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Online style guides

September 16, 2009 by Roy Johnson

Online style guides The Writer’s Workshop
Writing skills, grammar, teaching notes, bibliographic style, tips, and plenty more.
http://www.cws.illinois.edu/workshop/

style guides Guide to Grammar and Writing
Very good grammar guide, plus other resources.
http://www.englishgrammar.org/

style guides Purdue On-line Writing Lab
Purdue’s famous OWL, useful for general writing concerns
http://owl.english.purdue.edu/

Online style guides How to Cite Electronic Sources
Practical examples from Library of Congress.
http://lcweb2.loc.gov/ammem/ndlpedu/start/cite/index.html

Online style guides The Elements of Style
William Strunk, Jr.’s original 1918 classic. The ‘bare bones’ approach to common problems.
http://www.bartleby.com/141/

Online style guides On-Line Study Resources
Style, grammar, essay-writing, citations and footnotes, plagiarism and presentation from the University of New South Wales.
http://www.lc.unsw.edu.au/olib.html

Online style guidesWIRED Style
Wired Magazine’s online version of their print publication Principles of English Usage in the Digital Age. A guide to writing and editing which looks at the problems thrown up by the new language of the digital age.
http://hotwired.lycos.com/hardwired/wiredstyle/

Online style guides alt.usage.english – Style FAQ
Mark Israel’s Frequently Asked Questions covers common English usage questions, word etymology, online and offline references, and more.
http://www.english-usage.com/faq.html

Online style guides WebGrammar
Judy Vorfeld’s excellent site covers some of the most common writing mistakes, including spelling, grammar and homonym errors.
http://www.webgrammar.com

Online style guides IEEE Computer Society Style Guide
Handy if you wish to submit papers going to their journals, or do any work using their style.
Download the style guide here (PDF)

Here are some other UK journalism styleguides available online:

Online style guides The Guardian

Online style guides The Economist

Online style guides Reuters

Online style guides Associated Press

Online style guides The Telegraph

Online style guides Financial Times Lexicon

© Roy Johnson 2004



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OpenOffice Writer

July 23, 2009 by Roy Johnson

The free alternative word-processor to Microsoft Word

OpenOffice is one of the big success stories of the Open Source Software movement – along with programs such as Linux and Apache. Open Source seeks to design software by voluntary collaboration, then makes it freely available for anyone to use . Writer is the word-processing package part of OpenOffice and, not to put too fine a point on the matter, it’s a free alternative to the costly and ponderous Microsoft Word.

OpenOffice WriterBecause the software comes free of charge however, there is no printed manual, so the ever-enterprising publishers O’Reilly have produced one as part of their Community Press series. The book comes complete with a CD-ROM containing the whole of the OpenOffice.org suite which you can freely install on as many machines as you wish. The full suite of programs includes packages for spreadsheets (Calc) presentations (Impress) and drawings (Draw) as well as file conversion facilities.

Jean Hollis Weber’s guide starts by showing you how to set up the interface to suit your style of working and your own personal preferences. This includes features such as page appearance, font options, multiple undo, spellchecking, custom dictionaries, and auto-correction.

Basically, Writer works in a very similar manner to Word, but it is more customisable, less intrusive, and less bossy. You don’t get the impression that it’s trying to take over the world, as you do with Word. And even if in the end you decide you don’t like it, you haven’t lost a penny, because it’s free.

She covers working with templates and shows you how to apply styles. For people working on long documents there are tutorials on tables of contents, indexes, bibliographies, footnotes and endnotes, and cross referencing.

Writer and other Open Source software offers an ideal solution for people who cannot afford Microsoft prices, but who wish to undertake professional quality work. This is why it is being taken up so rapidly in poorer countries and even some hard-pressed local governments in the West. (As a result of this incidentally, Microsoft have started to do secret cut-price deals with some big customers in order to keep their share of the market.)

Since most of her potential readers are likely to be migrating from Word, she ends her tour through the program with a useful series of comparison tables. These explain the small differences in how common commands and actions are performed in Word and Writer respectively.

If you need the reassurance of a manual, plus the convenience of a whole suite of programs on one ready-to-hand CD, this is a bargain. It’s sort of a version of O’Reilly’s ‘Missing Manual’ series.

