Tag Archives: Reader awareness

Conservatism of Expectations

If you’re a regular reader of this blog, you will know that I’ve spent the last few years working on a book about graduate writing. That process is now drawing to a close: Thriving as a Graduate Writer will be published in June! Between now and then, I’m going to use this space to share brief excerpts. In addition to my discussion of principles, strategies, and habits for effective academic writing, the book has short ‘asides’ that allowed me to engage with topics outside that main narrative. Over the next four months, I’ll share my favourites of those asides. As always, I’d love to hear what you think!

Book Cover showing title: Thriving as a Graduate Writer

Conservatism of Expectations

It’s hard to talk about meeting reader expectations as a graduate writer without attending to the conservative implications of prioritizing established expectations. Rather than conform to expectations that feel allied to outdated and inequitable systems, some graduate writers may wish to write differently, in ways that confront or subvert the norms of standard research communication. Resisting those expectations can take many forms: normalizing World Englishes; refusing white supremacy in language; understanding subjectivity in research imagination; drawing upon Indigenous research epistemologies; integrating multimodal research into doctoral theses. Any one of those endeavors could easily be hampered by the replicative nature of doctoral education. And writing in a manner that requires adherence to existing academic practices can be demoralizing; making changes to those practices is central to why some people undertake graduate work. As a result, some writers may choose to discount those norms during graduate work. It’s worth noting that some writers may share those critical commitments while being uninterested in challenging existing norms. Despite wishing change to happen, these writers may feel that their academic work is already unfairly scrutinized or that it isn’t their job to transform academic writing practices. What’s more, some writers in this situation may feel particularly anxious to gain access to a hidden curriculum that others seem to assimilate more easily. Given that range of attitudes and pressures, I think there is value in laying out established conventions in a way that leaves the writer the freedom to choose their own path. Certainly, working around norms—or making norms work for you—is easiest when those norms are well understood. I don’t want the ideas contained within this book to be an impediment to writing in ways that support the work that feels urgent to you; instead, I hope they can be deployed in the service of the academic work that you want to do in the way you want to do it.


Thriving as a Graduate Writer will be available in early June from the University of Michigan Press. To pre-order your copy, visit the book page. Order online and save 30% with discount code UMS23!

Say Less or Say More

If you’re a regular reader of this blog, you will know that I’ve spent the last few years working on a book about graduate writing. That process is now drawing to a close: Thriving as a Graduate Writer will be published in June! Between now and then, I’m going to use this space to share brief excerpts. In addition to my discussion of principles, strategies, and habits for effective academic writing, the book has short ‘asides’ that allowed me to engage with topics outside that main narrative. Over the next four months, I’ll share my favourites of those asides. As always, I’d love to hear what you think!

Book Cover showing title: Thriving as a Graduate Writer

Say Less or Say More

Here’s a common scenario in a writing consultation:

Me: I think this word/phrase/sentence could perhaps be removed.

Writer: Absolutely not, that idea is crucial. 

Me: Okay … but as it’s presented here, it doesn’t seem important.

Writer: How could it be unimportant? This idea is essential to my whole project!

Me: But you haven’t taken the time to show that importance. If the reader does need to know, you’ll need to say more. 

This principle–say less or say more–can be helpful as you decide the level of detail required in your writing. When you confront a sentence that you’re unsure of, first ask yourself if all the detail is necessary. If you decide that everything must stay, then ask yourself a second question: Have you said enough about it? Given all the length restrictions at play in academic writing, writers often try to cram in too much without having the space to do it all justice. Because you yourself know that a detail is significant, you may decide to include it despite the fact that you can’t squeeze in an explanation of that significance. As a writer, you might feel better if you’ve included at least a mention of everything, but your reader might feel worse. Say less or say more.


Thriving as a Graduate Writer will be available in early June from the University of Michigan Press. To pre-order your copy, visit the book page. Order online and save 30% with discount code UMS23!

Style Sheets

If you’re a regular reader of this blog, you will know that I’ve spent the last few years working on a book about graduate writing. That process is now drawing to a close: Thriving as a Graduate Writer will be published in June! Between now and then, I’m going to use this space to share brief excerpts. In addition to my discussion of principles, strategies, and habits for effective academic writing, the book has short ‘asides’ that allowed me to engage with topics outside that main narrative. Over the next four months, I’ll share my favourites of those asides. As always, I’d love to hear what you think!

