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'Backwards' Research Guide for Writers: Using Your Life for Reflection, Connection, and Inspiration [Kietas viršelis]

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  • Formatas: Hardback, 277 pages, aukštis x plotis x storis: 236x157x25 mm, weight: 680 g, 8 Illustrations
  • Serija: Frameworks for Writing
  • Išleidimo metai: 01-Nov-2011
  • Leidėjas: Equinox Publishing Ltd
  • ISBN-10: 1845534417
  • ISBN-13: 9781845534417
Kitos knygos pagal šią temą:
  • Formatas: Hardback, 277 pages, aukštis x plotis x storis: 236x157x25 mm, weight: 680 g, 8 Illustrations
  • Serija: Frameworks for Writing
  • Išleidimo metai: 01-Nov-2011
  • Leidėjas: Equinox Publishing Ltd
  • ISBN-10: 1845534417
  • ISBN-13: 9781845534417
Kitos knygos pagal šią temą:
"Backwards offers a very helpful perspective on the writing and research process. Summing Up: Recommended. Lower-division undergraduates, two-year technical program students, and general readers." -- J. Stevens, George Mason University, CHOICE Nautilus Award 2012 Silver Winner - Creative Process The Backwards Research Guide for Writers: Using Your Life for Reflection, Connection and Inspiration demystifies the writing process by inviting writers of all levels to focus on their passions, questions, and obsessions as the key to generating seeds for further exploration of the world around them. Writers then develop these questions into focused projects that explore the teller's central role in the open-ended quest of unfolding a research topic. The boom in narrative journalism, memoir, and creative nonfiction has generated wonderful writing, but no resource for writers exists to bridge the gap between passionate research and the page. This book addresses that gap by turning the task of research on its head and by speaking to students who resist the idea of research as an objective and dry assignment. Students are invited to experiment creatively with collecting observations and information and then to step beyond their subjective realities to interact with the world around them and ultimately become vulnerable authors willing to change their perspectives as they research and write. Developed with input from college student writers, The Backwards Research Guide for Writers is relevant as a text for undergraduate and postgraduate courses in composition, creative nonfiction, literary journalism, and feature writing as well as for working journalists and other writers seeking a new way of approaching a writing project. It includes interviews with notable authors that focus not on the completed and intimidating project of a successful author, but on the project as it took shape and mystified a researcher. Another unique feature is a section in every chapter on ethics, as ethical questions are central to the writing process as well as a method for sparking interest in writing and learning. The guide includes extensive examples of research challenges and dilemmas, strategies for planning a research project, exercises for generating ideas, a guide for writing the research-based work, an appendix of on-line databases, a section in each chapter focused on ethics in research and writing called gray matter, a selection of recommended readings, and a bibliography of conventional research guides.
Editor's Preface xv
Acknowledgments xvii
Introduction for Instructors: The Context for Seeking as Research 1(20)
What is Research?
1(2)
Process and Contemplative Approaches to Research
3(3)
Technologies of Knowing
6(1)
Relax
7(1)
Reflect
8(2)
Book Sections and Features
10(2)
Conversations
12(1)
Gray Matter
12(1)
Experiments
13(1)
Using This Book in Class
14(1)
Research Schedules and Projects
15(1)
Process and Outcomes in the Classroom
16(5)
Section I. Research: An Inside Job
1 Write About Anything
21(18)
Introduction to
Chapter 1: Research Trouble
21(2)
Torturing Students with Research
23(1)
Research Starts with You
24(1)
Experiment 1.1: Your Research Stories
25(1)
Research as Self-Discovery and World-Discovery
26(1)
The Question of Objectivity
27(3)
Beginning the Search
30(1)
The Mind as Research Tool
31(2)
Thinking about Thinking
33(1)
Noticing: The First Research Skill
34(1)
Experiment 1.2: Just Sit
35(1)
Conclusion to
Chapter 1
36(3)
2 Meet the Author: You
39(23)
Introduction to
Chapter 2
39(1)
How Not to Write a Research Paper
40(1)
What Thinking Feels Like
41(1)
Experiment 2.1: Sit with a Word
42(1)
Freedom of Association
43(1)
Hunters and Gatherers
44(1)
What Type of Hunter/Gatherer Are You?
