Writing text for research posters

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academic posters, visual communication

By Cally Guerin

Recently I sat down to make a poster about the DoctoralWritingSIG blog for a higher education conference. I’ve made only a few research posters over the years; this genre is more common in some science disciplines than it is in humanities and social sciences. The exercise encouraged me to think about how this kind of research writing differs from that of a journal article or a thesis or, for that matter, a 20-minute oral presentation for a conference.

Poster prose is a little like reducing an 80,000-word thesis to a Three-Minute Thesis presentation: turning an article-length idea into a poster requires the author to focus in on the key messages of the communication. Posters encourage writers to extract the skeleton of the narrative they have developed in more fulsome terms elsewhere, to distill the key ideas of the work into neat dot points or short statements. This is not a time to be chatty; a poster gives us only the central message.

Pinterest for doctoral writing: Learning from creative writing

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Accurate word choice, Pinterest, visual communication

By Cally Guerin

Searching around for new ideas for my doctoral writing classes recently, I found myself perusing the endless array of pins on Pinterest. Academic writing, and especially doctoral writing, is often regarded as being almost entirely separate from creative writing: doctoral writing is supposed to be objective, direct, dry. However, a short foray into the world of Pinterest quickly reveals that much of the advice to novelists is relevant to doctoral writers, so I started compiling my own board of pins that were aimed at aspiring fiction writers but also useful for academic writing.

Achieving writing precision: applying simple activities to complex thesis writing

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Accurate word choice, argumentation, English language writing skills, Precision

By Susan Carter

When…you Think of Things, you find sometimes that a Thing which seemed very Thingish inside you is quite different when it gets out in the open and has other people looking at it.                                   (A. A. Milne, 1961, p. 101)

In last week’s workshop with a group of doctoral students, we began by talking about what was puzzling, troubling or interesting people currently about their doctoral writing. A couple agreed that it was really hard to put ideas that are good in the mind onto a page–like Pooh Bear above, they found quite good thoughts somehow looked much less convincing in a draft of writing.

Some common disgruntlements emerged: feeling your own writing is boring to read and boring to write, and wondering whether the current writing might not end up in the thesis so feeling all that work might be a waste of time.

The potentiality of ideas seemed to be shut down when packaged into linear writing, in the same way that the pleasure of having inviting purchase options is gone once you spend your cash. You get one thing, and that is all.

A challenge those with English as an Additional Language agreed on, however, was how hard writing was at doctoral level, because ‘literacy’ suddenly became ‘much more complicated.’ So this week, we met again for a small exercise that comes from Linda Evans on developing precision in expression.

It begins asking students to take approximately three minutes to write down a good definition of a chair.

Decongesting writing through revision: The unwriting workshop

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writing skills development

By Susan Carter

Sometimes students have writing habits that make for bulky prose where the content to word ratio is low: too many words and not enough content. Often decongesting writing can be achieved through revision in peer review–in our posts, we often mention this. This post proposes the idea of a new group workshop for doctoral and academic writers: an ‘unwriting’ workshop where peer review focus is on trimming verbal excess. As someone who puts on writing workshops commonly, I like the idea of an unwriting workshop.

My own writing is always more stylish when I am forced to shed words. Usually I begin culling words due to journal limitations on length, and then later see how much stronger the writing is, and easier to read. (Sometimes my academic friends suggest some chops. This paragraph’s first sentence is better for the unwriting I have done, prompted by Claire. It was originally  I’m prompted to have an entire workshop focused on unwriting by the way that my own writing is always more stylish when I am forced to shed words. I like the trimed version much better.)

Done all that work – but has this thesis really got anything to say?!: Strategies to regain perspective on research contribution

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objectivity in writing, strategies for getting an overview

By Claire Aitchison

What have I got to say? This is the terror moment that strikes every doctoral student: the fear that perhaps there isn’t anything of worth to show for all the years of work.

I’ve never met a student who hasn’t experienced this kind of self-doubt – in part fuelled by exhaustion during the final stages, and in part this anxiety is an almost natural outcome of being too close, too fully immersed in the project to be able to objectively assess the merits of the work. However it is essential that researchers do make such judgements accurately since convention demands that the thesis clearly identifies the contribution and significance of the research.

Over the years I’ve collected a few strategies for helping students gain the perspective needed

Balancing simplicity and complexity in doctoral writing

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authorial voice, bad academic writing, word choice

By Cally Guerin

Many years ago, I wrote a PhD thesis that used French psychoanalytic and postmodern theory. It may have been the translation of the texts, but I found it necessary to read, and re-read and re-read again before I even began to understand the concepts, let alone learn how to work with them. Part of my difficulty was the cultural preference in those texts for long, convoluted sentence structures; another part was the slow process of becoming familiar with a new vocabulary.

However, it took many years before I started to recognise that sometimes when I couldn’t understand a piece of writing, the problem lay in the writing rather than me.

There are plenty of jokes about how obscure academic writing can be. Many readers will be familiar with the Bad Writing Contest from the 1990s; or have read Steven Pinker’s diatribe on how and why academic writing stinks. As Pat Thomson points out, this kind of writing is an easy target. But you undoutedly know what these critics mean – those sentences with very long noun groups, filled with abstract nouns or ‘nominalisations’ and lots of punctuation.

So, given the poor reputation of academic writing, how should we best advise doctoral candidates to strike the right balance in their writing?