© Roy Johnson 2004

artie shaw Buy the book at Amazon UK

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Jean Hollis Weber, OpenOffice.org Writer, Sebastopol, CA: O’Reilly, 2004, pp.213, ISBN: 0596008260


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Overcome writer’s block

September 16, 2009 by Roy Johnson

techniques for getting started

Overcome Writer's Block1. Writer’s block is much more common than most people imagine. But it can be overcome. Don’t imagine that you should be able to write impeccably at your first attempt. Most successful writers make several drafts of their work. They edit what they write, correct mistakes, make additions and deletions, and generally re-write extensively. Writing fluently and clearly is an advanced skill.

2. Don’t just sit staring at the blank piece of paper or the editing screen: it will only make you feel worse. Do something else, then come back to the task. Best of all, write something else – something you know you can write. This will help you to feel more confident.

3. Do some different type of writing as a warm-up exercise. Write a note or a letter to one of your friends. Re-write some of your earlier work, or just write something for your own amusement. This may help to release you from the blocked condition.

4. Don’t try composing in your head if you get stuck. Put down even your scrappiest ideas, so that you can see what you are dealing with. It may help you to identify any problems which are holding you back. If in doubt, put it down anyway. You can always delete it or change it later.

5. Get used to the idea of planning and making notes for what you are going to write. Don’t try to work with all the information stored in your head. A sound working plan and good notes will take the strain off you – and will prompt you with ideas, which in turn will prevent any ‘blocks’ developing.

6. Be prepared to make two or three attempts at anything you write. The first may not be very good, but it can be corrected, altered, changed – or even thrown away. Nobody need see your first attempts, so you don’t need to worry how bad they are – provided you pass on to a second or a third draft.

7. Some people develop a block because they think that mistakes and crossings-out on the page will result in ‘wasted paper’. Use scrap paper for your first drafts. The most common causes are a lack of preparation and the misguided idea that it is possible to write successfully at the first attempt.

8. If you are using a computer, you might try printing off your first attempts and editing them on paper. Some people work best in this combination of two mediums. Even professional writers edit on both screen and paper.

9. Writer’s block is a very common problem. Even experienced writers sometimes suffer from it. Don’t think that you are the only person it affects. What you need to know is how to get out of the blocked condition.

10. Here are some statements made by people suffering from writer’s block. They could help you identify your own case if you have this problem. They are followed by tips on how to effect a cure.


‘I’m terrified at the very thought of writing’

Cause – Perhaps you are just not used to writing, or you are out of recent practice. Maybe you are over-anxious and possibly setting yourself standards which are far too high.

Cure – Limber up and get yourself used to the activity of writing by scribbling something on a scrap of paper or keying in a few words which nobody else will see. Write a letter to yourself, a description of the room you are in – anything just to practise getting words onto paper. Remember that your attempts can be discarded. They are a means to an end, not a product to be retained.


‘I’m not sure what to say’

Cause – Maybe you have not done enough preparation for the task in hand, and you don’t have any notes to work from and use as a basis for what you want to say. Perhaps you haven’t yet accumulated enough ideas, comments, or materials on the topic you are supposed to be discussing. Possibly you have not thought about the subject for long enough.

Cure – Sort out your ideas before you start writing. Make rough notes on the topics you wish to discuss. These can then be expanded when you are ready to begin. Brainstorm your topic; read about it; put all your preliminary ideas on rough paper, then sift out the best for a working plan. Alternatively, make a start with anything, then be prepared to change it later.


‘My mind goes blank’

Cause – Maybe you have not done enough preparation on the topic in question and you are therefore short of ideas or things to write about. Perhaps you do not have rough notes or a working plan to help you make a start. Maybe you are frightened of making a false start or saying the wrong thing.

Cure – Make notes for what you intend to write about and sort out your ideas in outline first. Try starting yourself off on some scrap paper or a blank screen. You can practise your opening statement and then discard it once you are started. Put down anything that comes into your head. You can always cross it out or change it later.


‘It’s just a problem of the first sentence’

Cause – These can be quite hard to write! There is quite a skill in striking the right note immediately. You may be thinking ‘How can I make an introduction to something which
I have not yet written?’ Maybe you have not created a plan and don’t know what will follow any opening statement you make. Perhaps you are setting yourself standards which are much too high or unrealistic. Maybe you are fixated on the order of your statements – or just using this as an excuse to put off the moment when you will have to start.