44(1)
Experiment 2.2: Hunter/Gatherer Profile
45(2)
Watching the Brain During a Brainstorm
47(1)
Obsessions: Fuel for the Fire
48(2)
Brain Chatter and Brain Grooves
50(1)
Experiment 2.3: Interview Your Friends
51(4)
The Interest in the Obvious
55(1)
Excavating the Obvious
55(1)
Experiment 2.4: Five Objects
56(1)
Making the Familiar Strange
56(1)
The Gray Matter: What We Don't Want to See
57(1)
Experiment 2.5: Room for Improvement
58(1)
Conclusion to
Chapter 2
59(3)
Conversation 1 with Ben Vogt: Wandering Research
62(7)
3 Areas of Expertise: Using What You Already Know
69(16)
Introduction to
Chapter 3
69(2)
Experiment 3.1: Activities and Questions
71(1)
No Such Thing as a Stupid Question
72(3)
Nothing to Brag About
75(2)
Experiment 3.2: Catalogue the Unseen Skills
77(1)
The Gray Matter: Decisions as Experience
78(1)
Tough Choices as Research Questions
79(1)
Experiment 3.3: Choices, Choices, Choices
80(2)
Choices and Outcomes
82(1)
Conclusion to
Chapter 3
82(3)
4 Living and Loving the Questions
85(22)
Introduction to
Chapter 4
85(1)
Experiment 4.1: Questions and Questioners
86(1)
Questions in a Culture of Answers
87(1)
Using Questions to Generate Research Ideas
88(1)
Experiment 4.2: Questions without Answers
89(1)
What Makes a Good Question?
90(1)
A Healthy Dose of Skepticism
91(1)
Adding Fuel to the Fire
92(1)
Experiment 4.3: Two Hundred Questions
92(12)
Conclusion to
Chapter 4
104(3)
Section II. The Inside Meets the Outside: Paying Attention as Research
5 Learning to See
107(17)
Introduction to
Chapter 5
107(1)
Experiment 5.1: You Are Here
108(1)
Contemplative Research
109(1)
Experiment 5.2: Take Three
110(1)
Student-Driven Research
111(1)
Brain-Watching and Field Notes
111(1)
Obsession Notebook
112(1)
Experiment 5.3: Obsession Notebook
113(1)
Shared Obsessions and Public Issues
114(2)
Experiment 5.4: The National Association of Yo-Yo Aficionados
116(1)
Group Think
117(1)
The Gray Matter: No Right Answer
118(1)
Experiment 5.5: Real-World Research
119(1)
Open Questions
120(1)
Experiment 5.6: Real-World Research, Part II
121(1)
Conclusion to
Chapter 5
122(2)
Conversation 2 with Bill Roorbach: Immersion Research
124(3)
6 Responding to Reality
127(14)
Introduction to
Chapter 6
127(1)
Experiment 6.1: Reading the Newspaper with Scissors
128(1)
Boring Topics
129(2)
Experiment 6.2: Don't Know Much About History
131(1)
Connections
132(1)
The Portable Researcher
133(1)
Experiment 6.3: Research in Motion
133(2)
Post-Walk Field Notes
135(1)
The Gray Matter: Beyond the Edges of the Newspaper Page
136(1)
Experiment 6.4: Reading Between the Lines
137(1)
Experiment 6.5: Comparing Two Frames
138(1)
Conclusion to
Chapter 6
139(2)
7 Uncharted Obsessions
141(13)
Introduction to
Chapter 7
141(1)
Nerddom and the Kingdom of the Geeks
142(1)
Experiment 7.1: Geek, Nerd, Freak
143(1)
Intuition as Research
144(2)
Bubble Charts
146(1)
Experiment 7.2: Outward Bubbles
147(1)
Beyond Bubbles
147(2)
Experiment 7.3: Six Degrees
149(1)
The Gray Matter: Why We Love What We Love
150(1)
Experiment 7.4: Double-Bubble Chart
151(2)
Conclusion to
Chapter 7
153(1)
Conversation 3 with Steve Almond: Freakdom
154(5)
8 Beginner's Mind
159(20)
Introduction to
Chapter 8
159(2)
The Discomfort of Not-Knowing