Book Cover showing title: Thriving as a Graduate Writer

Style Sheets

As early in the drafting process as you can manage, I always recommend creating a document-specific style sheet. A style sheet is nothing more than a record of your decisions, created for the purpose of maximal consistency. The easiest way to create a style sheet is to pay attention to the decisions you make as you go along and then record them. You may have thought that a choice was obvious or that an issue was inconsequential; no matter, if you had to pause to make a writing-related decision, record it in your style sheet. This process will be different for each writer and each project. If you are writing a thesis, you may be working from a provided template that will mercifully cut down on formatting decisions. If you are using a citation manager, you may be spared too much worry about citation formatting. But you will still make a great many decisions as you write, so why not increase efficiency by making those decisions only once? One reason that we fail to take this simple step is that we imagine—at that moment of decision—that we will remember our decision. In fact, we often remember having decided without being able to remember what that decision actually was. Did you choose pre-modern, Premodern, or premodern? Do you use future or present tense for prospective signposting? Do you put the punctuation inside or outside the quotation marks? Do you indent the first line of a paragraph or add an additional space? At what point do you stop spelling out numbers and present them as numerals? Did your abbreviation include the plural, or will you make the abbreviation plural as needed? Are you using the serial comma? Do you know what terms in your field are capitalized or italicized? To answer some of these questions may require consulting resources—such as your disciplinary style guide—but you want to avoid checking those cumbersome resources repeatedly. Instead, once you have resolved an issue, put it in your style sheet. Your future self will thank you.


Thriving as a Graduate Writer will be available in early June from the University of Michigan Press. To pre-order your copy, visit the book page. Order online and save 30% with discount code UMS23!

Advice Translator

If you’re a regular reader of this blog, you will know that I’ve spent the last few years working on a book about graduate writing. That process is now drawing to a close: Thriving as a Graduate Writer will be published in June! Between now and then, I’m going to use this space to share brief excerpts. In addition to my discussion of principles, strategies, and habits for effective academic writing, the book has short ‘asides’ that allowed me to engage with topics outside that main narrative. Over the next four months, I’ll share my favourites of those asides. As always, I’d love to hear what you think!

Book Cover showing title: Thriving as a Graduate Writer

Advice Translator

Since graduate students are so often on the receiving end of advice, some of you might find it helpful to be able to engage in a quick translation process.

Advice: You should do X. 

The person telling you to do X is probably suggesting a way to achieve something (let’s call it Y). Unfortunately, they aren’t talking about the importance of Y or telling you how you might achieve Y; they are just telling you to do X. If all you do is attempt X, without understanding its connection to Y, you might actually make your situation worse. A little further investigation on your part can help translate the advice into something more helpful: 

Translation: You should do X because Y

Once you have that formulation, to can adapt the advice to your own purposes:

Advice you can use: You should do something to achieve Y. 

To make this more concrete, let’s consider a perennial favourite bit of writing advice: 

Advice: You should write in the morning.

This advice is fine if you are a morning person; however, if you are not, you may end up struggling to force yourself to write according to someone else’s temperament. Or maybe you are a morning person, but your life circumstances–the demands of paid work or care work–prevent you from using that time for writing. To avoid the frustration of advice that doesn’t work for you or your life, you can try to understand the underlying reason for the advice: 

Translation: You should write in the morning to avoid wasting your best energy of the day.

Advice you can use: You should find ways to avoid wasting your best energy of the day.

Now the ball’s in your court. You need to identify when you have the most energy and find ways–within the context of your life–to preserve that time for writing. This translation technique has the potential to help you to use supervisory advice, especially when you find it overly attuned to the specificity of someone else’s writing situation. The cliché that all advice is a form of nostalgia can be true. But it’s possible to translate such advice into a more suitable form, thereby deriving the benefit of advice in a way that makes sense in your writing life.


Thriving as a Graduate Writer will be available in early June from the University of Michigan Press. To pre-order your copy, visit the book page. Order online and save 30% with discount code UMS23!

Display Work

If you’re a regular reader of this blog, you will know that I’ve spent the last few years working on a book about graduate writing. That process is now drawing to a close: Thriving as a Graduate Writer will be published in June! Between now and then, I’m going to use this space to share brief excerpts. In addition to my discussion of principles, strategies, and habits for effective academic writing, the book has short ‘asides’ that allowed me to engage with topics outside that main narrative. Over the next four months, I’ll share my favourites of those asides. As always, I’d love to hear what you think!