Cure – Leave a blank space at the beginning of what you are going to write. The first sentence can be written later after you have finished the rest. Make a start somewhere else and come back to it later. Alternatively, write any statement you wish, knowing that you will change it later.


‘I’m not quite ready to start yet’

Cause – This could be procrastination, or it’s possible that you have not finished digesting and sorting out your ideas on the subject.

Cure – If it is procrastination, then use the warming up procedure of writing something else of no importance just to get yourself into the mood. If it is not, then maybe you need to revise your notes, drum up a few more ideas, or make a working plan to give you a point from which to make a start.


‘I’ve got too much information’

Cause – If you have several pages of notes, then maybe they need to be digested further. Maybe you have not selected the details which are most important, and eliminated anything which is not relevant.

Cure – Digest and edit your material so as to pare it down to what is most essential. Several pages of notes may need to be reduced to just one or two. Don’t try to include everything. Draw up a plan which includes only that which is most important. If your plan is too long, then condense it. Eliminate anything which is not absolutely necessary for the piece of work in hand.


‘I’m just waiting for one small piece of information’

Cause – Maybe you feel that a crucial piece of background reading – a name, or just a date is holding you up. You may be waiting for a book to be returned to the library. But this is often another form of procrastination – making excuses so as not to face the task in hand.

Cure – Make a start without it anyway. You can always leave gaps in your work and add things later. Alternatively, make a calculated guess – which you can change if necessary at a later stage when you have acquired the missing information. Remember that your first draft will be revised later anyway. Additional pieces of information can be added during the editing process.


‘I’m frightened of producing rubbish’

Cause – Maybe you are being too hard on yourself and setting standards which are unnecessarily high. However, this can sometimes be simply a fear of putting yourself to the test.

Cure – Be prepared to accept a modest achievement at first. And remember that many people under-rate their potential ability. It is very unlikely that anybody else will be over-critical. If you are a student on a course, it is the tutor’s job to help you improve and become more confident.


‘I’m stuck at the planning stage’

Cause – This may be a hidden fear of starting work on the first draft, or it may possibly be a form of perfectionism. It may be that you are making too much of the preparation stages, or alternatively that you are stuck for ideas.

Cure – Make a start on the first draft anyway. You can create a first attempt which may even help you to clarify your ideas as you are writing it. This first draft may then be used to help you devise and finalise another plan – which can then be used as the basis for your second or final draft.


‘I’m not sure in what order to put things’

Cause – Maybe there are a number of possibilities, and you are seeking the best order. Perhaps there is no ‘best’ or ‘right’ order. You are probably looking for some coherence or logical plan for your ideas.

Cure – Draw up a number of different possible plans. Lay them out together, compare them, then select the one which seems to offer the best structure. Be prepared to chop and change the order of your information until the most persuasive form of organisation emerges. Make sure that you do this before you start writing, so that you are not trying to solve too many problems at the same time once you begin.


‘It’s bound to contain a mistake somewhere’

Cause – You may be so anxious to produce good work that your fear of making a mistake is producing the ‘block’. Alternatively, this may be a form of striving for the impossible, or setting yourself unreachably high goals so as to create an excuse for not starting.

Cure – Your first efforts should only be a draft, so you can check for mistakes at a later stage. Be prepared to make a start, then deal with any possible errors when you come to re-write the work later. Very few people can write without making mistakes – even professional authors – so there is no need to burden yourself with this block.

© Roy Johnson 2004


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Oxford A-Z of English Usage

June 2, 2009 by Roy Johnson

short guide to intermediate language skills

Do you know the past tense of the verb to dive? Is it dived or dove? Don’t worry – most other native English speakers wouldn’t know either. The same is true of the verb to dream. Is it dreamed or dreamt? That’s slightly less of a worry – because both options are correct. This guide offers straightforward, up-to-date guidance on questions of English usage, all affecting the language we choose.

Oxford A-Z of English Usage Common confusions such as uninterested and disinterested are explained, differences between British and American practice are highlighted, and it takes a realistic attitude towards famous examples such as splitting infinitives, ending a sentence with a preposition, and when it is correct to say you and me or you and I.

There are highlighted mini-essays on issues such as case agreement, Latin plurals, and the endlessly vexed issue of -ise and -ize. Editor Jeremy Butterfield also deals with issues for writers, such as how to punctuate bulleted lists.

