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general advice on writing,  good style, grammar, and clarity

general advice on writing, good style, grammar, and clarity

A Manual for Writers of Term Papers

July 22, 2009 by Roy Johnson

best-selling guide for term papers and academic essays

A Manual for Writers of Term Papers is the more-or-less standard US guidebook on academic writing. It’s based on The Chicago Manual of Style, and offers a comprehensive and very detailed guide to the conventions of layout and presentation. In the last half century since it first appeared, this book has gone through six editions, and even though editorship has passed into other hands, the spirit of Kate Turabian’s original approach has been preserved.

A Manual for Writers of Term Papers It covers everything from spelling, punctuation, and abbreviations to quotation, referencing, and the use of tables and diagrams. And all guidance notes are illustrated with real-life (and up-to-date) examples. There’s a huge chapter dealing with every possible complication in showing reference notes, and even a section dealing with government documents.

The latest edition includes a useful useful chapter on sample pages. These show how to lay out text on a page, according to the conventions for academic documents – title page, list of contents, tables, maps, footnotes, and so on. There’s also a recent addition on computers and word-processing (which already needs updating) and an excellent index.

Even if you are working to UK rather than US conventions, this is a very useful reference. It sits on my reference shelf alongside the Concise OED and an old copy of Roget’s Thesaurus, and it gets used just as often. It gets more hits at this site than any other book, and it has sold more than five million copies. That’s quite some guarantee!

© Roy Johnson 2000

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Kate L. Turabian, A Manual for Writers of Term Papers, Theses, and Dissertations, (6th edn) Chicago: University of Chicago Press, 1996, pp.300, ISBN: 0226823377


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A-Z of Grammar and Punctuation

July 17, 2009 by Roy Johnson

pocket guide to the basics of English language

Most people are a bit frightened of grammar and punctuation – with some reason, because both can be very complex issues. Fortunately, anybody who can speak their own language is already in possession of all the tools they need for using it correctly. This isn’t to say that we don’t need a little help from time to time. And that’s where guides like this one come in useful. John Seely starts off with a brief overview of English sentence structure, and how the parts relate to each other. He explains all the main elements of speech, and uses everyday examples as illustrations. Then it’s on to the main substance of the book, which starts at abbreviations and runs via main clause to who’s/whose and will/shall. In between, he covers all the main issues which crop up time and again as problems for everyday users of English.

Grammar and PunctuationHow do you punctuate lists of terms? How can you avoid the split infinitive? What is the rule for using apostrophes? What is the difference between can and may? What’s the correct way to show speech in writing? Is between you and me correct English? Answer: yes it is.

He uses a minimum of jargon, and makes all his explanations as succinct as possible. I particularly liked one visual feature of this book. Longer topics, such as paragraphs and prefixes are given their own shaded boxes, and somehow this makes both the topic and its surrounding items easier to read.

This book will be ideal if you want a reference offering quick simple explanations, but you could also use it as an introduction to a more in-depth study of the subject.

This is a new series from OUP – a pocketbook guides on the basics of writing and language skills. They’re small, cheap, cheerful, and compact, yet authoritative – the sort of thing which I imagine would be ideal for students or the average person-in-the-street who wants to take on the first principles of improving their language skills.

© Roy Johnson 2009

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John Seely, Oxford A—Z of Grammar and Punctuation, Oxford: Oxford University Press, 2nd edition 2009, pp.192, ISBN: 0199564671


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An A-Z of Effective Vocabulary

January 17, 2010 by Roy Johnson

1001 words you need to know and use

I’m often amazed at the number of verbally articulate people who freeze up the minute the need to express themselves in writing.  They get a couple of words onto the page, and then seem to hit a blank wall. Alternatively, they might be asked to describe something they know perfectly well, and produce what looks like a note to the milkman. The unproven theory I offer to students to help them overcome this problem is that writing is like sport: you need to practice regularly to stay in shape. An A-Z of Effective Vocabulary is an antidote to this problem.

An A-Z of Effective VocabularyYou also need to have a vocabulary at your disposal that’s appropriate for the writing task at hand. That’s where this book is aiming to help. It’s a sort of specialist dictionary with extra supplements that act as guides for common writing tasks. The effective vocabulary items have been grouped for you in advance, according to your activity Here’s how it works.