Book Cover showing title: Thriving as a Graduate Writer

Display Work

A persistent challenge in graduate writing is the demand of what I call ‘display work’: explaining things that the typical reader already knows in order that they will recognize you as a fellow-knower of those things. A certain portion of graduate communication involves relaying information in a manner that is performative rather than purely communicative. This activity is an unusual reconfiguration of normal communication in which you tell people things precisely because they don’t already know them. This performative feature of academic writing can be puzzling and painful to the novice writer. I am frequently asked a version of this question: ‘How much should I say here, when my reader already knows all of this?’ Since this display work is generally obligatory, it’s a good idea to recognize the tension and learn to work with it. During graduate coursework, it can be helpful to think of the audience as someone who has finished the relevant course or program; you won’t have to explain everything, but you will have to cover lots of ground that you may worry will be overly familiar to your actual reader. During thesis writing, the tension becomes more challenging; a thesis is a blend of display work (extensive literature review, expansive methods, comprehensive research results) and the crucial communicative work of conveying your own research contribution. Being aware of the imperatives of both elements of graduate writing can help with establishing the right balance, one that displays your disciplinary competence while also communicating the novelty of your research.


Thriving as a Graduate Writer will be available in early June from the University of Michigan Press. To pre-order your copy, visit the book page. Order online and save 30% with discount code UMS23!

Authorial First Person

There’s one issue that invariably comes up in a graduate writing class: the permissibility of using the first person. No matter what aspect of academic writing I am covering, someone will pose this question. My basic answer is simple: ‘Yes, you can definitely use the first person in academic writing’. To clarify this point, I like to reframe the first person as the ‘authorial first person’: the use of the first person to position yourself as the author of this piece of research writing. Research is done by researchers; scholarly writing is produced by writers. Excluding that agency is no longer required in most spheres of academic writing. This advance has interconnected philosophical and stylistic roots. Academic writing is not a disembodied practice representing a view from nowhere; instead, it is better seen as an evidence-based situated practice. The evidence-based element is crucial, but so is the recognition of positionality. All writing is done by a person, and that person necessarily writes from a particular perspective. Since you are the author, you ought to be visible in the text; the authorial first person is crucial to that visibility.

The style of your writing is also likely to be improved by judicious use of the authorial first person. Framing what will happen in your text as actions that you are undertaking will generally lead to stronger writing. The simplest version of this framing is straightforward signposting: ‘In this chapter, I will discuss …’. In some cases, the first person can act as a crucial transition. Imagine that you have been talking at length about other people’s views on a particular issue; to signal a return to your own perspective, the first person might be beneficial: ‘Despite the prevalence of [some] viewpoint, I argue that …’. Another variant of this pattern is using the first person for emphasis. When you switch to the first person from a passive construction, for instance, the reader will pay particular attention to your point: ‘[Something] has long been done in our field; in this paper, however, we decided to do [something different]’.

Despite the acceptability and value of the authorial first person, its use must still be managed carefully. In the first place, the use of the first person is disciplinary. Learning to deploy it appropriately is one of many things that will make you a convincing member of your discourse community. Learning those patterns requires engagement with solid publications in your field; in my experience, many graduate student writers express greater conservatism about the use of the first person than do gatekeepers in their field. Attentive reading can ensure that you are not making your decisions about the first person based on outdated precepts garnered at earlier points in your education. 

A second note of caution: consider how using the first person might lead to unsupported pronouncements. Such statements sometimes happen because the writer genuinely lacks evidence (‘I just believe that …’); obviously, such statements have little role in academic writing. I find it helpful to think of these as ‘editorial first person’ rather than the authorial first person we are discussing in this post. Although this type of editorializing is rare in the writing that I see, I mention it because concerns about editorial first person can lead to the avoidance of much-needed authorial first person. In my experience, most things that look like editorial first person are actually functioning like training wheels: ‘I think stem cell therapy is the most promising …’ can easily become ‘Stem cell therapy is the most promising … (plus evidence and/or citation)’. The use of I think as a scaffolding phrase shouldn’t necessarily be avoided. Since the point of writing is to convey your thoughts, it may make sense to use that phrase to help yourself discover what you think. Once you’ve got that clarity, you can remove it to avoid wordiness.

A third potential concern with the first person is that its use can become monotonous. Using the first person at the beginning of multiple sentences may distract the reader from what you are saying. ‘In this chapter, I will discuss …’ can be a strong opening for a roadmap. However, you will probably want to avoid following this opening with a long series of I-statements. You might choose instead to explain the stages of your paper with a sequence of impersonal formulations–starting with ‘the first step will be …’–before returning to the first person for a more emphatic closing: ‘Overall, I will develop …’. 