There’s a strong element of political correctness at work here in definitions to do with race, colour, and disability, yet he doesn’t offer alternatives to the contractions BC and AD, and he suggests that the equivalent of African-American in the UK is black, which some people might challenge.

There’s an interesting section on what he calls ‘electronic English’, and he does his best to reveal folk etymologies – explaining where and why an expression has become distorted and replaced the original – as in slight of hand, which has successfully transplanted the original sleight of hand.

He takes the trouble to distinguish terms which are often confused in English because their spellings are so similar, and they are very often pronounced almost identically – such as discrete and discreet. And he unravels words which are often mistaken for each other – such as blatant and flagrant.

I would say that this is a book for intermediate to advanced users of English – writers, editors, and students who want to make an effort to get things right. It’s the latest addition to a series which includes Oxford A-Z of Grammar and Punctuation, Oxford A-Z of Spelling, and the Oxford Guide to Plain English – all of which have been very successful.

© Roy Johnson 2007

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Jeremy Butterfield, Oxford A—Z of English Usage, Oxford: Oxford University Press, 2007, pp.172, ISBN: 0199231532


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Oxford A-Z of Spelling

July 14, 2009 by Roy Johnson

beginner’s guide to the basics of good spelling

Did you know that yogurt can also be spelled yoghurt or even yoghourt? All three are correct. English spelling is notoriously irregular and can be downright difficult. It’s because our huge vocabulary (the world’s biggest) is made up of words from so many other languages. Don’t feel bad if you need to look up inoculate, haemorrhage and the rule-breaking weird. But if you want to improve your spelling skills, you’ll be well served by the short guide Oxford A-Z of Spelling in the new series from OUP.

Oxford A-Z of Spelling It explains all the basics without going into a lot of off-putting technicalities and jargon. In one sense it is rather like a Dictionary of Difficult Words: it includes 2,000 commonly misspelled (or mis-spelled or mis-spelt) words and hundreds of spelling tips to help you understand the basic rules – and why there are so many exceptions to them. It starts off with guidance notes on how to form plurals, how prefixes and suffixes work, and how to recognise all the irregular cases and exceptions. Then there’s that nagging bugbear of the insecure, the apostrophe – as in Dickens’s novels and men’s clothing

The main entries of the book are an alphabetical listing of common but difficult words, ranging from abattoir to zoos, with a note on what to look out for, and words of a foreign origin signaled to explain unusual spellings.

advise verbUnlike most verbs ending in -ise advise cannot be spelled with an -ize ending. See centre pages for other verbs that always end in -ise.
! Do not confuse advise with advice. Advise is a verb meaning ‘suggest that someone should do something’ (I advised him to leave) whereas advice is a noun that means ‘suggestions about what someone should do’ (Your doctor can give you advice on diet).

These main entries are punctuated by an explanation of beginnings and endings: for- or fore-? -able or -ible? -ance or -ence?. There’s an explanation of grammatical terms, notes on American spelling, and how hyphens are used to form compounds, as in black-haired girl and pick-me-up.

Because the words have been chosen for their irregular or difficult spelling, the book makes a surprisingly interesting read. And I suddenly realised whilst surfing the entries that it also doubles up nicely for use as a spelling quiz. Firmly recommended – especially for beginners.

© Roy Johnson 2007

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Catherine Soanes and Sheila Ferguson, Oxford A—Z of Spelling, Oxford: Oxford University Press, 2007, pp. 160, ISBN: 0199233470


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Oxford Guide to Plain English

June 14, 2009 by Roy Johnson

how to simplify and clarify your writing

This is a new series from OUP – 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. Oxford Guide to Plain English is written by the research director of the Plain Language Commission.

Plain EnglishIt’s presented in a lively and professional manner, and Martin Cutts uses so many real-life examples you know he’s speaking from deeply-felt practical experience. He offers quick tips for creating a clearer style, better grammar, punctuation, and layout. He explains how to avoid jargon and legalese, and how to use plain English instead. And he has no patience with sloppy communication. For instance, have you ever received an official letter like the example he quotes from the DVLA?

I again return your application for renewal of road fund licence and reiterate the correct amount is £130. I have enclosed a photocopy of your original document you will notice it clearly datestamped 2nd December, some two days after Budget day.