You start from the point of having a common writing task. This could be any one of the following:

  • writing a report
  • drafting a business proposal
  • expressing your opinion
  • discussing a topic
  • describing an event
  • writing a CV and job application

First you consult the subject index, which lists the terms you might need according to your objective:

  • Application letters
  • Describing events
  • Essays and term papers
  • Evaluation reports
  • Funding bids
  • Interview techniques

and so on. Here you find listed a selection of vocabulary items which are likely to be effective. For instance, in the section for writing CVs, you are offered able, accomplish, accredited, accurate, achieve ,active, adapt and so on.

If you are writing a report, you will find a list of words you could use in your report, to help present your explanation or argument in a persuasive way. For example, you could choose accurate, compelling, enterprise or significant. By then turning to the main A-Z sequence you will find guidance on the meaning and use of these words.

This is, in one sense, the most important part of the book, where you are invited to learn the subtle shades of meaning which attach to words. You are also given examples of their use in different contexts to illustrate these distinctions.

objective adjective, noun
adjective not influenced by personal opinions or feelings, but considering only the facts: There’s little objective evidence to suggest that he is guilty • It’s hard for parents to be objective about their own children • noun something you are trying to achieve: What is the main objective of this project? • You must set realistic aims and objectives for yourself.
Usage objective, goal or target? See target. Usage The opposite of objective is subjective, ‘based on your own ideas or opinions rather than facts and therefore sometimes unfair’: a highly subjective point of view • Everyone’s opinion is bound to be subjective.
Word family objectively adverb Try to weigh up the issues as objectively as you can. objectivity noun: The survey’s claims to scientific objectivity are highly dubious.

Also included is a guide to pronunciation – which is particularly useful for words such as penchant which are of foreign origin. This is a curious book, but one which writers who need assurance might find helpful. It’s the latest addition to the popular mini-series that includes the Oxford A-Z of Grammar and Punctuation, the Oxford Guide to Plain English, and the Oxford A-Z of Better Spelling.

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© Roy Johnson 2010


Martin H. Manser, An A-Z of Effective Vocabulary, Oxford: Oxford University Press, 2010, pp.166, ISBN: 0199560056


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Communicating in Style

June 30, 2009 by Roy Johnson

how to present text and data for publication

This is a style guide for writers who have produced the basic text but who need help laying it out effectively on the page – or on screen. It will be of particular interest to technical writers and those dealing with business documentation. Communicating in Style covers the basics of document design such as headings and subheadings; how to present dates, times, and email addresses; and how best to control spacing, indentation and margins to create effective pages.

Communicating in StyleThere are lots of small but important details: acronyms first, followed by the full version; no full stops after contractions; headings closer to body text which follows than that which precedes. He also suggests that abbreviations should be explained anew in each chapter of a book – especially if they deal with different topics. Yateendra Joshi is good on the punctuation and spacing of lists; the kerning of small caps; (symbols have no plurals); and how to use the numeric keypad to produce special symbols and characters.

On tables there’s lots of good advice on alignment in columns and rows to simplify and clarify the presentation of data. Like Edward Tufte he believes in reducing any unnecessary lines, rules, and ‘chart junk’.

He deals with questions such as ‘Is the symbol for hour ‘h’ or ‘hr’?’ and ‘Are thousands separated by commas or with a space?’ plus lots of details on abbreviations, acronyms, contractions, and symbols.

There’s a section on OHP and PowerPoint presentations and how to lay out the display for maximum effectiveness; how to submit manuscripts to journals; and how to integrate charts, diagrams, maps, and photographs into documents; citing and referencing sources of information, including web pages and electronic documents.

The feature of the book I liked best was the use of quotations from other well-known style guides to illustrate the main points of his arguments. These are placed on almost every left-hand page, along with a picture of the jacket cover and bibliographic details of the book itself.

I can confirm his claim that the book has been extensively field-tested with earlier drafts. Many versions have been made available to the Information Design email discussion group in the past couple of years.

He finishes off with advice on spelling, fonts, and formats for postal addresses and telephone numbers. This is in fact very detailed and sophisticated advice on the presentation of information on screen and page. It encourages us all to be more attentive.

It’s good to see that this book has now found its way to Amazon.co.uk – but you might find it difficult to locate elsewhere. Be persistent however: it’s well worth the effort.

© Roy Johnson 2004

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Yateendra Joshi, Communicating in Style, New Delhi: The Energy and Resources Institute, 2003, pp.250, ISBN: 8179930165


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Copy Editing

May 31, 2009 by Roy Johnson

a handbook for editors, authors, and publishers

Judith Butcher’s Copy Editing is now firmly established as the UK classic reference guide for editors and others involved in preparing text for publication. It is written from the perspective of a professional copy-editor, and covers just about everything you would need to know in preparing any sort of text for publication. It deals with all the details of preparing a typescript for setting, house styles and consistency, reading and correcting proofs, and how to present indexes and bibliographies.