161(1)
Experiment 8.1: I Don't Know
162(1)
Know-It-Alls and Beginner's Mind
163(2)
Experiment 8.2: The Power of Not-Knowing
165(1)
The Work of Not-Knowing
166(1)
Open vs. Closed Questions
167(1)
The Gray Matter, Part I: Ethical Questions
168(2)
Experiment 8.3: Questions to Consider
170(1)
Bias and Conflict of Interest
171(1)
Experiment 8.4: Question Launch Pads
172(1)
Beginner's Mind into Researcher's Mind
172(1)
Experiment 8.5: Research Sampler
173(1)
The Gray Matter, Part II: Don't Patch Over the Gaps
174(1)
Questions for Thought or Discussion
175(1)
Conclusion to
Chapter 8
176(3)
Section III. Big Bang: Form and Structured Chaos in Research
9 Take Note
179(14)
Introduction to
Chapter 9
179(1)
Cut-and-Paste or Mix-and-Cook
180(1)
Space for Your Research
181(1)
Experiment 9.1: Taking Notes
182(1)
Net of Questions
183(1)
Experiment 9.2: Fishing Net
183(1)
Nets to Catch Facts
184(1)
Double-Column Notebook
184(2)
Questions to Focus
186(1)
Cheat Sheets and Spreadsheets
187(1)
The Gray Matter: What is a Fact out of Context?
188(2)
Experiment 9.3: The Author in the Story
190(1)
Conclusion to
Chapter 9
190(3)
10 Noodling as a Research Method
193(21)
Introduction to
Chapter 10,
193(1)
A Wet Suit for Deep-Sea Diving
194(1)
Noodling Online
195(1)
Experiment 10.1: Online and Aimless
195(2)
Free Databases to Noodle
197(1)
Search Terms
197(1)
Wilds
198(1)
Databases of Published Works
199(1)
Government and Organizational Databases
200(1)
Restricted Databases to Noodle
201(1)
Experiment 10.2: Database Wandering
202(1)
Associative Reading
203(1)
Blogs: How Low Can You Go?
204(2)
Experiment 10.3: Bunches of Blogs
206(1)
Old-Fashioned Search Engines
207(1)
Experiment 10.4: Rubber to the Road
207(1)
Using Real-World Research Material
208(1)
The Gray Matter: Giving Credit Where Credit is Due
209(1)
Sorting the Information
210(1)
Crediting Your Sources
211(1)
Experiment 10.5: Infor-mess-ion
211(1)
Conclusion to
Chapter 10
212(2)
Conversation 4 with Joe Mackall: Places, People, and Paper
214(5)
11 Conversations
219(19)
Introduction to
Chapter 11
219(1)
Interview Anxiety
220(1)
Active Listening
221(1)
Experiment 11.1: Listen and Hear
221(1)
Listening Behavior
222(1)
Asking for a Formal Conversation
223(1)
Experiment 11.2: Who Knows?
224(1)
Seeking Sources
225(1)
Invitation to an Interview
226(1)
Brainstorming the List of Questions
227(2)
Authentic Conversation
229(1)
Experiment 11.3: Twenty Questions
230(2)
Interview Process and Technology
232(1)
Beyond the Quotes
233(1)
Experiment 11.4: Practice Interview
234(1)
The Gray Matter: Being Trustworthy with the Stories of Others
234(2)
Questions for Thought or Discussion
236(1)
Conclusion to
Chapter 11
237(1)
Conversation 5 with Robin Hemley: Interviewing
238(7)
Section IV. Open Minds Invite Surprises
12 Twists and Turns in the Research Story
245(22)
Introduction to
Chapter 12
245(1)
Filter and Focus
246(1)
Experiment 12.1: Take Notes on the Rest of Your Life
247(1)
Rough Roads and Smooth Sailing
248(1)
Experiment 12.2: Know Your Equipment
249(1)
The Changeable Brain
250(1)
Seeing Chromosomes
251(3)
Experiment 12.3: More than a Feeling
254(1)
Feeling, Physics, and the Playground
255(2)
The Gray Matter: Nothing to Know?