Four mistakes in forty-three words is not bad going for a government [in the UK] which claims it is committed to increased efficiency and clarity of communication!

He shows you how to avoid this sort of thing – and how to replace mistakes with clear meaning. There are hundreds of real examples to show how it’s done, including ‘before’ and ‘after’ examples.

There’s a good list of contemporary cliches and expressions to avoid, including the Plain English expressions which can quite easily replace them.

The basic information is very sound. Sentences twenty words or less; plain words rather than elaborate vocabulary; vigorous and active verbs rather than the passive voice; bulleted lists to explain multiple points of argument; strict but minimalist punctuation; planning as an indispensable tool to good structure; and even avoiding too many grammatical rules.

It even includes advice on writing effective emails, and as an advocate of good spatial design in written communication, I was pleased to see that there was a whole section devoted to good layout.

Good value; good advice; and good format if you want something cheap and cheerful as a start-up or a pocket reference.

© Roy Johnson 2009

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Martin Cutts, Oxford Guide to Plain English, Oxford: Oxford University Press, 3rd edition 2009, pp. 272, ISBN: 0199558507


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Page layout for essays

August 23, 2009 by Roy Johnson

sample from HTML program and PDF book

1. Academic page layout – using word-processors
Modern word-processors allow you to create attractive page layout for your documents. The impression made by your essays or reports will be enhanced by good design. You should practise controlling the basic functions of your word-processor to improve the presentation of text on your pages.

2. Margins
The default settings of most word-processors create a margin of one inch at each edge of the page. You should try increasing your side margins (say, to one-and-a-half inches). This not only improves the appearance of your work on an A4 page, it leaves more room in which your tutor can write comments.

3. Fonts
For the main text of your essay, choose a font with serifs (‘Times Roman’, ‘Garamond’, or ‘Schoolbook’).

serifed fonts

These make the text easier to read. Avoid sans-serif fonts such as ‘Arial’ or ‘Helvetica’: these make continuous reading more difficult. They may be used for headings however.

sans-serif fonts

Display fonts (such as ‘Poster’ or ‘Showtime’) should not be used at all for academic work. They are designed for advertising.

display fonts

4. Font Size
In most cases, the size of font chosen should be eleven or twelve points. This will be easy to read, and will appear proportionate to its use, when printed out on A4 paper.

5. Quotes
Where you have quotations of more than three lines, they should normally be set in the same font as the body of the text, but the size may be reduced by one or two points. This draws attention to the fact that it is a quotation from a secondary source.

6. Spacing
Your word-processor will have single line-spacing as its default. This will produce a neat page. However, your text may be more usefully laid out in double line-spacing. This will leave more room for tutor comment.

7. Paragraphs
If you decide to stay with single line-spacing, put a double space between each paragraph. (In this case you do not need to indent the first line of the paragraph.)

8. Justification
You have two choices. Full justification arranges your text in a straight line on both the left and right-hand margins Left-justified will be straight only on the left, leaving the text ‘ragged’ on the right. This has the advantage of producing more regular word-spacing – but full justification will probably have a better visual effect overall.

9. Indentation
Never adjust your indentation using the spacebar. This will create very uneven layout when you print your document. Always use the TAB stop and the INDENT key. Remember that a TAB stop indents just the first line of a paragraph. The INDENT key will indent the whole of the paragraph.

10. Indenting quotes
Take full advantage of indenting to regularise your presentation of
quotations. Use double indentation for those longer quotations which would otherwise occupy more than two or three lines of the text in your essay. Try to be consistent throughout.

11. Indenting paragraphs?
If you do not show paragraphs by double-spacing, you will need to indent the first line of each new paragraph.

12. Italics and bold
Use italics for the titles of books and journals. (Also use it for emphasis.) Bold is best reserved for headings and sub-headings.

13. Headings
Headings, sub-headings, or essay questions may be presented in either a slightly larger font size than the body of the text, or they may be given emphasis by the use of bold.

14. Capitals
Don’t use continuous capital letters in a heading. This looks unsightly, and it makes the heading difficult to read.

15. Underlining
There is no need to underline headings or titles [even though many people think it is good practice]. If something is a title, a heading or a question at the top of an essay, then the larger font, or the use of bold should be enough to give it emphasis and importance. Underlining just makes text harder to read.