Copy-Editing - The Cambridge Handbook for Editors, Authors and Publishers Every suggestion is scrupulously illustrated without being pedantic, and there is a very helpful degree of cross-referencing. I originally bought my own copy of this book to sort out the finer points of bibliographic referencing for academic writing – and I’ve been using it regularly ever since. The book itself is almost a tutorial on the very principles it illustrates, and it is a very handsomely produced and elegantly designed publication. You will learn a lot on the presentation of text just from turning the pages.

It contains explanations of every part of a book – from details such as preliminary matter, frontispiece, title page, and content, through to lists of tables and illustrations, acknowledgements, bibliographies, notes, and indexes. And it covers many types of printed book – from conventional prose, through books on mathematics, music, books with tables and illustrations, and books set in foreign languages.

The latest edition also deals with issues of copyright, the conventions of presenting text in specialist subjects, guidance on digital coding and publishing in other media such as e-books, and a chapter devoted to on-screen copy-editing.

It has also been updated to take account of modern typesetting and printing technology. This is a good investment for writers who are serious about preparing their work for publication, and an excellent source of reference when you get stuck with the minutiae of bibliographies and typographic presentation. It’s also now available in paperback.

© Roy Johnson 2007

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Judith Butcher, Copy-Editing: The Cambridge Handbook for Editors, Authors and Publishers, 4th edition, Cambridge: Cambridge University Press, 2006, pp.558, ISBN: 0521847133


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CVs and Job Applications

July 3, 2009 by Roy Johnson

presenting yourself successfully in writing

If you’re applying for a job, you need all the help you can get. This book is a guide to maximising your chances. CVs and Job Applications is a manual of practical advice and useful tips on how to design your CV and write successful job applications. It focuses on preparing your application and presenting yourself in the best possible light. To do this you will need to think carefully about your own skills, interests, and aptitudes – then match them carefully to companies who are looking for people like you.

CVs and Job ApplicationsThe guidance notes Judith Leigh offers are completely up to date, with advice about locating companies’ web sites and email addresses, plus tips on investigating their policies and recruitment methods. Follow her advice, and it might help you land that job.

On writing your CV you should know that you have sixty seconds to make your pitch – because that’s how long you will have to impress your potential employer. The guidance notes help you to plan and write your CV carefully with no mistakes.

She covers tricky issues such as how to deal with gaps in your career (periods of unemployment for instance, or years raising children) as well as how to fit your entire career, personality, hobbies, and work history onto what might be as little as two pages.

There’s a chapter on writing covering letters and how to tailor their contents to maximise your chances, plus notes on how to fill in application forms.

Then what if your application succeeds? The next stage is an interview, and there are guidelines on how to prepare yourself and deliver your best performance on the day.

The book ends with some sample CVs, job applications, and covering letters, plus notes on the language of job adverts.

This is the latest title in a series of short beginner’s manuals on communication skills from Oxford University Press which have proved very popular. The emphasis is on compact, no-nonsense advice directly related to issues of everyday life. If you do need to apply for a job in writing, this book will help you to make a good impression.

© Roy Johnson 2004

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Judith Leigh, CVs and Job Applications, Oxford: Oxford University Press, 2004, pp.144, ISBN: 0198606141


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Eats, Shoots and Leaves

October 20, 2009 by Roy Johnson

a radical defense of traditional punctuation rules

Who would have thought it! A book on punctuation at the top of the best-seller lists. The title refers to joke about a panda who goes into a cafe, orders a sandwich, then pulls out a gun and fires it. The panda had read an encyclopedia entry on itself which contained the unnecessary comma in Eats, Shoots and Leaves. Lynn Truss’s attitude to punctuation is enthusiastic, robust, and uncompromising, as her subtitle makes clear.

Eats, Shoots and LeavesShe wants you to become angry at the misuse of apostrophes and indignant at misplaced commas. She teaches via anecdote, which is probably why the book is so popular. There are no stuffy grammar lessons here, just accounts of bad punctuation, explanations of why they are wrong, and exhortations to keep up standards.

She likens punctuation to good manners – something which should be almost invisible, but which eases the way for readers. And in fact for all her slightly tongue-in-cheek militancy, she takes a non-pedantic line where there are areas of doubt or where punctuation becomes a matter of taste and style.