Any discussion of the authorial first person also needs to consider the use of I and we. When we is simply the plural form of I–referring to multiple authors–then everything said here holds true. To be clear, if there is only one of you, don’t refer to yourself as we. Some writers wonder if we is somehow more formal than I, but that is a misapprehension. We can also be used as an engagement strategy: ‘As we will see below, …’. This usage is based on the conceit that the author and the reader are on a journey together; this strategy is only common in some fields. In any discipline, the use of we can become problematic when it is used to refer to an unspecified group of stakeholders: ‘Over recent years, we have learned more about …’. Who is the we here? That degree of presumption or imprecision can be unhelpful. If the context doesn’t make the referent clear, you may wish to replace the we with the actual group in question, possibly with relevant evidence or citations.

Despite being the source of some anxiety, the authorial first person is an integral feature of most academic writing. It can take time to figure out the nuances of its role in your writing; as a crucial first step, make sure that you are not relying on unverified prohibitions against its use. To build your confidence in your use of the authorial first person, you may wish to run a search on I/we in your text during your revision process. Doing so will show you what your patterns are: whether your use has been monotonous at any point; whether you have underused the first person at crucial junctures in your introduction and conclusion; whether you have relied too heavily on I think as a scaffolding phrase; whether you have been imprecise in your use of I and we. When reviewing your usage, keep in mind what you have learned about current disciplinary practices. Embracing the careful use of the first person is a crucial developmental stage in academic writing; the end result of this embrace is writing that embodies current disciplinary norms and evinces a strong authorial presence.

Writing as Yourself

After a recent one-on-one writing consultation, a student sent me a thoughtful reflection on what she had learned: ‘to acknowledge my writing style and learn how and where I can use my strength while I keep improving what I have’. I’m always glad when a writer leaves with a clear sense of their own strengths as well as areas for further development. As I thought about this further, I began to wonder about this tension: We all want to become better writers, but we can only be the writers that we are. The relationship between these two ideas is at the heart of the writing challenge. We all need to figure out how we can work within our own constraints while still finding pathways to improvement.

The student who sent me the above note, for instance, was a very detailed writer. Within the first paragraph, she had drilled down to a level of detail that was clearly premature. After agreeing that this tendency might be overwhelming for her reader, we talked about the benefits of having written this fine-grained material. I suggested that she create a series of topical headings that would allow her to ‘tag’ each of these sentences. Doing so would allow her to easily move this material out of her introduction, where it was obscuring the big picture. Moving these passages could give her a head start on constructing later sections, where the detail would be helpful. She had written things that weren’t serving the needs of the reader where they were, but that didn’t make it pointless to have written them. In the future, she will be able to recognize this tendency in her own writing and to use this strategy to build on her own strengths.

We all have particular tendencies when we sit down to write a first draft. For many writers, it’s more helpful to find ways to make those tendencies beneficial than to try to alter them. In my experience, how people write seems to be somewhat fixed; how they revise seems to be where much of the growth occurs.

If you look at early drafts of your own writing, what patterns do you typically find? Needless to say, self-diagnosis is far from a simple process; if you have institutional writing support, that feedback can be super helpful for building your understanding of your own writing tendencies. Identifying those tendencies makes finding a corresponding revision strategy easier. I’ve already talked about the student with the habit of providing too much detail too early. (You can find more on how this tendency manifest itself in thesis writing in this post on structuring thesis introductions.) Here are some other common tendencies that I see:

  • Branching out sideways: Instead of moving in a strictly linear manner, some early drafts branch out in multiple directions. If this happens in your writing, can you highlight the branching point? Once you’ve identified that point, you can decide if you want to follow that branch (adjusting earlier text as needed) or tag-and-move that material somewhere else. Those digressive moments can help you to clarify the optimal direction for your text, but the ability to do so starts with pinpointing the exact moment that you change direction.
  • Over-relying on the literature: Instead of focusing on the author’s own contribution, some early drafts move too quickly to detailed discussions of the scholarly literature. Doing so can inhibit the reader’s ability to see your work unfold. Try highlighting your use of sources in an early draft, possibly using different colours for different species of reference (e.g., a textual reference, a single-text citation, a multiple-text citation). Once your sources standout in this manner, you can choose the ones that are helpful (adapting their form as needed) and tag-and-move the others.
  • Building schemes: Instead of allowing an organic structure to emerge, some early drafts get caught up in building organizational schemes. If that scheme is inapt, it can then get in the way of finding a better one. Have a look in your drafts for places that you signal structure (this question has three dimensions; this insight leads to a dichotomy between … ; this issue should be examined in such-and-such a way). Once those structure markers are visible to you, you can decide if the framing seems helpful or if it’s getting in your way.