16. Page numbering
Use the automatic page-numbering feature to place numbers on all the pages of your essays. If for some reason you find this problematic (which many do), add the numbers by hand.

17. Hyphenation
If your word-processor automatically hyphenates words at the end of a line, take care to read through the work and eliminate any howlers such as ‘the-rapist’ and ‘thin-king’.

18. Widows and orphans
In laying out your pages, you should avoid creating paragraphs which start on the last line of a page or which finish on the first of the next. (These are called, in the jargon of the printing trade, ‘Widows and Orphans’). The solution to this problem is to control the number of lines on a page so as to push the text forward. An extra space at the bottom of a page is more acceptable than just one or two lines of text at the top of the next.

19. Page density
Do not create pages which are dense with closely-packed text. These will have an unattractive and off-putting effect.

20. Form
Don’t try to imitate the appearance of a printed book. Remember that an academic essay serves a different function. Leave plenty of white space around your work, and let the text ‘speak’ to the reader.

© Roy Johnson 2003

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Paragraphs in essays

August 24, 2009 by Roy Johnson

sample from HTML program and PDF book

1. The purpose (and definition) of paragraphs in essays is that they deal with just one topic or major point of argument in an essay. That topic or argument should normally be announced in the opening sentence, which is sometimes called a ‘topic sentence’.

2. The sentences which immediately follow the topic sentence should expand and develop the statement, explaining and relating its relevance to the question in general.

3. This opening statement and amplification should then be followed by evidence to support the argument being made. You should provide illustrative examples which are discussed as an explanation of the central idea.

4. Paragraphs in most academic essays should normally be between 50 words minimum and 200 words maximum in length. They could be longer if you were explaining a topic in detail in an extended piece of work.

5. The last sentence of a paragraph should try to round off consideration of the topic in some way. It may also contain some statement which links it to the one which comes next.

6. Consecutive paragraphs may be linked with terms such as ‘However’ and ‘On the other hand’ so as to provide a sense of continuity and structure in your argument. If you are in any doubt however, let them stand separately and speak for themselves.

7. The recommended structure of a typical paragraph in academic writing is as follows. It is rather like a smaller version of the structure of a complete essay.

  • The opening topic sentence
  • A fuller explanation of the topic sentence
  • A discussion of its significance
  • Consideration of examples or evidence
  • A concluding sentence

8. What follows is an example taken from an essay written in response to the question ‘Discuss the case for and against political censorship of the media.’

The arguments against political censorship however can be made on grounds which are surely just as firm. The moral arguments usually centre on notions of ‘freedom of information’ and the individual’s ‘right to know’. The legal arguments point to inconsistencies in current regulations as applied to the various forms of media (books, television, newspapers) and to differences in the law between the UK and other western countries. There are also a number of social and political arguments ranging from objections of class bias in the composition of those bodies which frame regulations, to similar objections to the ownership and control of the various forms of media. Exploring each one of these arguments in turn, it is possible to see that the case against political censorship can be just as strong.

9. Avoid very short paragraphs which contain only one or two sentences. These are sometimes used in fiction or journalism for dramatic effect. In an academic essay however, this device does not allow you to develop an argument or discuss evidence.

© Roy Johnson 2003

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Passing Exams without Anxiety

May 18, 2009 by Roy Johnson

popular guide to revision and examination techniques

David Acres is a counsellor and a specialist in learning and stress management. He applies these skills to all stages of what’s required for exam success – in any subject and at all levels, from GCSE and A Level to university level. He deals with all the common issues of time management, confidence, motivation, and study conditions, as well as the techniques you need in the exam room itself. The approach he takes encourages you to ask questions and break up tasks into smaller parts. This helps you to analyse what you need to do to complete tasks. He also recommends a pick-and-mix strategy – dipping in and out of the book and choosing those techniques which suit you best.

Passing ExamsThe advice he gives is sound. Make a revision timetable; check your coursework deadlines; study past papers; make notes and summaries; and get to know what examiners are looking for. He provides plenty of checklists and recommends the use of planning and time charts, diagrams, lists, and mind maps. The section on improving your memory becomes a little bit like a personal therapy session – but he does explore a wide variety of methods for exercising and improving your powers of recovering information.

The main emphasis of the book is concerned with relieving stress and anxiety – so this will appeal to those who are looking for reassurance and nerve-calming techniques. It’s now in its fifth edition – which is a sure recommendation.