She takes you on a lively and entertaining tour of the comma, the semicolon, the apostrophe, the colon, and the full stop. Then it’s on to the piquancies of the exclamation and the question mark.

There are several interesting but mercifully brief detours into the history of punctuation – and I couldn’t help smiling when she confessed that her admiration for Aldus Manutius the elder (1450-1515) ran to being prepared to have his children.

Her style is very amusing and, appropriately enough for a book on language, quite linguistically inventive. She knows how to get close to you as a reader and isn’t scared to take risks.

For all her vigilance however, I think she misunderstands one example of the apostrophe – and the point of the joke it is making. A cartoon showing a building with the sign Illiterate’s Entrance could be using the term ‘illiterate’ as a collective singular. She thinks it should read Illiterates’. But we won’t quibble.

She ends by looking at the chaos of random punctuation which now predominates much of email messaging – and feels apprehensive. But I don’t think she needs to worry. For every hyphen or ellipsis to punctuate a gap in thought and sense, there is a new word or a new linguistic invention to compensate. Language may well be a self-compensating and even self-correcting system after all.

Anyone who is unsure about the basics of punctuation will learn some valuable lessons here, and those who already care will have their feelings and understanding confirmed in a very entertaining manner.

Eats, Shoots and Leaves   Buy the book at Amazon UK

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© Roy Johnson 2009


Lynn Truss, Eats, Shoots & Leaves: The Zero Tolerance Approach to Punctuation, London: Profile Books, 2009, pp.209, ISBN: 0007329067


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Editing and Revising Text

May 25, 2009 by Roy Johnson

beginner’s guide to editing and re-writing

Oxford University Press have just brought out a series of short beginners’ manuals on communication skills. Their emphasis is on compact, no-nonsense advice directly related to issues of everyday life. Jo Billingham’s Editing and Revising Text provides a practical approach to reworking your writing for students, office workers, and newsletter editors. She covers editing your own work and text written by others, and her whole approach is designed to help you make any writing more effective.

Editing and Revising Text Every part of writing is covered – from the choice of individual words, through sentence construction and arranging paragraphs, to creating firm structure in the parts of a longer piece of work. She discusses the differences between editing, re-writing, and proof-checking, and shows how to revise sentences for brevity, simplicity, and clarity (move the subject to the start!).

There’s an interesting section on how to edit if there’s too little or too much information in the text, plus the importance of how to judge if it’s right for its intended audience.

She also covers the process of making multiple edits – on paper and screen – and quite rightly suggests that it is best to edit for one feature at a time.

I was glad to see that she emphasises the usefulness of the word-processor as an aid to editing. It’s amazing how work can be improved by using spelling and grammar-checkers, as well as the powerful tools of cut-and-paste, and search-and-replace.

The book has examples from real articles, essays, letters and reports, and the last part is a series of checklists for different types of editing – technical, academic, business, and even email.
She also gives a brief explanation of proof-reading, and perhaps the most difficult task of all – making sure that there is structural and linguistic ‘flow’.

The chapters of these guides are short and to-the-point; but the pages are rich in hints, tips, and quotes in call-out boxes. The strength of this approach is that it avoids the encyclopedic volume of advice which in some manuals can be quite frightening.

© Roy Johnson 2005

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Jo Billingham, Editing and Revising Text, Oxford: Oxford University Press, 2002, pp.136, ISBN: 0198604130


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Editing on screen and paper

November 18, 2009 by Roy Johnson

an email discussion amongst professional writers

Editing documentsThis discussion first took place on the WRICOM (Writing and Computers) mailing list, which is hosted by Mailbase (UK). Note that these are personal opinions, exchanged in the casual manner of email messaging. The language and style are deliberately informal. There is no guarantee that the email addresses of individual contributors will be up to date.

 

From: Roy Johnson <Roy@mantex.co.uk>

If you write using a word-processor, you may have noticed something rather odd. You can create a perfect document, check the spelling, and even check the grammar – but when you come to print out the document you notice things which you missed on screen.

These might be mistakes, or they might just be points of style or emphasis you want to change. If it’s a long document, you’ll feel like kicking yourself and you might feel guilty about all the paper you’re wasting.

For many writers, editing work on screen and on paper appear to be two different things. Why is this?

Maybe writers are reluctant to edit their work when it is in the ultimate form it will assume prior to being published. But perhaps not when it is still in its penultimate form?

That is, if my electronic text, on disk, is destined to become a printed book, I am reluctant to change the contents of the disk on which I have worked for hours and hours.