257(1)
Questions for Thought or Discussion
257(1)
Conclusion to
Chapter 12
258(2)
Conversation 6 with Jill Christman: The Research Journey
260(7)
13 The Research Road Map
267(14)
Introduction to
Chapter 13
267(1)
Research Road Blocks
268(1)
Experiment 13.1: Choose Your Own Misadventure
269(1)
Roadblocks as Stepping Stones
269(1)
Confusion
270(1)
Huge Questions
271(1)
Red-Hot Debates
272(1)
No Available Sources
273(1)
Not Enough Time
274(1)
Experiment 13.2: The Adventure of Finding Your Material
275(1)
Research Drama
275(2)
Experiment 13.3: Research Flow Chart
277(1)
The Gray Matter: Navigating Research with the Moral Compass
278(1)
Questions for Thought or Discussion
278(1)
Conclusion to
Chapter 13
278(3)
14 Finding Your Way
281(14)
Introduction to
Chapter 14
281(1)
Containers, Walls, and Buckets
282(2)
The Simplicity of Scaffolding
284(1)
Experiment 14.1: Winnowing
285(1)
Experiment 14.2: Interest Ranking
286(1)
Rocking Climbing
286(1)
Experiment 14.3: Distance from the Center
287(1)
Behind the Scenes
288(1)
Experiment 14.4: Plunging into the Unknown
289(1)
Focus and Cut
289(1)
The Gray Matter: The Challenge of Giving Credit
290(1)
Background Paragraphs
290(1)
Footnotes and Endnotes for Your Comments
291(1)
The Disagreeing Source
292(1)
Questions for Thought or Discussion
292(1)
Conclusion to
Chapter 14
292(3)
15 Writing the Story's Journey
295(12)
Introduction to
Chapter 15
295(1)
Senses and Experiences as Research Hooks
296(1)
Experiment 15.1: The Five Senses
297(1)
Experiment 15.2: Characters in Your Story
298(1)
What's a Scene?
299(1)
Experiment 15.3: Scene and Heard
300(1)
Plotting the Framework
300(2)
Experiment 15.4: Refocusing on the Heart of the Story
302(1)
The Last Step: The Introduction
302(1)
Experiment 15.5: Letter to a Beekeeper
303(1)
The Gray Matter: Known and Unknown
304(1)
Questions for Thought or Discussion
305(1)
Try This
305(1)
Conclusion to
Chapter 15
305(2)
16 Revision: Seeing Again
307(12)
Introduction to
Chapter 16
307(1)
Experiment 16.1: A Refreshing Pause
308(1)
From a Word to a Conversation
309(1)
Experiment 16.2: Re-seeing Your Revision Process
310(1)
Clearly Unclear
311(1)
Tone and Voice
311(1)
Experiment 16.3: Letter to a Beekeeper, Part II
312(1)
Experiment 16.4: Questions to Observations
313(1)
Seeking Uncertainty
314(1)
The Gray Matter: Integrity Check
314(1)
Integrity Checklist
315(1)
Questions for Thought or Discussion
315(1)
Conclusion to the "Backwards" Research Guide
316
Appendices
Appendix A Experiments in this Book: Short
319(2)
Appendix B Experiments in this Book: Long
321(2)
Appendix C Experiments in this Book: Take-Home
323(2)
Appendix D Recommended Reading
325(4)
Appendix E Source Citations Using MLA Style
329(2)
References 331(5)
Subject Index 336(6)
Author Index 342
Sonya Huber (BA Carlton College, MA & MFA The Ohio State University) is a professor of creative writing at Georgia Southern University with a background in journalism and college composition. Huber's writing has appeared in many magazines, newspapers, literary journals, and anthologies. She has published articles in Psychology Today, The Chronicle of Higher Education, and Sojourner, as well as creative writing in Literary Mama and Fourth Genre. Huber's recent book, Opa Nobody (University of Nebraska Press), tracks the challenges and changes born of a passionate and lived research project of family history focused on her grandfather, a committed activist in World War II Germany shoes story echoes her own activist life story.