t reliant upon those statements for new information. And if I presented the information as novel—without the metadiscoursal mediation—my readers might become suspicious. How could they trust me if I were to repeat myself or provide self-evident material as though it were new and noteworthy? But using ‘of course’ shows that I’m not trying to tell them something new; instead I’m trying to anticipate objections, add emphasis, acknowledge divergence, manage parallel structure, etc. Looked at that way, you can see that these statements may be obvious in and of themselves, but they still have a role to play in the broader argument.

As helpful as these statements may be, we still need to be sure we’re not overdoing it. Are you sure you can’t do without? When you are presenting your own observations as obvious—needless to say!—you need to be confident that you’re not wasting your reader’s time. During editing, all these statements ought to be looked at closely. Another consideration: might you sound condescending? Using ‘of course’ is only effective if your reader is familiar with your claim. Or at the very least doesn’t care about not being familiar. If the ‘of course’ sounds like an implicit judgement, you could alienate your reader:

Her early work is, of course, much stronger than her later work.

If your reader didn’t know that there was an early or late period, let alone that one was better, this statement might fail. To avoid inadvertently excluding our reader, we may wish to adopt a more neutral tone:

As many scholars have argued, her early work is much stronger than her later work.

Or, if you want to let your reader in on even more of the story:

As many scholars have argued, her early work—with its explicitly autobiographical tone—is much stronger than the more experimental work that she produced later in her career.

As with any bit of metadiscourse, we need to ask whether we are creating the optimal relationship between reader, text, and writer. Allowing that something is obvious can be extremely helpful, as long as doing so supports the overall dynamic that we are striving to create.

Recent links from @explorstyle on Twitter

From @evalantsoght, ideas about how to generate conference presentations from research that’s not yet complete.

From @MacDictionary, a great plea for descriptivism.

From Crooked Timber, a fascinating post about employing a former student to critique current teaching practices.

From @chrishumphrey, a list of websites that carry post-PhD interviews and profiles.

From @ThomsonPat, advice on what to do in the event of conflicting reviewer comments.

From the New York Times, Christy Wampole on the value of the essay form: “an imaginative rehearsal of what isn’t but could be”.

Are you a part-time graduate student or researcher? If so, this Twitter Chat on academic writing for part-time people may be of interest.

From @ProfHacker, how grad students must say ‘no’ in order to evolve from student to scholar.

From @LSEImpactBlog, a reblog of my post on articulating the contribution of your academic writing.

From Inside Higher Ed, an attempt to define the academic job market as something other than a lottery or a meritocracy.

From @UVenus, a thoughtful post on deciding not to go to graduate school.

Great comment from @Comprof1 about how lack of ownership may also hinder our ability to articulate our contribution.

From @Gradhacker, the possibility of ‘meta-dissertating’: Can you plan/prepare/organize too much?

From @fishhookopeneye, interesting reflections on negotiating conflicting graduate student identities.

From @ThomsonPat, the perils of ‘early onset satisfaction’, especially given the pressure to publish.

From @scholarlykitchn, a new podcast on projects, issues, and trends in scientific and scholarly publishing.

From @chronicle, a touching letter to Jacques Barzun from his grandson.

Great advice at any stage of your academic career: Make a date with your academic writing.

From @ThomasBasboell, a provocative claim: ‘The paragraph is really the smallest unit of scholarly composition’.

From @GradHacker, a great list of questions to help grad students decide whether to say ‘yes’ or ‘no’ to a request.

From @ThomsonPat, helpful questions about co-writing with a supervisor.

From Crooked Timber, an unusually generous approach to questions of potential plagiarism.

From Inside Higher Ed, more on the Richwine dissertation. Fascinating story for anyone interested in the role of supervisors.

From @academiPad, extremely helpful advice on using QR codes in academia.

From @kar_took, an interesting discussion of the difference between an author and a writer.

From The Singular Scientist, why imagining your audience naked is a terrible idea.

From @ThomsonPat, helpful thoughts on academic self-promotion and how it may vary by nationality, gender, age, &c.

Contribution and Voice in Academic Writing

In my line of work, I hear a lot of sentences that start, ‘My supervisor says …’. And the supervisory comment that seems to elicit the most confusion involves the concept of voice: ‘I can’t hear your voice in this’ or ‘your voice is missing from the text’. In my experience, these concerns are met with a great deal of bafflement from graduate student writers. The reason for this largely baffled response is, I suspect, the way that we tend to think of voice as a feature of literary or expressive writing. Voice is usually associated with the distinctive style of a particular author: the sum total of the way that person writes. Thus, when we hear about a lack of voice, we take that to mean a certain bland quality to the prose or a lack of overall consistency in the diction, the phrasing, the pacing, etc. Given those associations, it’s no wonder that novice academic writers may be puzzled by the suggestion that they lack a voice. Since we cannot fix a problem that we don’t understand, that puzzlement unfortunately often leads to inaction or ineffectual editing.