However, when I print out the pages, they seem to me a penultimate version which can still be chopped around with impunity.

This seems puzzling. Does anybody have the same experience, or observations on what’s happening?

================================

From: Jane Dorner <Jane@editor.net>

my theory is that you edit and edit on screen and the printout (long works) *becomes* the penultimate version that gets the final tweaks because it looks different.

I’m just editing a 200-page document and am extremely unwilling to print it out more than once for final tweaks. Its also far easier to edit for consistency using search & replace with the full document in memory.

======================================

From: Janet Atkinson-Grosjean <janag@whidbey.whidbey.com>

a laser printed page looks so *finished-product-ish*, I was trying to make the writing perfect, before it ever hit the page. Not surprisingly, my writing became constipated, for lack of a better word. I was on-screen editing instead of writing/drafting, because, in my mind, I wasn’t allowed to edit laser-printed copy because it was *finished.*

After driving myself nuts for a while, I decided to print all drafts in the yukkiest-looking Courier typeface I could find. This works. It tricks me enough. Only the ultimate, finished product uses a different font.

==================================

From: Austin Meredith <rchow@benfranklin.hnet.uci.edu>

the WYSIWIG technology is not adequately advanced at this point. Even in the very best of the current technology … the display of the material on the screen and the printing of the material across the printer does not result in precisely the same level of clarity.

my reluctance to edit heavily on phototypesetter page proofs can entirely be accounted for by the hard and unpleasant fact that the publisher is going to charge me money for each change I make which is not the publisher’s fault, and deduct that amount unilaterally from my royalty checks later!

I am editing on the screen _and_ on paper. Despite the excellence of my equipment, my print display is still superior to my screen display. But there are types of editing which are better done on screen. Spell-checking is an obvious instance of this, but there are other types of editing which are better done on screen.

==============================

From: Rich Berman <rich@interport.net>

I see things like puncutation and misspellings more easily in hard copy, but also sentence structure. Things like too many short sentences together, or too many compounds etc. I also find them easier to correct in hard copy, with pen and paper.

Is it possible that this is because with hard copy you can compare new with old. When you make a correction on the screen, you see only the new. When on hard copy on the other hand, both are there, the original typed, and the new in pen and ink, (and somewhat in the imagination.)

certain media allow us to see some things more clearly than others, although I have read advice to writers that suggested that saving all the material that we cut helps us experience it as not lost, and therefor feel no sense of loss. That might support your idea, Roy.

==============================

From: <Robert_P_KOLKER@umail.umd.edu>

Ive had similar experiences as Roy Johnson of written text on and off the page. Ive done a number of books which Ive edited entirely on screen, and which looked just fine when they got to print. However, in the instances when I do print out a text to edit, I see things–nuances of word patterns, mostly–that I miss on the screen. Whats happening I think, is a holdover from pre-computer days (yes, I’m a middle-aged early adopter, or is it adapter?). I still find the printed word of a different texture than the word on CRT. I find this neither good nor bad. While I cannot read large amounts of text on the screen, I can write them. And edit them. A different kind of fine tuning comes when I hold the words in my hand.

==================

From: Eric Johnson <johnsone@dsuvax.dsu.edu>

I write and edit on a computer screen, but when I think the document is in final form and print it, I want to make more revisions. The reason may simply be that it is much easier to see more of the document at one time when it is printed on paper.

Now, as graphic word processors attempt to present on the screen what will be printed (WYSIWYG), we may end up doing more — not less — editing on paper since a monitor that displays WYSIWYG type in reasonable size often cannot display a whole line at one time.

Regardless of whether WYSIWYG word processing will result in more editing on paper, it may be a step backward for careful writers: good writers want to focus on the words, the language, but WYSIWYG forces writers to pay more attention to the appearance of the letters and lines (not to mention the temptation the tool bars offer of fooling around with fonts, etc.)

========================

From: “R. Allan Reese” <R.A.Reese@gri.hull.ac.uk>

I agree with other contributors that, despite twenty years of writing on screens (yes, honest, I was using a single-user mini-computer in the mid 70s and previously used a mainframe editor), I still have to at some stage revise on a print-out. I suggest that having a small window on the screen tends to make one focus on micro-revision – getting the words right in each sentence. I can also read through and consider the linear logic on screen. However, with the print out I will look backwards and forwards, review the overall structure, and the “feel”. Since the “reader” will usually be given a paper copy, I need to see the same.

