Extreme Research: 10 Snappy Rules For Success

Written by Christopher Brown

Continued from page 1

PART #2: Compile and organize your sources.

Userepparttar old-fashioned vanilla file folders and mark them up, so you know which is what. Then get a file box to keep them handy.

PART#3: Determine which arerepparttar 147624 most relevant features of your topic from its effects or imlplications in 3 different areas of study. For instance, if your topic reads, "Interesting stuff about World War II," then you will need to ask and study questions like, "Who did it cost, and how much did it cost them, to have this war?" Followrepparttar 147625 money (economics). Then, you might ask "How did this war changerepparttar 147626 mindset or values of American society" (sociology or philosophy). Finally, ask maybe, "What inventions did Europeans develop to fight this war?" (technology).

By looking at your topic from at least three disciplinary viewpoints, you will gain a broad understanding of it, and find yourself -- somewhat suddenly -- asking GREAT questions about it.

PART#4: Find and choose a controversial feature of topic, and choose a side ofrepparttar 147627 issue.

Write down your viewpoint in one sentence. This we call your "thesis." Arguing this point well now constitutes your "objective." Askrepparttar 147628 question of your thesis, "How do you know this isrepparttar 147629 case?" Ask this three times. Each time you ask it, give a brief answer in writing from one of your three areas you chose. Each answer must reflect views formed from a different area.

PART#5: Next, Re-read or skim your sources to develop an outline (in order to support your three points offered in defense of your thesis). Now pull outrepparttar 147630 photocopied (or printed out) chapters from your IRT's and highlight and scribble all over them -- but keep it legible. Argue your case vigorously with your imaginary critic who knows what you know. Take his side and argue against your thesisrepparttar 147631 best you can. Shoot it down, developing three criticisms. Some of these will already have circulated in print in your sources. Line them up. Then answerrepparttar 147632 critic. Refute his three points. Your outline is nearly finished.

PART #6: Organize your notes into subgroups listed underrepparttar 147633 branches of your outline. Draw a picture ofrepparttar 147634 flow of your argument and objections as though it were a tree, and labelrepparttar 147635 parts. Modifyrepparttar 147636 outline as needed. Add relevant subheadings (you will come across new info in your scribbling) underrepparttar 147637 branches ofrepparttar 147638 outline. Fill out relevant details from your notes to formrepparttar 147639 arguments for each section and subsection. Your rough draft is now complete.

PART#7: Rewrite your rough draft 5 times using our rules of good writing.

PART:#8 Studyrepparttar 147640 cleaned-up draft for logical errors in arguments. See our "Blogic For Writers" website for this; modify and strenghten your case. Use T Edward Damer's "Attacking Faulty Reasoning" for this too.

PART#9 -- Write your conclusion. This final paragraph spells out "what important point or points you have learned from doing all this hard work (e-search). Here, you makerepparttar 147641 case for why your research has value. Also, here either write or rewrite your introductory paragraph to "hint at" (anticipate)repparttar 147642 concluding paragraph. Most ofrepparttar 147643 time it actually makesrepparttar 147644 best sense to write your introduction LAST, since this way you write with a view ofrepparttar 147645 WHOLE work, which you did not have atrepparttar 147646 beginning.

Inrepparttar 147647 introduction, hint at your conclusion, but don't give awayrepparttar 147648 whole story. This makes for a smooth and logical flow from start to finish, giving your work a stylish symmetry, whererepparttar 147649 first part foreseesrepparttar 147650 end, andrepparttar 147651 end reflects onrepparttar 147652 beginning. All good stories have this symmetry.

PART #10. Dorepparttar 147653 footnoting (or endnoting) and contstruct an extensive bibliography. Add title page and Table of Contents. See Kate Turabian's or an MLA manual online for this, and for grammar and style. You can also userepparttar 147654 resources we list in our sidebar.

You are DONE. Your paper or article "so totally rocks," and you get an "A." Your readers love you, and you then become wealthy and famous. Your actual mileage may vary, batteries not included, offer void where prohibited.

Christopher Brown has taught English and philosophy for two colleges, attended the California State University, and went to seminary in Orlando, FL. In 2004, he and two friends incorporated a business (Ophir Gold Corporation) that offers free services that help people.

You may find them at: http://scriberight.blogspot.com (Writing With Power) and http://ophirgoldcorp.blogspot.com (OGC's Free Web Traffic).

The One-Plot Wonder

Written by Michael LaRocca

Continued from page 1

I love a well-conceived "what if" scenario, and none of these books lack that. But more importantly, I love a novel that's rich withrepparttar fabric of life. That's where multiple plots come into play. Very rarely will a movie capture this as well as a novel can.

A one-plot wonder is a boring read. It's a boring write. It's not realistic. And, it's a hard sell. All your eggs are in one basket. Ifrepparttar 147572 editor isn't enthralled with that sole plot, you aren't published. Ifrepparttar 147573 reviewer isn't enthralled with that sole plot, he pans you. Ifrepparttar 147574 potential reader isn't enthralled with that sole plot, he doesn't buy your book. Or if he does, maybe you don't get any repeat business from him. You don't get mine.

Plus, we should be settingrepparttar 147575 bar a bit higher for ourselves anyway. We entertain, but we also enlighten and educate. Or atrepparttar 147576 very least, provide needed escape. But it's hard to escape to a one-plot wonder. I keep taking coffee breaks between chapters.

I single out no writing medium with this. All are guilty. Come on, TERMINATOR 2 has more subplots than many successful books these days. And it's not just "these days," incidentally. The title I reviewed early in this article is from 1979. Published, successful, well-written, flat.

Craftsmanship is fine. Craftsmanship is wonderful to behold. Craftsmanship is a necessity. But, it's not enough.

Do you want to build a horse barn that never leaks or do you want to build a two-story A-frame home that survives five hurricanes undamaged? My carpenter didrepparttar 147577 latter and I can't dorepparttar 147578 former. But if I hadrepparttar 147579 ability to build a leak-proof barn, I certainly wouldn't limit myself to barns. I'd try to build houses.

I'm not talking about weighty tomes. Times change, readers change, and most people don't read them any more. What was once considered gripping is now considered boring.

But one-plot wonders also bore readers. They read it, enjoy it moderately, then go look for something else to do. There's little satisfaction atrepparttar 147580 end. Rarelyrepparttar 147581 big "wow" that probably made you start writing inrepparttar 147582 first place.

I'm talking about shooting for five stars instead of two or three. I'm talking about richness of story, raisingrepparttar 147583 standard, writing your absolute best instead of settling for adequate.

I risk oversimplification here, but I'm seeing far too many one-plot wonders. People are buying them, too. But it's time for us,repparttar 147584 authors, to quit writing them.

Michael LaRocca's website at http://www.chinarice.org was chosen by WRITER'S DIGEST as one of The 101 Best Websites For Writers in 2001 and 2002. His response was to throw it out and start over again because he's insane. He teaches English at a university in Hangzhou, Zhejiang Province, China, and publishes the free weekly newsletter WHO MOVED MY RICE?

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