If, however, we shift from discussing voice to discussing contribution, writers often start to see what might be missing. ‘I’m having trouble seeing the contribution that your work will make to this area of research.’ Articulating our contribution is a significant challenge, but it is a goal that generally makes sense. Moving away from the nebulous concept of voice allows us to direct our attention towards the genuinely difficult task of clarifying our own contribution. There are lots of reasons that this task is so difficult; here are the three that I find most prevalent.

1. Modesty: One fundamental reason for downplaying the novelty of our own work is a lack of confidence. This lack of confidence often manifests itself in an unhealthy reliance upon the existing literature. If you are one of those writers who feels better when thoroughly encased in other people’s insights, you may be under-emphasizing your own contribution. You need to use the scholarly literature to set the stage for your contribution, rather than allowing it to take centre stage itself.

2. Inexperience: Our own contribution can also be neglected when we are unfamiliar with the new genre in which we are working; in other words, we may simply not know how to draw attention to our own contribution. In a recent post on introductions, I emphasize how we can craft an introduction that clarifies the centrality of our own contribution. In general, developing any sort of genre expertise requires a great deal of attentive reading of the sorts of texts that we need to produce.

3. Familiarity: In my view, the most persistent obstacle to a sufficient explanation of our research contribution is our preoccupation with our own material. While we get more and more familiar with our subject matter, our future reader maintains the same degree of unfamiliarity. The longer we spend with a text, the more implausible it becomes that we need to keep reiterating our key contribution. But we cannot ascribe an unrealistic degree of familiarity to the reader just because we are so fully immersed in the document. Finally, keep in mind that your readers will often be experts in the field, meaning that they may be very familiar with everything but the new ideas you are developing. Make sure you are emphasizing the novelty.

Overall, the absence of a well-articulated explanation of the research contribution is a significant weakness for many novice academic writers. But the problem becomes much easier to fix when we confront it head on. If we are sidetracked by the notion of an absent voice, we may fail to solve this crucial problem. To be clear, I am not saying that our academic writing can’t have a distinctive and personal voice; in the long run, most of us are striving to find just that. In the meantime, however, we can all be helped by the reminder that a clear articulation of scholarly contribution is essential in academic writing.

Observing without Judging

In a serene and sunny yoga studio on Saturday morning, my yoga teacher asked us to dedicate our practice to the notion of observing without judging. Being me, I immediately stopped thinking about my practice and started thinking about how this approach might also be helpful for academic writing. When we try to observe without judging we can create a useful middle space between two unhelpful extremes. One extreme would be an entirely negative stance characterized by either scolding or despair; the other extreme would be a neglectful stance characterized by an inattention to writing. Either end of this spectrum will be counterproductive: if we are thoroughly disgusted with our prose or if we are content because we aren’t paying enough attention, we are unlikely to be making the improvement we desire in our academic writing.

The reason I like the yoga analogy is the way it encourages an attitude of positive growth rather than mere criticism. Most people would agree that it sounds funny to say ‘I am terrible at yoga’.* Indeed, if you are trying to be ‘good’ at yoga, you may be going about the whole thing wrong. Is the same true for academic writing? Of course not. We all want to be ‘good’ at academic writing, but saying that we are ‘terrible at writing’ isn’t getting us any closer to that goal. If we could be ‘novice’ academic writers rather than ‘terrible’ ones, we would be positioning ourselves in such a way as to be able to improve through self-aware practice.

An important insight that emerges when we engage in this sort of editorial self-awareness is the difference between bad habits and significant weaknesses. We all need to become aware of own bad habits—feel free to point out how I overuse conjunctions at the beginning of my sentences or how I can’t get through a paragraph without multiple semicolons or how I write annoyingly long interruptions in the middle of my sentences—in order to limit the ill-effects caused by these crutches. These habits are hard to break, but they are not hard to understand. The more significant weaknesses in our writing—the poor structure, the missing information, the logical incoherence—are harder to grasp and require specific strategies for amelioration. Observation alone won’t help; we also need practice to address the deep problems we observe. But by making observation a conscious goal, we can develop a better awareness of where we are now and what we need to do to improve. The key here is to develop this awareness through observation, so we can avoid the discouraging negativity that comes from a single-minded reliance upon judgment.

*Although someone who spends an entire yoga class composing a blog post in her head is at least somewhat ‘terrible at yoga’!

Recent links from @explorstyle on Twitter

From @Jup83 in @LSEImpactBlog, an interesting exploration of whether to cite blog posts in formal academic work.

From @thesiswhisperer, great advice on approaching reading as a research task requiring techniques and strategies.