© Roy Johnson 2000

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David Acres, Passing Exams Without Anxiety, Oxford: How to Books, 1998, pp.182, ISBN: 1857032691


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Plagiarism in essays

August 24, 2009 by Roy Johnson

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1. Plagiarism in essays occurs when you take someone else’s ideas or words and try to pass them off as your own original work. In its worst form this happens when someone is stuck for ideas and lifts a passage from a textbook, hoping that the use of this ‘borrowed’ material will not be noticed. [It is usually very noticeable.]

2. Sometimes this can happen unintentionally, because the student uses a passage from someone else’s work – but forgets to put quote marks around it. These lifted passages are easily noticeable because of the sudden shift in tone in the writing.

3. You should always acknowledge the original source of any words or ideas which you use in your own work. Any attempt to pass off work which is not your own is regarded as cheating in academic circles, and is usually severely censured.

4. You can either acknowledge any idea you use in summary form:

This is what the critic Stanley Fish has called ‘interpretive communities’ (1) as a strategy in his argument that …

5. Alternatively, you can interrupt your own argument to briefly quote a passage from the original source. As Stanley Fish suggests:

Interpretive communities are made up of those who share interpretive strategies not for reading (in the conventional sense) but for writing texts, for constituting their properties and assigning their intentions. (1)

6. In both cases you must acknowledge that original source, either in a footnote or an endnote, which is shown as follows:

NOTES
1. Stanley Fish, Is There a Text in this Class, Harvard University Press, 1980, p.169.

7. Unless you have specifically been asked to discuss or summarise other people’s arguments, you should avoid composing an essay by stringing together accounts of other writers’ work.

8. More difficult instances occur when dealing with ideas that are in the public domain. For instance, you might not know who first thought of a concept you wish to bring into play. In such a case you should simply acknowledge the fact that the idea is not your own.

What follows is the rather stringently worded code on plagiarism from a typical university handbook.


Plagiarism

Plagiarism is the theft or appropriation of someone else’s work without proper acknowledgement, presenting the materials as if they were one’s own. Plagiarism is a serious academic offence and the consequences are severe.

a) Course work, dissertations, and essays submitted for assessment must be the student’s own work, unless in the case of group projects a joint effort is expected and indicated as such.

b) Unacknowledged direct copying from the work of another person, or the unacknowledged close paraphrasing of somebody else’s work, is called plagiarism and is a serious offence, equated with cheating in examinations. This applies to copying both from other student’s work and from published sources such as books, reports or journal articles.

c) Use of quotations or data from the work of others is entirely acceptable, and is often very valuable provided that the source of the quotation or data is given. Failure to provide a source or put quotation marks around material that is taken from elsewhere gives the appearance that the comments are ostensibly one’s own. When quoting word-for-word from the work of another person quotation marks or indenting (setting the quotation in from the margin) must be used and the source of the quoted material must be acknowledged.

d) Paraphrasing when the original statement is still identifiable and has no acknowledgement, is plagiarism. A close paraphrase of another person’s work must have an acknowledgement to the source. It is not acceptable to put together unacknowledged passages from the same or from different sources link these together with a few words or sentences of your own and changing a few words from the original text: this is regarded as over-dependence on other sources, which is a form of plagiarism.

e) Direct quotation from an earlier piece of the student’s own work, if unattributed, suggests that the work is original, when in fact it is not. The direct copying of one’s own writings qualifies as plagiarism if the fact that the work has been or is to be presented elsewhere is not acknowledged.

f) Sources of quotations used should be listed in full in a bibliography at the end of the piece of work and in a style required by the student’s department.

g) Plagiarism is a serious offence and will always result in imposition of a penalty. In deciding upon the penalty the University will take into account factors such as the year of study, the extent and proportion of the work that has been plagiarised and the apparent intent of the student. the penalties that can be imposed range from a minimum of zero mark for the work (without allowing resubmission) through to downgrading of degree class, the award of a lesser qualification (eg a Pass degree rather than Honours, a certificate rather than a diploma) to disciplinary measures such as suspension or expulsion.

© Roy Johnson 2003

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Filed Under: Writing Essays Tagged With: Academic writing, Copying, Copyright, Essays, Plagiarism, Reports, Study skills, Term papers, Writing skills

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