What I would say is that the number of printed-out drafts is considerably reduced, and the marks made on the paper copy are either minor points of appearance or notes to prompt major revisions. I do almost all my “writing” on a screen – as I’m doing at this instant.

===========================

From: Christopher G. Fox <cfox@unix.cc.emory.edu>

I don’t think we should neglect the brute, ergonomic factors here as well. My eyes may be somewhat over-sensitive to this kind of problem, but I simply cannot stare at the screen with the kind of intensity I need for visually editing a document. All of the possible combinations of backlighting, glare reduction, etc. don’t change the fact that its still a VDT I’m looking at. As LCD displays become more prevalent and more sophisticated, a fully on-screen writing process will most likely become more prevalent, but I don’t think the current state of interface technology (video display, keyboard, mouse) is quite up to the task. Although I do compose and do preliminary editing on screen I inevitably need to print out in order to make typos visible and and to notice more large scale grammatical and rhetorical mistakes/changes.

=================================

From: Mike Sharples <mike@cogs.susx.ac.uk>

For me, whether or not I edit on screen or on paper is not just a matter of choice – I seem to catch different errors and problems in the two media. On paper, not surprisingly, I get a better overview of a large document – its structure and narrative flow. I also seem to be able to spot niggly errors, such as repeated words, better on paper. On screen I can often read text more rapidly (by scrolling it past me) to scan for gist. &&

=================================

From: Barbara Diederichs <bdiederi@artsci.wustl.edu>

Electronic word processing tools and of course hypertext facilitate a way of writing that is not very concerned with linear structures. When I write a paper using the computer, I start with a handwritten outline and within that framework put down mythoughts and research results as more or less independent pieces and with little regard to logical order. I superimpose that in the printout, which in a way allows to combine the particularities of both media.

I am wondering, though, if the necessity to eventually cast (almost everything we want to say in the traditional paper form, cuts us off from a form of creativity that might become accessible in the electronic medium. The fragmented and associative way of not only expressing oneself, but thinking, that the electronic medium allows for, might open new directions for scholarship.

An example might be the idea of an ‘ultimate’ or ‘penultimate’ version that Roy Johnson mentions in the above quote: the openness of electronic systems that Landow (‘Hypertext. The Convergence of Contemporary Critical Theory and Technology’ 1992) claims as ‘a revolution in human thought’, abandons the very concept of final versions. What would that allow for in scholarship? Maybe bold hypotheses that would provoke dialogue, tests, verification or dismissal rather than having to be ‘right’. Coming straight to the point, rather than justifying the path from one point to another. Giving details that would be uneconomical in the printed medium but might help us develop the collective intelligence of the ‘giant compound’ that David Megginson mentions. Etc.

Has any of you written research in hypertext format? Would you accept a dissertation written in hypertext?

===============================

From: Jerome J. Mc Gann <jjm2f@lizzie.engl.virginia.edu>

1. ANY scholarly-critical edition is ‘research in hypertext format’. and here one wants to remind everyone that ‘research’ etc., and litcrit, is hardly confined to the setpiece essay — indeed, that form is one of the most constricting and restrictive we have evolved. not to make advertisements for myself, i would still suggest that the implicit and often explicit subject of both _The Textual Condition_ and _Black Riders. The Visible Language of Modernism_ is ‘hypertext’ (see in the latter the ‘Dialogue on Dialogue’ in particular).

2. look at the back issues of postmodern culture, especially the last couple (http://jefferson.village.virginia.edu/pmc/contents.all.html).

3. look at the ‘general publications’ of UVAs institute for advanced technology in the humanities

(http://jefferson.village.virginia.edu/generalpubs.html).

4. finally, look at various online homepages for courses. aren’t courses ‘research projects’ (in my experience, courses are scenes where _everyone_ learns; ‘teaching’ is a topdown model of learning ive never been able to find very attractive. or much help.

=================================

From: ‘J. A. Holmes’ <starfyr@access.digex.net>

I find I still do a lot of editing on paper (for text or code) because watching the screen is not easy on my eyes. Initial creation I do lots of moving stuff around, but when I think Im getting close to done the need/desire to linger over each piece (keep/throw away/modify) while deciding its fate just has me staring too intently at the screen. Also Ive not ever used a editor with markup capability. I can make the changes or just move along. When doing an edit, particularly the final, (or hopefully final) version, I just want to mark problem spots/changes. If I actually stop to make the changes I lose the thread, and cant properly deal with how the local changes affect the document as a whole.

In a similar vein, the trend towards online documentation for programmers is beginning to be a problem to me, I just cant read 400+ pages onscreen.