From @ThomsonPat, ideas about what to do when you find existing work that is uncomfortably close to your own project.

From @ProfHacker, how to better understand committee feedback by recognizing the potential for unrealistic expectations on both sides.

From @ghweldon, a humorous reminder—from outside the realm of academic writing—to keep the poor reader in mind.

From @scholarlykitchn, insights into the tension in academic publishing between the needs of the author and reader.

From @ThomsonPat, the final installment in her series on PhD by publication. The whole series is well worth reading.

I love @KoryStamper’s tweets on the ‘top lookups’ from Merriam-Webster, including explanations of why that particular word at that particular moment.

From @DocwritingSIG, a great post on finding a thesis structure that fits the topic and meets genre conventions.

From @ryancordell in @ProfHacker, a reevaluation of Prezi—and the things it does well—by someone who was initially sceptical.

From @GradHacker, advice on creating a suitably limited PhD project.

From @deandad, a call to think structurally about the job market without blaming the individuals on either side of the desk.

From @literarychica, the limits of using altac as a cure for all that ails the academic job market.

From Lingua Franca, how a slash might actually be a conjunction-slash-coordinator.

From @LSEImpactBlog, a very thoughtful piece on open access publishing and academic freedom.

From Sandra Beasley in the New York Times, an eloquent discussion of what plagiarism isn’t and is and what it takes away.

From @readywriting, a call to consider existing adjuncts when discussing altac career options.

From Lingua Franca, Allan Metcalf wants people with writing peeves to get some new material and he’s got some ideas.

From @NewYorker, on their famous use of the double consonant: “No kidnapper ever focussed so marvellously on this well-travelled territory.”

Full Stop

As I was proofreading something recently, it occurred to me that discussions of punctuation and grammar contain relatively little about the period. If you go looking for information on using periods, you will mostly find technical advice about formatting. Such editorial advice is crucial, but not necessarily of primary interest to the writer. The obvious reason that writers don’t worry much about periods is that their use is pretty straightforward: we use a period after a complete sentence. The period has none of the apparent complexity of the semicolon, the colon, the dash (more on the dash here), or the comma (more on the comma here, here, here, and here). But that relative simplicity doesn’t mean that the decision to use a period isn’t consequential. A period makes evident key authorial decisions: whether to say a lot or a little before stopping; whether to be assertive or interrogative when raising questions; or whether to insert a full stop or just the rolling stop achieved by other types of punctuation. I certainly don’t want to problematize the one piece of punctuation that everyone feels good about, but the ways that we stop in our writing are worth some consideration.

Short vs. long sentences. Any time we use a period, we are deciding whether we want a short or long sentence. If we are generous with our periods, we will be writing clipped sentences; if we are stingy, on the other hand, we will end up with sprawling sentences. Neither is better. The previous sentence, for instance, is short because I want to emphasize it. And its brevity is enhanced by the fact that it follows a longer set of sentences with a semicolon framing their double-barrelled structure. It generally works well to use short sentences for emphasis and longer ones for depth. If we go too far in either direction, the reader will begin to suffer. Too many long sentences coming one after another—even if they are individually well structured—can be fatiguing for the reader. Too many short sentences will disorient the reader since not everything can warrant special emphasis. Those short sentences will inevitably contain unimportant things; the reader’s confidence in you can be undermined if you appear to be emphasizing the insignificant. Creating a healthy mix of short and long sentences can be the best thing for your paragraphs.

Direct vs. indirect questions. What is the impact of asking a question as compared with stating that a question exists? When raising questions in our work, we have to decide whether to use a direct question—i.e., one that ends with a question mark—or an indirect question, i.e., one that ends with a period. When we use too many direct questions, our readers may start to see us as having more questions than actual strategies for answering those questions. An indirect question gives us the ability to articulate a question, which is obviously essential to academic writing, while also indicating our plans for addressing the question.

Full stop vs. rolling stop. As a hopeless over-user of colons and semicolons in my own writing, I have a particular interest in this question. During editing, I often find long strings of sentences, all of which are connected by semicolons. An over-reliance on the rolling stop is a bit like an over-reliance on transition words: it tries to impose flow rather than establishing it. Genuine flow will involve the use of some colons and semicolons; there’s nothing wrong with nudging your reader towards the next sentence. The semicolon says that the next sentence is intimately connected to this one; the colon says that the next sentence completes what is being said in this one. Those relationships are emphasized by the punctuation choice, but the punctuation alone won’t create that relationship. The choice between a full and a rolling stop should be consciously based on an understanding of the nature of the connection between sentences.

In sum, if you understand what is requisite for a complete sentence, your use of periods will be perfectly correct. But thinking about how and why we end sentences can still be a useful avenue for improving the flow in your writing.