读书笔记: the element of academic writing

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最近新看的一本书:the element of academic writing，希望能够跟大家分享~也借着分享笔记的平台激励自己去阅读~
one Introductory: I care whether you write just like you -- that you come to scholarly prose with both purpose and intention, that you take it seriously as a craft, that you understand how and why you do what you do, that you strive to do more than reporduce the stylistic average of your age and experience. And that you follow, in the long run, the path that you make. This is a book for finding your way.
two unlearning what you know:
consider a list of things you will need to learn to write publishable articles and books;
Psychology and Ethos
1. to adapt to the rhythms and psychological pressures of how professors work;
2. to develop a repertoire of habits that make writing possible;
3. to construct an ethos of writing as a form of social practice (to know why you write);
format and structure
4. to clearly understand the standard formats of academic style (the conference paper, the article, and the book) and the differences among them;
5. to know, for each format, the various stylistic and structural options governing argumentative and scholarly logic (introductions, conclusions, etc);
6. to have a sense of the different ways of using evidence, and to know how those ways create a comprehensive citational practice;
discourse and metadiscourse
7. to deploy paratextual and metadiscursive language to frame and organize an argument or arguments;
8. to have a basic sense of the sentence- and paragraph-level effects of grammar, dictin, figural languate, and other aspects of style;
9. to understand how all these aspects of writing coem together to create an intellectual or writerly style; to make one's own style.
three eight strategies for getting writing done
1. write daily. to carve out a very small period of time for writing each day, putting it in both your physical and mental calendars, and to convince yourself that having the time is a way of taking care of yourself. to work in the morning. during the school year, 30 minutes a day is fantastic. if you do not teach, write for an hour or two.
2. make small goals and meet them. to develop a two-page-a-day habit during breaks from school will be enough to finish a dissertation, get tenure, and have a significant and serious career as a publishing writer.
3. when you're stuck, keep writing. many microlevel problems can be solved by opening up a new file and freewriting for five to ten minutes.  for larger problems, to go back and reread everything you have or to have a friend, colleague, or advisor read your work and talk the problem through. above all, do not give up.
4. avoid virtuous procrastination. if you want to have a successful publishing career, you absolutely must resist this tendency and especially resist the impingements on your writing time created by department meetings, student advising, or informal chats with colleagues. it should be to get slowly better at recognizing the patterns of your own virtuous deferrals and to catch them within days or a week instead of letting them stop you up for months.
5. make fear an ally.
6. start poor, finish rich. when you write without knowing exactly how things will turn out, you will be learnings as you write. follow your ideas where they take you, then return to what you have written and think about how it hangs together, how it might be structured and organized so as to function as a single, coherent whole.
7. treat revision (and even research) as writing.
8. take this advice. the only advice I can give you is to trust yourself enough to try it, and to never let small lapses stop you. be good to yourself; befriend your anxiety and fear. it does, in the long run, get easier.

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关键词：Academic Element writing 读书笔记 EME average finding purpose understand experience

four institutionl contexts
if you grew up in China, you will have learned that one of the most epistemologically powerful things an essay can do -- especially if written by a junior scholar -- is to show that its arguments resemble those of an existing authority figure. This is usually proved by parallel citation. Unfortunately, that structure has little truth-value in the U.S. context, where a strong emphasis on originality means that you produce epistemological strength by distancing yourself from at least some of the experts in your field.
five dissertations and books
try to write a book for your dissertation;
a book must be more than sum of its parts; a book should gather meaning over time, and should accumulate that meaning into a whole that necessarily includes all its pages. books tha give away all their answers in the introduction, leaving the pages to just lay out a continuum of evidence and examples; books whose chapters relate to one another only thematically or topically. books whose chapters can be reordered without affecting the argument; books that don't think they need a conclusion; books whose only logic is a kind of endless piling on; all thse run the risk of producing a whole that is less than what it contains. (books-as-containers) (wrong)
ethical justification should stem from the concept that grows from having these pages bound together in this order. (book-concept) much of the labor of the last months of writing/ revision involves grasping the concept from the pages you have, figuring out how to get the reader excited about that concept, and then keeping the promise of that excitement as the reader moves through each page of the work.
as you think about a dissertation or a book, you need to consider how the chapters fit together to make a whole that establishes meaning over and above the sum of the contents.
six a materialist theory of writing
what matters is to know what you're doing and why, which will allow you to be bold in your ambition and clear-eyed in your pursuit of its effect on your readers, to prepare your audience for an experience that will belong to the performance of its reading. all of this amounts to your signature on the work.
seven how do readers work?
tje general principle: that if you understand the difference between your relationship to the text and your reader's, and if you begin to imagine the reader as the site of the performative action of your work -- the place that inhabits it with meaning -- then thinking well about what readers like, how they read, or the ways writing can make them feel improve your ability to write work that matters. Your goal is to build, synchronically, a winning diachronic experience.