Do any of those tendencies seem familiar to you? Whatever you found, chances are you weren’t thrilled with your own early drafts. Dealing with the persistence of terrible first drafts can be made easier by remembering that the goal of the first draft is not meeting the needs of the reader; the goal of the first draft is laying the groundwork for eventually writing a final draft that will meet the needs of the reader. Your first drafts aren’t uniquely terrible–everyone writes terrible first drafts–but they may be terrible in ways that are unique to you. Becoming aware of those tendencies means that you may be able to find ways to improve your writing within your own writing practice. This drive for self-awareness can lead you to deepen your understanding of how you write first drafts and to develop strategies that work specifically with your own writerly inclinations. Thriving as a writer ultimately comes from learning to write as yourself, as the writer you are rather than the writer you wish you were.

Living Without Links

One of the things that I’m confronting as I write this book is my overwhelming desire to use hyperlinks. The link is truly one of the great affordances of blogging: each time I set out to say something new, I can easily point to things that I’ve already said. As I’ve been thinking more about this issue, I realize that links play two slightly different roles in my posts. The first is a straightforward offer of more information. Any time I type the word ‘paragraph’, for instance, I can render it a link. My reader doesn’t necessarily need to know what I think about paragraphs to continue reading; I’m just putting it out there, in case they want more. In the second case, however, I’m using a link precisely because the reader does need to know what I mean by the term, and I don’t presently want to tell them. I often do this with ‘metadiscourse’, a term that I use frequently and that I know to be unfamiliar to many readers. Broadly speaking then, some links offer the reader supplementary information; others offer the reader something that may be essential now. In both cases, the reader is able to choose their own adventure: they can take a byway or, if they wish, just stick with the main path. Links allow me to construct each post to stand alone, but where I think my point will be enhanced by a familiarity with earlier posts, I can indicate that without breaking my stride. Every time I create a link, I take pleasure in the efficacy of these potential digressions: offered but not mandated.

In the process of composing the linear narrative of a physical book manuscript, however, I’m struggling to manage these types of internal references. Like all writers (of non-digital texts), I’m trying to make an accurate estimation about what type of orienting information my readers might need. In the earliest drafts, I found myself writing versions of ‘see above’ and ‘see below’ way too much. No reader wants to be constantly dispatched to a different precinct of a book. We expect the writer to dole out information in the exact right way: enough repetition that we know where we are, enough anticipation that we know where we are going, and never a suspicion that we’ve missed something. As a writer, I’m learning to be more judicious, both in providing reiterations of key points and in trusting the reader’s ability to manage without such reminders. If they’ve been paying attention—and I’ve done a good enough job—they’ll understand abbreviated references to earlier material and they’ll have faith that they’re being given what they need now.

This issue doesn’t just affect someone like me who is making this particular blog-to-book transition. Any academic writer is going to have to puzzle through how to give the reader enough guidance to orient them on their journey through a text. In general, we accomplish this task through the prudent use of signposting and strategic repetition. As we’ve discussed often here, signposting is a particularly crucial type of metadiscourse. A simple ‘as will be discussed below’, to take a common example, lets the reader know that they’re not expected to fully grasp that topic yet. This placeholder allows the writer to raise an idea without explaining it or needing the reader to understand it. If the writer lacked this option, they would have to try to explain everything at once or would have to hope that the perplexed reader sticks around long enough for full edification. We all know that neither of those options is ideal. Prioritization—a determination that a reader needs this now and can wait till later for that—is part of our job as writer. A promise of an elaboration to come is a crucial tool for managing that dynamic.

Similarly, using a device like ‘as discussed above’ prevents the reader from mistaking strategic repetition for inadvertent repetition or for a new idea. If a writer repeats themself and gives no indication that the repetition is strategic, the reader may be annoyed or, worse, may question the acuity of their own reading. That is, they may suspect that they’ve misread something because they thought this idea had already been introduced. Being puzzled about repetition isn’t as deleterious as being puzzled about new information, but both have the capacity to interrupt our forward momentum as readers.

As writers, we all understand the need to deploy appropriate markers of anticipation and summation, of alluding to what is to come and recapping what has already happened. The tricky part comes in the negotiation of what is, in each context, appropriate. As I continue working on this manuscript, my ability to negotiate the appropriate markers—and thus to live without links—is slowly improving. You’ll have to read the eventual book to see if I end up with a well managed flow of information!