===============================

From: Patrick TJ McPhee <ptjm@io.org>

For what they’re worth, here are a few thoughts.

1. its (measurably) easier to read text printed at even low (300dpi) resolutions than current screen resolutions

2. a paper version of a document displays more of the document at a time than an on-line version, even if you have a big monitor

3. you think differently with a pen in your hand.

These aside, I agree with you that its easier to make a change to a copy of a document than it is to the master. When you go back to change the original, you can rethink the changes you write on the paper, which effectively gives you two revisions for the effort of one. Its nice to keep an RCS copy of the document, so you can always go back to an earlier version if you change your mind.

=====================================

From: ‘J. Hartley’ <psa04@cc.keele.ac.uk>

1. Familiarity with the genre is important as well as length. Well practiced skills will require less editing. I write long letters, but rarely edit them – so who the text is for is important too.

2. The method one is using plays a part. I dont edit much on e-mail, as readers will discover if they read on, no doubt.

3. I used to write by hand and my secretary word-processed the script. I then copiously edited her paper versions. I now do all (well nearly all) my writing by machine. I now do a lot more editing on screen before making a print out – which I then edit by hand. For much the same reasons as other have expressed.

However, if I am starting an article I sometimes like to rough it out, and then print it out to see how it is shaping up. I then try and do as much as I can on screen, and then print out. But I always regard the print out as a cue to further editing by hand. Until I force myself to stop.

4. I wonder if people who write differently, edit differently? Do the planners, who think first and then write, with little corrections, do less editing than the thinkers who edit as they go along. Obviously they do, but I wonder how they balance screen and paper editing in each case?

5. The editing one does may vary if one is _co-authoring_. Here, how much use of screen and paper editing may depend on whether one is the main, equal or subordinate author? Currently with my research assistant, I often print out a paper version for him to read. I do not give him my disc. When he writes something for me to check, he hands me his disc as well. So I edit his text on screen, and he edits mine on paper! If I were co-authoring with another colleague in a different department I suspect we would both use screens.

6. I find screen editing good for re-jigging old articles for a fresh audience. One can scissors and paste away. But I then like to see the result on paper, and I then edit it with the fresh perspective of the new audience in mind.

7. I always find it helpful to leave something, and then come back to it to edit it. I find this with both paper and screen – but am inclined to make bigger changes when dealing with paper versions.

====================================

From: AM DUDLEY-EVANS <DUDLEYAM@novell1.bham.ac.uk>

But it has always seemed to me that there are two kinds of writer, the one who composes by getting down the ideas as quickly as possible without worrying too much about accuracy, coherence etc. This is followed by the crafting stage, in which it is all tidied up, made coherent etc. The second kind of writer seems to enjoy crafting as s/he writes and does the polishing along with the composing. I suspect that the former type of writer is more common, but I know of at least one of my colleagues who fits into the second category.

But I wonder how the second kind of writer writes with the word-processor. Does s/he craft on the screen?

==============================

From: Judy Madnick <judy.madnick@accessnt.com>

I currently edit court transcripts on-screen. I also have edited manuscripts on-screen. I must admit that its very easy to miss things, probably because our reading methods on-screen are not the same as those off-screen. Ive learned to force myself to slow down (which seems to be the big issue) and almost say the words to myself. (Remember how our teachers told us not to move our lips? Well, they wouldnt want to be watching me proof on-screen!)

So . . . yes, for many people seeing their work on paper seems to result in additional editing; however, I do believe that with careful analysis of the methods being used on-screen, editing CAN be done successfully either way.

=============================

From: Ellen Kessler <etk@panix.com>

Ive been a writer/editor for almost 30 years, and I have noticed a few curious and inexplicable things:

1. The way a piece looks affects the way it is read. I often think that Ive finished editing something in manuscript, for instance, only to see the typeset galleys and shudder. Ive never understood this phenomenon, but now that I think about it, I believe that when I read something back, I read it as a reader not the author, and react to it as new material, which, of course, I must improve. I also think it has something to do with the way the brain processes visual information.

I can work for a long time on my computer, but when I have various versions and want to compare them, I often print them out. I save discarded text at the bottom of the file, in case I want to use it later. Eventually, I always print the stuff out and read it away from my computer. I think a bit of distance, in the forms of time and space, are helpful. I believe everything I write can be better edited the day after I write it.