This post is the third in a series of book reflections posts. At least once a month, I’ll come here to talk about my progress and, more importantly, about my thoughts on the writing process. The progress reports are really just for me: I’m using the public nature of the blog to keep me accountable. The actual point of these posts will be what I’m learning about writing and how these insights connect to the topics covered here on the blog.

Status Update: In the spirit of public transparency about my book writing process, I’m going to conclude these book reflections posts with a status update. I am currently even less on schedule than I was in my last update. I still haven’t finished my provisional revision of Part One, and I didn’t get Chapter Four completely drafted by March 1st. I hope to be able to complete these two tasks in the next week and move on to Chapter Five on March 11th. I think my next book reflections post will be on the dynamics of managing an artificial and aspirational writing schedule!

“Yes, you are a writer!”

I recently gave a talk for the Canadian Society for the Study of Higher Education about the importance of claiming our identity as academic writers. This topic is one that I have returned to repeatedly in this space. I am sharing a revised version of the talk in this post because it covers an aspect of the topic that I haven’t addressed in much detail here: the practical implications of having an incomplete identity as an academic writer. I’m also sharing this talk because it gives me an excuse to include this delightful drawing that an audience member did during my talk.

Cayley-Writing

“Yes, you are a writer” by Giulia Forsythe is licensed under CC BY 2.0

I can’t tell you how much I love this drawing. I spoke for over an hour and the artist, Giulia Forsythe, captured the essence of so much of what I said. Since I’m completely lacking in artistic skill or the capacity to arrange ideas spatially, I’m in awe of Giulia’s talent. I’m grateful to her for allowing me to reproduce it here. Her website explains more about the intersection between her pedagogical work and her artistic work; in particular, I recommend this video describing her process.

It comes as no surprise that writing is intimately connected with identity: writing is obviously one of the ways in which we tell people who we are. At least to some extent, our discomfort with writing is a discomfort with the process of fixing our identity; what we say in writing will endure, meaning that our exposure to critical assessment may also endure. If this is an accurate depiction of the underlying dynamic of writing anxiety, it is easy to believe that this anxiety is exacerbated for graduate writers. If writing fixes identity, we may naturally hesitate to undertake that activity when we are unsure of our identity. Graduate school is many things to many people, but it is almost never a time of fixed and comfortable identity. In fact, it tends to be a time of porous boundaries between work and life and a time of significant scholarly uncertainty.

All of this means that writing in graduate school often becomes something fraught, which in turn means that it is something you may not do enough of and something that you may not share willingly with others. Not feeling able to write or, worse, not feeling able to share what you’ve written is a serious contributing factor for time to completion and attrition challenges. It also makes graduate study way less enjoyable than it might otherwise be. To combat these very real graduate writing challenges, we need to talk about the debilitating impact of an incomplete sense of scholarly identity during graduate school. Raising awareness can make graduate students feel better about the way that writing has become more difficult, just when they need it to be getting easier. But raising awareness only helps in the long-term: it takes considerable time to become comfortable as an academic writer. Most graduate writers also need short-term solutions to their writing challenges.

In my view, those solutions need to involve explicit writing instruction that can tackle specific issues. We know that scholarly discomfort is often instantiated in academic texts in predictable ways, and it makes sense to talk to graduate writers about those potential weaknesses in their writing. In particular, I’d like to highlight three concrete ways in which an incomplete identity can hamper graduate writing: insufficiently explaining the contribution; insufficiently managing the scholarly literature; and insufficiently crafting an authorial voice.

Insufficiently explaining the contribution. One of the things that I most often see in graduate student writing is introductory material that neglects the author’s own research problem and its significance in favour of focusing heavily on the work done by others. This elision may result from a lack of confidence, but it can also result from a lack of familiarity with the generic features of academic writing. Learning the essential moves involved in introducing a research problem can help writers to overcome the tendency to under-emphasize their own contribution.

Insufficiently managing the scholarly literature. Another common issue in graduate student writing is a literature review that lacks a coherent argument about the need for the current research given the existing state of the field. Again, it is easy to see how a lack of confidence in the identity frame of academic writing makes writers hide behind the work done by others. Learning more about structuring a literature review can help writers manage the existing literature in a way that consistently supports their own eventual contribution.

Insufficiently crafting an authorial voice. Finally, I find myself talking frequently with graduate students about the problem of what can be called writer-less texts. Needless to say, being reticent about inserting ourselves into the text is often a by-product of feeling less than confident about our status as writers. It can also reflect deep uncertainty about the question of voice in academic writing. Learning more about metadiscourse and the factors that inhibit its usage can offer us tangible guidance on how to raise our own profile within our texts.

(In all three of these cases, I would recommend using highlighting to come to a better understanding of how visible we are within our own writing.)

These strategies are meant to improve graduate writing while acknowledging the underlying problem of incomplete identity. By offering concrete strategies for improving writing, I am seeking to help graduate writers improve their writing and thereby perhaps improve their sense of self as writers. At the very least, writing instruction can help us pinpoint common problems and help us to produce stronger prose. At a deeper level, however, writing instruction for graduate students can offer a greater sense of efficacy, which then contributes to a feeling of comfort with the role of academic writer. That feeling of belonging can start to strengthen scholarly identity and thus lessen identity-based writing challenges before they take root.

The title given to me for this talk was ‘Yes, you are a writer!’; I was initially hesitant about that level of exuberance but decided to go with it anyway. (One exclamation mark wasn’t going to kill me!) Embracing our writerly identity may be painful at times—it is natural to prefer identities that make us feel competent rather than ones that emphasize our status as novices—but it is ultimately valuable, both for the technical proficiency that can flourish and for the eventual feeling of comfort with the ongoing and crucial demands of academic writing.

Metadiscourse

The longer that I teach academic writing to graduate students, the more time I find myself spending on metadiscourse. Over time, I’ve come to the conclusion that metadiscourse has a bad name—in the sense of a dubious reputation—and an actual bad name. The dubious reputation is presumably connected to both a general suspicion of academic writing and the many instances of laboured prose we have encountered in our careers as academic readers. I’m sure this suspicion is only exacerbated by the fact that the term metadiscourse is a bit of a mouthful. However, this scepticism is deeply unfortunate since thinking about metadiscourse is a natural way to think about our responsibilities as a writer. And, needless to say, thinking more about our writerly responsibilities is crucial for most novice academic writers, making metadiscourse an indispensable topic.

So what is metadiscourse? Simply put, metadiscourse refers to those places in which a writer explicitly acknowledges that they are constructing a text. More specifically, metadiscourse can be defined as “the range of devices writers use to explicitly organize their texts, engage readers, and signal their attitudes to both their material and their audience” (Hyland and Tse, 2004). When we use metadiscourse, we are structuring a three-way relationship between the text, the reader, and the writer. Given our general anxiety about constructing a text that will satisfy the reader, we often neglect our responsibility to be present as the writer of the text. One of my most frequent comments on graduate student writing goes something like this: ‘You are telling me a great deal about your topic but not enough about the text that you are constructing’. This imbalance matters because, as a reader, I need guidance on how to read the text in order to engage fully with the topic.

In my experience, defining metadiscourse is necessary but far from sufficient. That is, a definition of metadiscourse—regardless of whether it is simple or more technical—does little to move graduate students past the sense that metadiscourse is a foreign or artificial textual intervention. To move past this discomfort, I find it helpful to provide a breakdown of different types of metadiscourse and then give examples of each. (For a more detailed version of this breakdown, see Ken Hyland and Polly Tse. “Metadiscourse in Academic Writing: A Reappraisal.” Applied Linguistics 25, no. 2 (June 1, 2004): 156–77.)

In general, we use metadiscourse to signal the following things to our readers:

How our text is organized:

I will start by presenting some of the literature that assesses governmental responses to AIDS in Uganda, Zimbabwe, and South Africa.

Because they share many key concepts, these approaches to the experience of tuberculosis will be organized thematically.

How our ideas relate to one another:

To conclude, the historiography of consumer demand in the eighteenth century has undergone many changes since the inception of consumer studies.

The promotional materials produced by a university often promise that administrators will provide resources to assist students with the transition to university life; as a result, many students arrive on campus with the expectation of support.

How we are using evidence to support what we are saying:

Yet, as the American historian John L. Brook has demonstrated, Habermas’s account of the public sphere seems unable to reconcile the complexities of power.

Swain posits that language learning may occur though the production of language, either spoken or written.

How we are further explaining an idea:

Global norms are norms that are accepted worldwide; for example, it is currently a global norm that all students progress through the degree granting process by completing a series of homework assignments, exams, and research papers.

An assertion of ‘personhood’ expressed as a relation to property is crucial in every self-styled extension of the Enlightenment project. That is, when we equate personhood with property ownership, we implicitly accept a liberal notion of identity.