===============================

From Clare Macdonald <mead@nada.kth.se>

For me, a lot of the pleasure of revising on a printed copy comes from the fact that the text stays put. This creates an additional context(location on the page) that I can use to mentally navigate.

When working with a long document, remembering where on the page (and on which page) a particular passage is can help me locate it quickly. I could probably find it even faster by searching for the phrase with my word processor, but then I’d lose something of my mental image of the structure of the document – or at least my working memory would start to feel seriously overloaded. I’d probably get several matches for my search and have to spend some mental resources considering each and rejecting the ones I don’t want. With a printout, I don’t have to bother with instances that occur early in the text if I know that what I’m interested in is part of the Conclusion – just scan the last few pages.

Of course, each time I print the revised document the location of the text changes, so perhaps this is part of the reason I’ll notice different problems in different versions – the location-context supports slightly different comparisons.

========================

From Carol Buchanan <buchanan@sprynet.com>

I work as a technical writer, in the area of cabin electronics and computer systems, for the Boeing Company. (I also have a PhD in English.) Although my writing skills are excellent, I cannot edit my own work. I see what I expect to see. I find I cannot do without the help of an editor who scrutinizes the manuals for everything from grammar, punctuation, and spelling to format and logic. She edits online, and I make corrections online, but for really knowing what the document’s pages look like and for catching more errors, she prints every draft and subjects it to another scrutiny. Then, after we think we’ve got it right, we pass it to a proofreader who reads it closely on paper and catches still more errors.

The same thing occurs with the books I’ve written. I write the book online, print it, read it, fix the problems I see, and print the final copy which I send, along with the diskette, to the publisher. The editor there edits the typescript, then returns it for correction. I make the corrections, and back it goes. The editor sends the book to a copyeditor, who has other questions and sees other problems, which I respond to and return the typescript and diskette. Then the typesetter sets the book in final pages, which I read through for the last time while the proofreader reads the paper copy. Invariably, I find more mistakes. This time I do not make corrections in the files, but on the paper.

I offer this lengthy description of what happens in corporate technical editing and in commercial publishing in support of two points:

  1. For some reason, we do not see quite the same online and on paper.It would take an expert in perception to explain it. I can’t.
  2. To do a professional job of bringing writing to publication, several people have to collaborate in a team, each with his or her own skills. Even after that, mistakes will still occur.

© Roy Johnson 2009


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Filed Under: Creative Writing, How-to guides, Journalism, Study Skills, Writing Skills Tagged With: Editing, Editing on screen, Electronic Writing, Publishing, Writing skills

Effective Writing and Speaking

July 17, 2009 by Roy Johnson

skills for speaking, writing, and presenting

John Seely is something of a specialist in writing guides to clear, efficient communication skills. This is one of a number of books he has published with Oxford University Press, and it’s a much-expanded version of his earlier Oxford Guide to Writing and Speaking. It covers how to structure a business letter and how to strike the right tone; how to format and follow the protocols of emailing; how to write a persuasive curriculum vitae, structure a job application, and prepare for the interview; how to prepare and deliver a PowerPoint presentation; how to organise and write a report; and how to prepare a press release when dealing with the media. Each chapter follows the same structure.

Effective Writing and SpeakingFirst there’s a summary of its main points; then the guidance is spelled out in short, clear paragraphs and bulleted lists. There are occasional self-assessment exercises; and then comes a numbered list of general guidance notes on the topic. After form, he deals withe the next two important features of efficient communication – audience and context. This involves adjusting your language and tone to suit your readership, plus keeping your subject and your purpose in mind. He also shows you how the same piece of information can be transmitted in a number of different ways.

The next part of the book focuses on the basics of English language – its vocabulary, spelling, grammar, punctuation, and even how it is spoken.

In the final section of the book he deals with writing as a process. This starts from the generation of ideas, goes through planning and writing drafts, then shows you how to revise and edit what you produce. The most valuable lesson which many people can learn is that writing is a process, not something you do at one pass.

If you want something shorter or pitched at a simpler level, try his other books on the same subject — Words, Writing Reports, or The A—Z of Grammar & Punctuation. This one will give you everything you need for everyday practical communication skills.

© Roy Johnson 2005

Effective Writing and Speaking   Buy the book at Amazon UK

Effective Writing and Speaking   Buy the book at Amazon US


John Seely, Oxford Guide to Effective Writing and Speaking, Oxford: Oxford University Press, 2005, pp.310. ISBN: 0192806130


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Filed Under: Language use, Writing Skills Tagged With: Communication skills, Effective Writing and Speaking, Speaking skills, Writing skills

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