How much strength we attribute to a particular claim:

Hypothesized reductions in co-rumination during PMT/CBT may also be due, in part, to improvements in the mother’s depressed status.

To my knowledge, this problematic has never been critically examined.

How we feel about a particular aspect of our text: 

This remarkable achievement shows that policy goals are achieved more readily when those policy goals are clearly established.

Understanding the nature of the developments leading up to the unification of Upper and Lower Egypt is particularly problematic because of the lack of literacy in that time period.

How we want readers to orient themselves to a particular aspect of our text:

It is widely recognized that natural resources come to count as such through specific decisions, institutional practices, and socio-political processes.

This claim raises an obvious question about the clinical similarity of patients with aggressive dementia and patients with general stress disorders.

How the text reflects our authorial role:

My use of the term ‘revival’ here stems from an understanding of cultural revitalization as a flexible and organic process, wherein members of a community fuse individual innovation and musical sensibilities with contemporary interpretations of older cultural practices.

Thus, I will try to link insights from theoretical understandings of science and technology studies with resources geography, which may potentially advance both these literatures.

Examples are taken from student writing and used with permission.

What we see in these examples is how naturally most of them read. Rather than seeming stilted or artificial, these sentences appear to be doing important work. In fact, if we were to return to the broader passages from which I extracted these sentences, we could see that those passages work better with these sentences than they would without them.

The reason that I think it is helpful to consider this breakdown is that a typology allows us to see that we may have very different patterns of use for different types of metadiscourse. To deepen our ability to use metadiscourse well, it is essential to understand these patterns. One of the biggest obstacles to using metadiscourse effectively is a tendency to see it as synonymous with signposting and to imagine that all signposting has to be clunky and awkward. To help students see how they might be able to use metadiscourse better, I like to divide usage patterns into four basic types:

  1. We may use some kinds of metadiscourse pretty routinely; for example, most academic writers use evidence frequently, if not always effectively.
  2. We may avoid some kinds of metadiscourse instinctively because we believe that they may violate the norms of academic writing; for example, some academic writers avoid the first person or affective language that could signal their attitudes or how they wish readers to see the text.
  3. We may use some kinds of metadiscourse hesitantly or inexpertly due to inexperience with academic writing; for example, some academic writers may struggle to provide clear transitions or explanations and may have difficulty identifying the appropriate strength for their claims.
  4. Finally, we may under-use some kinds of metadiscourse because they require an understanding of our own texts that we lack; for example, many academic writers fail to explain the structure of their own text adequately because they don’t yet understand its internal dynamics properly.

These different orientations show us the fundamental inaccuracy of any attempt to see metadiscourse as good or bad. As writers, we can use these four categories to develop questions that will challenge our own writing practice:

  • If we are using some sorts of metadiscourse routinely, are we doing it well?
  • If we are avoiding some sorts of metadiscourse, can we deepen our understanding of the norms of academic writing to be sure this judgement is based on a sound understanding of disciplinary practice?
  • If we are using some sorts of metadiscourse hesitantly or inexpertly, could we improve our understanding of the value of such devices for the reader and thus overcome our reservations?
  • Lastly, if we are under-using some sorts of metadiscourse because we lack a sufficiently deep understanding of our own text, can we learn how to develop that understanding in order to meet the reader’s need for guidance through our text?

Taken together, these questions can help us to see how we might adjust and thus improve our use of these many varieties of metadiscourse. I recommend that any academic writer devote some revision time to the identification of the metadiscourse employed in their own texts. My strategy for doing this would be to keep in mind the breadth of work that metadiscourse accomplishes without focusing too much on the sort of classification found in this post. For most writers, it is sufficient to think about all the things we do to guide and engage our readers and look for those. Highlighting those places where we are present in our texts can be hugely instructive for all writers. In particular, if a supervisor is asking about voice or questioning overall coherence, I would use this highlighting strategy to see where you may still be absent in your own text. Even if you are more comfortable with the use of metadiscourse, I would still suggest this highlighting strategy as part of late-stage revision. It is only by coming to an understanding of our role in our own text that we can ensure that our readers will have the guidance that they need to get the most out of our writing.

This post describes the fifth of five key strategies for strong academic writing; I have chosen these five simply because they are the ones that I most frequently turn to in my work with students. In the four other posts, I discuss reverse outlinesparagraphstransitions, and sentences.

For more on metadiscourse, you can consult these other posts: