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A Guide to Thesis Writing That Is a Guide to Life

“How to Write a Thesis,” by Umberto Eco, first appeared on Italian bookshelves in 1977. For Eco, the playful philosopher and novelist best known for his work on semiotics, there was a practical reason for writing it. Up until 1999, a thesis of original research was required of every student pursuing the Italian equivalent of a bachelor’s degree. Collecting his thoughts on the thesis process would save him the trouble of reciting the same advice to students each year. Since its publication, “How to Write a Thesis” has gone through twenty-three editions in Italy and has been translated into at least seventeen languages. Its first English edition is only now available, in a translation by Caterina Mongiat Farina and Geoff Farina.

We in the English-speaking world have survived thirty-seven years without “How to Write a Thesis.” Why bother with it now? After all, Eco wrote his thesis-writing manual before the advent of widespread word processing and the Internet. There are long passages devoted to quaint technologies such as note cards and address books, careful strategies for how to overcome the limitations of your local library. But the book’s enduring appeal—the reason it might interest someone whose life no longer demands the writing of anything longer than an e-mail—has little to do with the rigors of undergraduate honors requirements. Instead, it’s about what, in Eco’s rhapsodic and often funny book, the thesis represents: a magical process of self-realization, a kind of careful, curious engagement with the world that need not end in one’s early twenties. “Your thesis,” Eco foretells, “is like your first love: it will be difficult to forget.” By mastering the demands and protocols of the fusty old thesis, Eco passionately demonstrates, we become equipped for a world outside ourselves—a world of ideas, philosophies, and debates.

Eco’s career has been defined by a desire to share the rarefied concerns of academia with a broader reading public. He wrote a novel that enacted literary theory (“The Name of the Rose”) and a children’s book about atoms conscientiously objecting to their fate as war machines (“The Bomb and the General”). “How to Write a Thesis” is sparked by the wish to give any student with the desire and a respect for the process the tools for producing a rigorous and meaningful piece of writing. “A more just society,” Eco writes at the book’s outset, would be one where anyone with “true aspirations” would be supported by the state, regardless of their background or resources. Our society does not quite work that way. It is the students of privilege, the beneficiaries of the best training available, who tend to initiate and then breeze through the thesis process.

Eco walks students through the craft and rewards of sustained research, the nuances of outlining, different systems for collating one’s research notes, what to do if—per Eco’s invocation of thesis-as-first-love—you fear that someone’s made all these moves before. There are broad strategies for laying out the project’s “center” and “periphery” as well as philosophical asides about originality and attribution. “Work on a contemporary author as if he were ancient, and an ancient one as if he were contemporary,” Eco wisely advises. “You will have more fun and write a better thesis.” Other suggestions may strike the modern student as anachronistic, such as the novel idea of using an address book to keep a log of one’s sources.

But there are also old-fashioned approaches that seem more useful than ever: he recommends, for instance, a system of sortable index cards to explore a project’s potential trajectories. Moments like these make “How to Write a Thesis” feel like an instruction manual for finding one’s center in a dizzying era of information overload. Consider Eco’s caution against “the alibi of photocopies”: “A student makes hundreds of pages of photocopies and takes them home, and the manual labor he exercises in doing so gives him the impression that he possesses the work. Owning the photocopies exempts the student from actually reading them. This sort of vertigo of accumulation, a neocapitalism of information, happens to many.” Many of us suffer from an accelerated version of this nowadays, as we effortlessly bookmark links or save articles to Instapaper, satisfied with our aspiration to hoard all this new information, unsure if we will ever get around to actually dealing with it. (Eco’s not-entirely-helpful solution: read everything as soon as possible.)

But the most alluring aspect of Eco’s book is the way he imagines the community that results from any honest intellectual endeavor—the conversations you enter into across time and space, across age or hierarchy, in the spirit of free-flowing, democratic conversation. He cautions students against losing themselves down a narcissistic rabbit hole: you are not a “defrauded genius” simply because someone else has happened upon the same set of research questions. “You must overcome any shyness and have a conversation with the librarian,” he writes, “because he can offer you reliable advice that will save you much time. You must consider that the librarian (if not overworked or neurotic) is happy when he can demonstrate two things: the quality of his memory and erudition and the richness of his library, especially if it is small. The more isolated and disregarded the library, the more the librarian is consumed with sorrow for its underestimation.”

Eco captures a basic set of experiences and anxieties familiar to anyone who has written a thesis, from finding a mentor (“How to Avoid Being Exploited By Your Advisor”) to fighting through episodes of self-doubt. Ultimately, it’s the process and struggle that make a thesis a formative experience. When everything else you learned in college is marooned in the past—when you happen upon an old notebook and wonder what you spent all your time doing, since you have no recollection whatsoever of a senior-year postmodernism seminar—it is the thesis that remains, providing the once-mastered scholarly foundation that continues to authorize, decades-later, barroom observations about the late-career works of William Faulker or the Hotelling effect. (Full disclosure: I doubt that anyone on Earth can rival my mastery of John Travolta’s White Man’s Burden, owing to an idyllic Berkeley spring spent studying awful movies about race.)

In his foreword to Eco’s book, the scholar Francesco Erspamer contends that “How to Write a Thesis” continues to resonate with readers because it gets at “the very essence of the humanities.” There are certainly reasons to believe that the current crisis of the humanities owes partly to the poor job they do of explaining and justifying themselves. As critics continue to assail the prohibitive cost and possible uselessness of college—and at a time when anything that takes more than a few minutes to skim is called a “longread”—it’s understandable that devoting a small chunk of one’s frisky twenties to writing a thesis can seem a waste of time, outlandishly quaint, maybe even selfish. And, as higher education continues to bend to the logic of consumption and marketable skills, platitudes about pursuing knowledge for its own sake can seem certifiably bananas. Even from the perspective of the collegiate bureaucracy, the thesis is useful primarily as another mode of assessment, a benchmark of student achievement that’s legible and quantifiable. It’s also a great parting reminder to parents that your senior learned and achieved something.

But “How to Write a Thesis” is ultimately about much more than the leisurely pursuits of college students. Writing and research manuals such as “The Elements of Style,” “The Craft of Research,” and Turabian offer a vision of our best selves. They are exacting and exhaustive, full of protocols and standards that might seem pretentious, even strange. Acknowledging these rules, Eco would argue, allows the average person entry into a veritable universe of argument and discussion. “How to Write a Thesis,” then, isn’t just about fulfilling a degree requirement. It’s also about engaging difference and attempting a project that is seemingly impossible, humbly reckoning with “the knowledge that anyone can teach us something.” It models a kind of self-actualization, a belief in the integrity of one’s own voice.

A thesis represents an investment with an uncertain return, mostly because its life-changing aspects have to do with process. Maybe it’s the last time your most harebrained ideas will be taken seriously. Everyone deserves to feel this way. This is especially true given the stories from many college campuses about the comparatively lower number of women, first-generation students, and students of color who pursue optional thesis work. For these students, part of the challenge involves taking oneself seriously enough to ask for an unfamiliar and potentially path-altering kind of mentorship.

It’s worth thinking through Eco’s evocation of a “just society.” We might even think of the thesis, as Eco envisions it, as a formal version of the open-mindedness, care, rigor, and gusto with which we should greet every new day. It’s about committing oneself to a task that seems big and impossible. In the end, you won’t remember much beyond those final all-nighters, the gauche inside joke that sullies an acknowledgments page that only four human beings will ever read, the awkward photograph with your advisor at graduation. All that remains might be the sensation of handing your thesis to someone in the departmental office and then walking into a possibility-rich, almost-summer afternoon. It will be difficult to forget.

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How to Write a Master's Thesis

• Yvonne N. Bui - San Francisco State University, USA
• Description

See what’s new to this edition by selecting the Features tab on this page. Should you need additional information or have questions regarding the HEOA information provided for this title, including what is new to this edition, please email [email protected] . Please include your name, contact information, and the name of the title for which you would like more information. For information on the HEOA, please go to http://ed.gov/policy/highered/leg/hea08/index.html .

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“Yvonne Bui’s How to Write a Master’s Thesis should be mandatory for all thesis track master’s students.  It steers students away from the shortcuts students may be tempted to use that would be costly in the long run. The step by step intentional approach is what I like best about this book.”

“This is the best textbook about writing an M.A. thesis available in the market.” 

“This is the type of textbook that students keep and refer to after the class.”

Excellent book. Thorough, yet concise, information for students writing their Master's Thesis who may not have had a strong background in research.

Clear, Concise, easy for students to access and understand. Contains all the elements for a successful thesis.

I loved the ease of this book. It was clear without extra nonsense that would just confuse the students.

Clear, concise, easily accessible. Students find it of great value.

NEW TO THIS EDITION:             

• Concrete instruction and guides for conceptualizing the literature review help students navigate through the most challenging topics.        
• Step-by-step instructions and more screenshots give students the guidance they need to write the foundational chapter, along with the latest online resources and general library information.          
• Additional coverage of single case designs and mixed methods help students gain a more comprehensive understanding of research methods.           
• Expanded explanation of unintentional plagiarism within the ethics chapter shows students the path to successful and professional writing.       
• Detailed information on conference presentation as a way to disseminate research , in addition to getting published, help students understand all of the tools needed to write a master’s thesis.    

KEY FEATURES:  

• An advanced chapter organizer provides an up-front checklist of what to expect in the chapter and serves as a project planner, so that students can immediately prepare and work alongside the chapter as they begin to develop their thesis.
• Full guidance on conducting successful literature reviews includes up-to-date information on electronic databases and Internet tools complete with numerous figures and captured screen shots from relevant web sites, electronic databases, and SPSS software, all integrated with the text.
• Excerpts from research articles and samples from exemplary students' master's theses relate specifically to the content of each chapter and provide the reader with a real-world context.
• Detailed explanations of the various components of the master's thesis and concrete strategies on how to conduct a literature review help students write each chapter of the master's thesis, and apply the American Psychological Association (APA) editorial style.
• A comprehensive Resources section features "Try It!" boxes which lead students through a sample problem or writing exercise based on a piece of the thesis to reinforce prior course learning and the writing objectives at hand. Reflection/discussion questions in the same section are designed to help students work through the thesis process.

Sample Materials & Chapters

1: Overview of the Master's Degree and Thesis

3: Using the Literature to Research Your Problem

For instructors

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While Sandel argues that pursuing perfection through genetic engineering would decrease our sense of humility, he claims that the sense of solidarity we would lose is also important.

This thesis summarizes several points in Sandel’s argument, but it does not make a claim about how we should understand his argument. A reader who read Sandel’s argument would not also need to read an essay based on this descriptive thesis.  

Broad thesis (arguable, but difficult to support with evidence) 

Michael Sandel’s arguments about genetic engineering do not take into consideration all the relevant issues.

This is an arguable claim because it would be possible to argue against it by saying that Michael Sandel’s arguments do take all of the relevant issues into consideration. But the claim is too broad. Because the thesis does not specify which “issues” it is focused on—or why it matters if they are considered—readers won’t know what the rest of the essay will argue, and the writer won’t know what to focus on. If there is a particular issue that Sandel does not address, then a more specific version of the thesis would include that issue—hand an explanation of why it is important.  

Arguable thesis with analytical claim 

While Sandel argues persuasively that our instinct to “remake” (54) ourselves into something ever more perfect is a problem, his belief that we can always draw a line between what is medically necessary and what makes us simply “better than well” (51) is less convincing.

This is an arguable analytical claim. To argue for this claim, the essay writer will need to show how evidence from the article itself points to this interpretation. It’s also a reasonable scope for a thesis because it can be supported with evidence available in the text and is neither too broad nor too narrow.  

Arguable thesis with normative claim 

Given Sandel’s argument against genetic enhancement, we should not allow parents to decide on using Human Growth Hormone for their children.

This thesis tells us what we should do about a particular issue discussed in Sandel’s article, but it does not tell us how we should understand Sandel’s argument.  

Questions to ask about your thesis 

• Is the thesis truly arguable? Does it speak to a genuine dilemma in the source, or would most readers automatically agree with it?  
• Is the thesis too obvious? Again, would most or all readers agree with it without needing to see your argument?  
• Is the thesis complex enough to require a whole essay's worth of argument?  
• Is the thesis supportable with evidence from the text rather than with generalizations or outside research?  
• Would anyone want to read a paper in which this thesis was developed? That is, can you explain what this paper is adding to our understanding of a problem, question, or topic?
• picture_as_pdf Thesis

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The Thesis Writing Survival Guide: Research and Write an Academic Thesis or Disseration with Less Stress Paperback – May 2, 2023

Purchase options and add-ons, writing a thesis or dissertation can be a tough task—this practical guide will make it much easier.

Are you a student who’s just a thesis or dissertation away from completing your degree? Do you feel it’s a hugely daunting task and you’re not sure where to begin, or how to tackle all the reading, researching, and writing ahead of you? Don’t worry—you don’t have to do it alone! This concise guide will support you every step of the way on your journey from initial idea to completed thesis. In this practical guide, packed with tips, tricks, and tools, you will learn:

• How to find the right topic for your thesis or dissertation
• How to write a convincing research proposal
• How to conduct a literature review
• How to choose and correctly apply an appropriate qualitative or quantitative research method
• How to develop a mindset that will keep you writing
• How to write like an academic and build up convincing arguments

With The Thesis Writing Survival Guide at your side, you will confidently overcome all the challenges that students typically encounter on their thesis or dissertation writing journey. The book is written with a focus on the typical needs of graduate students in the social sciences, although students from other disciplines and those who are writing a thesis as part of their undergraduate studies will also find plenty of useful advice in it. Learn the nuts and bolts of thesis writing—and successfully complete your degree! “This is a masterful guide! Concise but rich in wisdom and practical advice, the authors offer step-by-step advice on how to make the process of writing an academic thesis more of an adventure of discovery, and less of an onerous task—and do so with elegance, clarity, and even a bit of humor.” — Professor James J. Kennelly , Professor of International Business & Management, Skidmore College, New York (USA) “An engaging and very practical guide to the process of writing a thesis. It is full of practical, actionable tips which graduate students and doctoral candidates will find invaluable.” — Dr Jonathan Stoddart , Lecturer (Teaching), Academic Writing Centre, UCL Institute of Education, University College London (UK) “As a PhD student, I have found this book to be an excellent companion in own my thesis writing journey. It’s definitely my survival guide!” — Michela Bearzi , PhD student at the University of Udine (Italy) and the University of Jonkoping (Sweden) “The Thesis Writing Survival Guide provides many helpful guidelines and tips to guide and motivate the student.” — Dr Arona Dison , Coordinator of the UWC Writing Centre, University of the Western Cape (South Africa) “The perfect handbook to navigate the tumultuous process of writing a thesis. In this survival guide, the authors provide down to earth advice on how to avoid the pitfalls encountered by most students when writing their thesis.” — Professor Olivier Furrer , Chair of Marketing, University of Fribourg (Switzerland) About the authors: Dr Dietmar Sternad is an award-winning management professor with a passion for helping his students succeed. He is experienced in supervising thesis projects and enjoys helping students overcome the many hurdles they face when writing their theses. Harriet Power is an experienced editor who has spent over a decade editing and writing resources for leading educational publishers. She loves helping writers to express their ideas in a clear and engaging way.

• Print length 245 pages
• Language English
• Publication date May 2, 2023
• Dimensions 7 x 0.62 x 10 inches
• ISBN-10 3903386162
• ISBN-13 978-3903386167
• See all details

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All you need to succeed in your thesis or dissertation project in one book, editorial reviews.

"This is a masterful guide! Concise but rich in wisdom and practical advice, the authors offer step-by-step advice on how to make the process of writing an academic thesis more of an adventure of discovery, and less of an onerous task-and do so with elegance, clarity, and even a bit of humor."

-Professor James J. Kennelly, Professor of International Business & Management, Skidmore College, New York (USA)

"An engaging and very practical guide to the process of writing a thesis. It is full of practical, actionable tips which graduate students and doctoral candidates will find invaluable."

-Dr Jonathan Stoddart, Lecturer (Teaching), Academic Writing Centre, UCL Institute of Education, University College London (UK)

"As a PhD student, I have found this book to be an excellent companion in own my thesis writing journey. It's definitely my survival guide!"

-Michela Bearzi, PhD student at the University of Udine (Italy) and the University of Jonkoping (Sweden)

"The Thesis Writing Survival Guide provides many helpful guidelines and tips to guide and motivate the student."

-Dr Arona Dison, Coordinator of the UWC Writing Centre, University of the Western Cape (South Africa)

"The perfect handbook to navigate the tumultuous process of writing a thesis. In this survival guide, the authors provide down to earth advice on how to avoid the pitfalls encountered by most students when writing their thesis."

-Professor Olivier Furrer, Chair of Marketing, University of Fribourg (Switzerland)

"Graduate students are often not explicitly taught how to write a thesis or dissertation, and this modern "how to" guide can provide actionable answers to the questions they have! This book conveys the scaffolded and iterative nature of thesis writing in digestible chapters and explains how graduate students can set themselves up for thesis success. As a graduate writing specialist, I definitely recommend this guide to all students working on their theses!"

-Samantha Demmerle, Assistant Director, Graduate Writing and Support, KU Writing Center, The University of Kansas (USA)

Product details

• Publisher ‏ : ‎ econcise (May 2, 2023)
• Language ‏ : ‎ English
• Paperback ‏ : ‎ 245 pages
• ISBN-10 ‏ : ‎ 3903386162
• ISBN-13 ‏ : ‎ 978-3903386167
• Item Weight ‏ : ‎ 15.2 ounces
• Dimensions ‏ : ‎ 7 x 0.62 x 10 inches
• #67 in Education Research (Books)
• #68 in Social Sciences Research
• #175 in Writing Skill Reference (Books)

About the author

Dietmar sternad.

Dr Dietmar Sternad is a passionate management educator. He aims to create highly engaging learning experiences and learning materials that help his students and other people to become better leaders who can make a difference in the world.

Dietmar is a Professor of International Management at CUAS/FH Kärnten (Austria) and has extensive experience as a CEO of publishing companies as well as in teaching, consulting, and coaching top managers. He holds degrees from universities in Austria, Slovenia, and the UK, is an alumnus of the GLOCOLL (Harvard Business School) and IMTA (CEEMAN) management teachers programs and has received several national and international awards (e.g. from the Academy of Management or the Austrian State Prize for Teaching Excellence).

Dietmar is also the founder and CEO of econcise, an internationally active publisher of concise, approachable, and affordable management and leadership textbooks and ebooks.

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How to Write a Thesis

Umberto Eco was an Italian semiotician, philosopher, literary critic, and novelist. He is the author of The Name of the Rose, Foucault's Pendulum , and The Prague Cemetery , all bestsellers in many languages, as well as a number of influential scholarly works.

Umberto Eco's wise and witty guide to researching and writing a thesis, published in English for the first time.

By the time Umberto Eco published his best-selling novel The Name of the Rose , he was one of Italy's most celebrated intellectuals, a distinguished academic and the author of influential works on semiotics. Some years before that, in 1977, Eco published a little book for his students, How to Write a Thesis , in which he offered useful advice on all the steps involved in researching and writing a thesis—from choosing a topic to organizing a work schedule to writing the final draft. Now in its twenty-third edition in Italy and translated into seventeen languages, How to Write a Thesis has become a classic. Remarkably, this is its first, long overdue publication in English.

Eco's approach is anything but dry and academic. He not only offers practical advice but also considers larger questions about the value of the thesis-writing exercise. How to Write a Thesis is unlike any other writing manual. It reads like a novel. It is opinionated. It is frequently irreverent, sometimes polemical, and often hilarious. Eco advises students how to avoid “thesis neurosis” and he answers the important question “Must You Read Books?” He reminds students “You are not Proust” and “Write everything that comes into your head, but only in the first draft.” Of course, there was no Internet in 1977, but Eco's index card research system offers important lessons about critical thinking and information curating for students of today who may be burdened by Big Data.

How to Write a Thesis belongs on the bookshelves of students, teachers, writers, and Eco fans everywhere. Already a classic, it would fit nicely between two other classics: Strunk and White and The Name of the Rose .

Contents The Definition and Purpose of a Thesis • Choosing the Topic • Conducting Research • The Work Plan and the Index Cards • Writing the Thesis • The Final Draft

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How to Write a Thesis By: Umberto Eco, Caterina Mongiat Farina, Geoff Farina https://doi.org/10.7551/mitpress/10029.001.0001 ISBN (electronic): 9780262328753 Publisher: The MIT Press Published: 2015

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Table of Contents

• [ Front Matter ] Doi: https://doi.org/10.7551/mitpress/10029.003.0013 Open the PDF Link PDF for [ Front Matter ] in another window
• Foreword By Francesco Erspamer Francesco Erspamer Search for other works by this author on: This Site Google Scholar Doi: https://doi.org/10.7551/mitpress/10029.003.0001 Open the PDF Link PDF for Foreword in another window
• Translators' Foreword By Caterina Mongiat Farina , Caterina Mongiat Farina Search for other works by this author on: This Site Google Scholar Geoff Farina Geoff Farina Search for other works by this author on: This Site Google Scholar Doi: https://doi.org/10.7551/mitpress/10029.003.0002 Open the PDF Link PDF for Translators' Foreword in another window
• Introduction to the Original 1977 Edition Doi: https://doi.org/10.7551/mitpress/10029.003.0003 Open the PDF Link PDF for Introduction to the Original 1977 Edition in another window
• Introduction to the 1985 Edition Doi: https://doi.org/10.7551/mitpress/10029.003.0004 Open the PDF Link PDF for Introduction to the 1985 Edition in another window
• 1: The Definition and Purpose of the Thesis Doi: https://doi.org/10.7551/mitpress/10029.003.0005 Open the PDF Link PDF for 1: The Definition and Purpose of the Thesis in another window
• 2: Choosing the Topic Doi: https://doi.org/10.7551/mitpress/10029.003.0006 Open the PDF Link PDF for 2: Choosing the Topic in another window
• 3: Conducting Research Doi: https://doi.org/10.7551/mitpress/10029.003.0007 Open the PDF Link PDF for 3: Conducting Research in another window
• 4: The Work Plan and the Index Cards Doi: https://doi.org/10.7551/mitpress/10029.003.0008 Open the PDF Link PDF for 4: The Work Plan and the Index Cards in another window
• 5: Writing the Thesis Doi: https://doi.org/10.7551/mitpress/10029.003.0009 Open the PDF Link PDF for 5: Writing the Thesis in another window
• 6: The Final Draft Doi: https://doi.org/10.7551/mitpress/10029.003.0010 Open the PDF Link PDF for 6: The Final Draft in another window
• 7: Conclusions Doi: https://doi.org/10.7551/mitpress/10029.003.0011 Open the PDF Link PDF for 7: Conclusions in another window
• Notes Doi: https://doi.org/10.7551/mitpress/10029.003.0012 Open the PDF Link PDF for Notes in another window
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Thesis Statements

What this handout is about.

This handout describes what a thesis statement is, how thesis statements work in your writing, and how you can craft or refine one for your draft.

Introduction

Writing in college often takes the form of persuasion—convincing others that you have an interesting, logical point of view on the subject you are studying. Persuasion is a skill you practice regularly in your daily life. You persuade your roommate to clean up, your parents to let you borrow the car, your friend to vote for your favorite candidate or policy. In college, course assignments often ask you to make a persuasive case in writing. You are asked to convince your reader of your point of view. This form of persuasion, often called academic argument, follows a predictable pattern in writing. After a brief introduction of your topic, you state your point of view on the topic directly and often in one sentence. This sentence is the thesis statement, and it serves as a summary of the argument you’ll make in the rest of your paper.

What is a thesis statement?

A thesis statement:

• tells the reader how you will interpret the significance of the subject matter under discussion.
• is a road map for the paper; in other words, it tells the reader what to expect from the rest of the paper.
• directly answers the question asked of you. A thesis is an interpretation of a question or subject, not the subject itself. The subject, or topic, of an essay might be World War II or Moby Dick; a thesis must then offer a way to understand the war or the novel.
• makes a claim that others might dispute.
• is usually a single sentence near the beginning of your paper (most often, at the end of the first paragraph) that presents your argument to the reader. The rest of the paper, the body of the essay, gathers and organizes evidence that will persuade the reader of the logic of your interpretation.

If your assignment asks you to take a position or develop a claim about a subject, you may need to convey that position or claim in a thesis statement near the beginning of your draft. The assignment may not explicitly state that you need a thesis statement because your instructor may assume you will include one. When in doubt, ask your instructor if the assignment requires a thesis statement. When an assignment asks you to analyze, to interpret, to compare and contrast, to demonstrate cause and effect, or to take a stand on an issue, it is likely that you are being asked to develop a thesis and to support it persuasively. (Check out our handout on understanding assignments for more information.)

How do I create a thesis?

A thesis is the result of a lengthy thinking process. Formulating a thesis is not the first thing you do after reading an essay assignment. Before you develop an argument on any topic, you have to collect and organize evidence, look for possible relationships between known facts (such as surprising contrasts or similarities), and think about the significance of these relationships. Once you do this thinking, you will probably have a “working thesis” that presents a basic or main idea and an argument that you think you can support with evidence. Both the argument and your thesis are likely to need adjustment along the way.

Writers use all kinds of techniques to stimulate their thinking and to help them clarify relationships or comprehend the broader significance of a topic and arrive at a thesis statement. For more ideas on how to get started, see our handout on brainstorming .

How do I know if my thesis is strong?

If there’s time, run it by your instructor or make an appointment at the Writing Center to get some feedback. Even if you do not have time to get advice elsewhere, you can do some thesis evaluation of your own. When reviewing your first draft and its working thesis, ask yourself the following :

• Do I answer the question? Re-reading the question prompt after constructing a working thesis can help you fix an argument that misses the focus of the question. If the prompt isn’t phrased as a question, try to rephrase it. For example, “Discuss the effect of X on Y” can be rephrased as “What is the effect of X on Y?”
• Have I taken a position that others might challenge or oppose? If your thesis simply states facts that no one would, or even could, disagree with, it’s possible that you are simply providing a summary, rather than making an argument.
• Is my thesis statement specific enough? Thesis statements that are too vague often do not have a strong argument. If your thesis contains words like “good” or “successful,” see if you could be more specific: why is something “good”; what specifically makes something “successful”?
• Does my thesis pass the “So what?” test? If a reader’s first response is likely to  be “So what?” then you need to clarify, to forge a relationship, or to connect to a larger issue.
• Does my essay support my thesis specifically and without wandering? If your thesis and the body of your essay do not seem to go together, one of them has to change. It’s okay to change your working thesis to reflect things you have figured out in the course of writing your paper. Remember, always reassess and revise your writing as necessary.
• Does my thesis pass the “how and why?” test? If a reader’s first response is “how?” or “why?” your thesis may be too open-ended and lack guidance for the reader. See what you can add to give the reader a better take on your position right from the beginning.

Suppose you are taking a course on contemporary communication, and the instructor hands out the following essay assignment: “Discuss the impact of social media on public awareness.” Looking back at your notes, you might start with this working thesis:

Social media impacts public awareness in both positive and negative ways.

You can use the questions above to help you revise this general statement into a stronger thesis.

• Do I answer the question? You can analyze this if you rephrase “discuss the impact” as “what is the impact?” This way, you can see that you’ve answered the question only very generally with the vague “positive and negative ways.”
• Have I taken a position that others might challenge or oppose? Not likely. Only people who maintain that social media has a solely positive or solely negative impact could disagree.
• Is my thesis statement specific enough? No. What are the positive effects? What are the negative effects?
• Does my thesis pass the “how and why?” test? No. Why are they positive? How are they positive? What are their causes? Why are they negative? How are they negative? What are their causes?
• Does my thesis pass the “So what?” test? No. Why should anyone care about the positive and/or negative impact of social media?

After thinking about your answers to these questions, you decide to focus on the one impact you feel strongly about and have strong evidence for:

Because not every voice on social media is reliable, people have become much more critical consumers of information, and thus, more informed voters.

This version is a much stronger thesis! It answers the question, takes a specific position that others can challenge, and it gives a sense of why it matters.

Let’s try another. Suppose your literature professor hands out the following assignment in a class on the American novel: Write an analysis of some aspect of Mark Twain’s novel Huckleberry Finn. “This will be easy,” you think. “I loved Huckleberry Finn!” You grab a pad of paper and write:

Mark Twain’s Huckleberry Finn is a great American novel.

You begin to analyze your thesis:

• Do I answer the question? No. The prompt asks you to analyze some aspect of the novel. Your working thesis is a statement of general appreciation for the entire novel.

Think about aspects of the novel that are important to its structure or meaning—for example, the role of storytelling, the contrasting scenes between the shore and the river, or the relationships between adults and children. Now you write:

In Huckleberry Finn, Mark Twain develops a contrast between life on the river and life on the shore.

• Do I answer the question? Yes!
• Have I taken a position that others might challenge or oppose? Not really. This contrast is well-known and accepted.
• Is my thesis statement specific enough? It’s getting there–you have highlighted an important aspect of the novel for investigation. However, it’s still not clear what your analysis will reveal.
• Does my thesis pass the “how and why?” test? Not yet. Compare scenes from the book and see what you discover. Free write, make lists, jot down Huck’s actions and reactions and anything else that seems interesting.
• Does my thesis pass the “So what?” test? What’s the point of this contrast? What does it signify?”

After examining the evidence and considering your own insights, you write:

Through its contrasting river and shore scenes, Twain’s Huckleberry Finn suggests that to find the true expression of American democratic ideals, one must leave “civilized” society and go back to nature.

This final thesis statement presents an interpretation of a literary work based on an analysis of its content. Of course, for the essay itself to be successful, you must now present evidence from the novel that will convince the reader of your interpretation.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Anson, Chris M., and Robert A. Schwegler. 2010. The Longman Handbook for Writers and Readers , 6th ed. New York: Longman.

Lunsford, Andrea A. 2015. The St. Martin’s Handbook , 8th ed. Boston: Bedford/St Martin’s.

Ramage, John D., John C. Bean, and June Johnson. 2018. The Allyn & Bacon Guide to Writing , 8th ed. New York: Pearson.

Ruszkiewicz, John J., Christy Friend, Daniel Seward, and Maxine Hairston. 2010. The Scott, Foresman Handbook for Writers , 9th ed. Boston: Pearson Education.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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How to Write a Thesis, According to Umberto Eco

In 1977, three years before Umberto Eco’s groundbreaking novel “ The Name of the Rose ” catapulted him to international fame, the illustrious semiotician published a funny and unpretentious guide for his favorite audience: teachers and their students. Now translated into 17 languages (it finally appeared in English in 2015), “How to Write a Thesis” delivers not just practical advice for writing a thesis — from choosing the right topic (monograph or survey? ancient or contemporary?) to note-taking and mastering the final draft — but meaningful lessons that equip writers for a lifetime outside the walls of the classroom. “Your thesis is like your first love” Eco muses. “It will be difficult to forget. In the end, it will represent your first serious and rigorous academic work, and this is no small thing.”

“Full of friendly, no-bullshit, entry-level advice on what to do and how to do it,” praised one critic, “the absolutely superb chapter on how to write is worth triple the price of admission on its own.” An excerpt from that chapter can be read below.

Once we have decided to whom to write (to humanity, not to the advisor), we must decide how to write, and this is quite a difficult question. If there were exhaustive rules, we would all be great writers. I could at least recommend that you rewrite your thesis many times, or that you take on other writing projects before embarking on your thesis, because writing is also a question of training. In any case, I will provide some general suggestions:

You are not Proust. Do not write long sentences. If they come into your head, write them, but then break them down. Do not be afraid to repeat the subject twice, and stay away from too many pronouns and subordinate clauses. Do not write,

The pianist Wittgenstein, brother of the well-known philosopher who wrote the Tractatus Logico-Philosophicusthat today many consider the masterpiece of contemporary philosophy, happened to have Ravel write for him a concerto for the left hand, since he had lost the right one in the war.

Write instead,

The pianist Paul Wittgenstein was the brother of the philosopher Ludwig Wittgenstein. Since Paul was maimed of his right hand, the composer Maurice Ravel wrote a concerto for him that required only the left hand.

The pianist Paul Wittgenstein was the brother of the famous philosopher, author of the Tractatus. The pianist had lost his right hand in the war. For this reason the composer Maurice Ravel wrote a concerto for him that required only the left hand.

Do not write,

The Irish writer had renounced family, country, and church, and stuck to his plans. It can hardly be said of him that he was a politically committed writer, even if some have mentioned Fabian and “socialist” inclinations with respect to him. When World War II erupted, he tended to deliberately ignore the tragedy that shook Europe, and he was preoccupied solely with the writing of his last work.

Rather write,

Joyce had renounced family, country, and church. He stuck to his plans. We cannot say that Joyce was a “politically committed” writer even if some have gone so far as describing a Fabian and “socialist” Joyce. When World War II erupted, Joyce deliberately ignored the tragedy that shook Europe. His sole preoccupation was the writing of Finnegans Wake.

Even if it seems “literary,” please do not write,

When Stockhausen speaks of “clusters,” he does not have in mind Schoenberg’s series, or Webern’s series. If confronted, the German musician would not accept the requirement to avoid repeating any of the twelve notes before the series has ended. The notion of the cluster itself is structurally more unconventional than that of the series. On the other hand Webern followed the strict principles of the author of A Survivor from Warsaw. Now, the author of Mantra goes well beyond. And as for the former, it is necessary to distinguish between the various phases of his oeuvre. Berio agrees: it is not possible to consider this author as a dogmatic serialist.

You will notice that, at some point, you can no longer tell who is who. In addition, defining an author through one of his works is logically incorrect. It is true that lesser critics refer to Alessandro Manzoni simply as “the author of the Betrothed,” perhaps for fear of repeating his name too many times. (This is something manuals on formal writing apparently advise against.) But the author of The Betrothed is not the biographical character Manzoni in his totality. In fact, in a certain context we could say that there is a notable difference between the author of The Betrothed and the author of Adelchi , even if they are one and the same biographically speaking and according to their birth certificate. For this reason, I would rewrite the above passage as follows:

When Stockhausen speaks of a “cluster,” he does not have in mind either the series of Schoenberg or that of Webern. If confronted, Stockhausen would not accept the requirement to avoid repeating any of the twelve notes before the end of the series. The notion of the cluster itself is structurally more unconventional than that of the series. Webern, by contrast, followed the strict principles of Schoenberg, but Stockhausen goes well beyond. And even for Webern, it is necessary to distinguish among the various phases of his oeuvre. Berio also asserts that it is not possible to think of Webern as a dogmatic serialist.

You are not e. e. cummings. Cummings was an American avant-garde poet who is known for having signed his name with lower-case initials. Naturally he used commas and periods with great thriftiness, he broke his lines into small pieces, and in short he did all the things that an avant-garde poet can and should do. But you are not an avant-garde poet. Not even if your thesis is on avant-garde poetry. If you write a thesis on Caravaggio, are you then a painter? And if you write a thesis on the style of the futurists, please do not write as a futurist writes. This is important advice because nowadays many tend to write “alternative” theses, in which the rules of critical discourse are not respected. But the language of the thesis is a metalanguage , that is, a language that speaks of other languages. A psychiatrist who describes the mentally ill does not express himself in the manner of his patients. I am not saying that it is wrong to express oneself in the manner of the so-called mentally ill. In fact, you could reasonably argue that they are the only ones who express themselves the way one should. But here you have two choices: either you do not write a thesis, and you manifest your desire to break with tradition by refusing to earn your degree, perhaps learning to play the guitar instead; or you write your thesis, but then you must explain to everyone why the language of the mentally ill is not a “crazy” language, and to do it you must use a metalanguage intelligible to all. The pseudo-poet who writes his thesis in poetry is a pitiful writer (and probably a bad poet). From Dante to Eliot and from Eliot to Sanguineti, when avant-garde poets wanted to talk about their poetry, they wrote in clear prose. And when Marx wanted to talk about workers, he did not write as a worker of his time, but as a philosopher. Then, when he wrote The Communist Manifesto with Engels in 1848, he used a fragmented journalistic style that was provocative and quite effective. Yet again, The Communist Manifesto is not written in the style of Capital, a text addressed to economists and politicians. Do not pretend to be Dante by saying that the poetic fury “dictates deep within,” and that you cannot surrender to the flat and pedestrian metalanguage of literary criticism. Are you a poet? Then do not pursue a university degree. Twentieth-century Italian poet Eugenio Montale does not have a degree, and he is a great poet nonetheless. His contemporary Carlo Emilio Gadda (who held a degree in engineering) wrote fiction in a unique style, full of dialects and stylistic idiosyncrasies; but when he wrote a manual for radio news writers, he wrote a clever, sharp, and lucid “recipe book” full of clear and accessible prose. And when Montale writes a critical article, he writes so that all can understand him, including those who do not understand his poems.

Begin new paragraphs often. Do so when logically necessary, and when the pace of the text requires it, but the more you do it, the better.

Write everything that comes into your head , but only in the first draft. You may notice that you get carried away with your inspiration, and you lose track of the center of your topic. In this case, you can remove the parenthetical sentences and the digressions, or you can put each in a note or an appendix. Your thesis exists to prove the hypothesis that you devised at the outset, not to show the breadth of your knowledge.

Use the advisor as a guinea pig. You must ensure that the advisor reads the first chapters (and eventually, all the chapters) far in advance of the deadline. His reactions may be useful to you. If the advisor is busy (or lazy), ask a friend. Ask if he understands what you are writing. Do not play the solitary genius.

Do not insist on beginning with the first chapter . Perhaps you have more documentation on chapter 4. Start there, with the nonchalance of someone who has already worked out the previous chapters. You will gain confidence. Naturally your working table of contents will anchor you, and will serve as a hypothesis that guides you.

Do not use ellipsis and exclamation points, and do not explain ironies . It is possible to use language that is referential or language that is figurative . By referential language, I mean a language that is recognized by all, in which all things are called by their most common name, and that does not lend itself to misunderstandings. “The Venice-Milan train” indicates in a referential way the same object that “The Arrow of the Lagoon” indicates figuratively. This example illustrates that “everyday” communication is possible with partially figurative language. Ideally, a critical essay or a scholarly text should be written referentially (with all terms well defined and univocal), but it can also be useful to use metaphor, irony, or litotes. Here is a referential text, followed by its transcription in figurative terms that are at least tolerable:

[ Referential version :] Krasnapolsky is not a very sharp critic of Danieli’s work. His interpretation draws meaning from the author’s text that the author probably did not intend. Consider the line, “in the evening gazing at the clouds.” Ritz interprets this as a normal geographical annotation, whereas Krasnapolsky sees a symbolic expression that alludes to poetic activity. One should not trust Ritz’s critical acumen, and one should also distrust Krasnapolsky. Hilton observes that, “if Ritz’s writing seems like a tourist brochure, Krasnapolsky’s criticism reads like a Lenten sermon.” And he adds, “Truly, two perfect critics.”

[ Figurative version :] We are not convinced that Krasnapolsky is the sharpest critic of Danieli’s work. In reading his author, Krasnapolsky gives the impression that he is putting words into Danieli’s mouth. Consider the line, “in the evening gazing at the clouds.” Ritz interprets it as a normal geographical annotation, whereas Krasnapolsky plays the symbolism card and sees an allusion to poetic activity. Ritz is not a prodigy of critical insight, but Krasnapolsky should also be handled with care. As Hilton observes, “if Ritz’s writing seems like a tourist brochure, Krasnapolsky’s criticism reads like a Lenten sermon. Truly, two perfect critics.”

You can see that the figurative version uses various rhetorical devices. First of all, the litotes: saying that you are not convinced that someone is a sharp critic means that you are convinced that he is not a sharp critic. Also, the statement “Ritz is not a prodigy of critical insight” means that he is a modest critic. Then there are the metaphors : putting words into someone’s mouth, and playing the symbolism card. The tourist brochure and the Lenten sermon are two similes , while the observation that the two authors are perfect critics is an example of irony : saying one thing to signify its opposite.

Now, we either use rhetorical figures effectively, or we do not use them at all. If we use them it is because we presume our reader is capable of catching them, and because we believe that we will appear more incisive and convincing. In this case, we should not be ashamed of them, and we should not explain them . If we think that our reader is an idiot, we should not use rhetorical figures, but if we use them and feel the need to explain them, we are essentially calling the reader an idiot. In turn, he will take revenge by calling the author an idiot. Here is how a timid writer might intervene to neutralize and excuse the rhetorical figures he uses:

[ Figurative version with reservations :] We are not convinced that Krasnapolsky is the “sharpest” critic of Danieli’s work. In reading his author, Krasnapolsky gives the impression that he is “putting words into Danieli’s mouth.” Consider Danieli’s line, “in the evening gazing at the clouds.” Ritz interprets this as a normal geographical annotation, whereas Krasnapolsky “plays the symbolism card” and sees an allusion to poetic activity. Ritz is not a “prodigy of critical insight,” but Krasnapolsky should also be “handled with care”! As Hilton ironically observes, “if Ritz’s writing seems like a vacation brochure, Krasnapolsky’s criticism reads like a Lenten sermon.” And he defines them (again with irony!) as two models of critical perfection. But all joking aside …

I am convinced that nobody could be so intellectually petit bourgeois as to conceive a passage so studded with shyness and apologetic little smiles. Of course I exaggerated in this example, and here I say that I exaggerated because it is didactically important that the parody be understood as such. In fact, many bad habits of the amateur writer are condensed into this third example. First of all, the use of quotation marks to warn the reader, “Pay attention because I am about to say something big!” Puerile. Quotation marks are generally only used to designate a direct quotation or the title of an essay or short work; to indicate that a term is jargon or slang; or that a term is being discussed in the text as a word, rather than used functionally within the sentence. Secondly, the use of the exclamation point to emphasize a statement. This is not appropriate in a critical essay. If you check the book you are reading, you will notice that I have used the exclamation mark only once or twice. It is allowed once or twice, if the purpose is to make the reader jump in his seat and call his attention to a vehement statement like, “Pay attention, never make this mistake!” But it is a good rule to speak softly. The effect will be stronger if you simply say important things. Finally, the author of the third passage draws attention to the ironies, and apologizes for using them (even if they are someone else’s). Surely, if you think that Hilton’s irony is too subtle, you can write, “Hilton states with subtle irony that we are in the presence of two perfect critics.” But the irony must be really subtle to merit such a statement. In the quoted text, after Hilton has mentioned the vacation brochure and the Lenten sermon, the irony was already evident and needed no further explanation. The same applies to the statement, “But all joking aside.” Sometimes a statement like this can be useful to abruptly change the tone of the argument, but only if you were really joking before. In this case, the author was not joking. He was attempting to use irony and metaphor, but these are serious rhetorical devices and not jokes.

You may observe that, more than once in this book, I have expressed a paradox and then warned that it was a paradox. For example, in section 2.6.1, I proposed the existence of the mythical centaur for the purpose of explaining the concept of scientific research. But I warned you of this paradox not because I thought you would have believed this proposition. On the contrary, I warned you because I was afraid that you would have doubted too much, and hence dismissed the paradox. Therefore I insisted that, despite its paradoxical form, my statement contained an important truth: that research must clearly define its object so that others can identify it, even if this object is mythical. And I made this absolutely clear because this is a didactic book in which I care more that everyone understands what I want to say than about a beautiful literary style. Had I been writing an essay, I would have pronounced the paradox without denouncing it later.

Always define a term when you introduce it for the first time . If you do not know the definition of a term, avoid using it. If it is one of the principal terms of your thesis and you are not able to define it, call it quits. You have chosen the wrong thesis (or, if you were planning to pursue further research, the wrong career).

Umberto Eco was an Italian novelist, literary critic, philosopher, semiotician, and university professor. This article is excerpted from his book “ How to Write a Thesis .”

Library Subject Guides

4. writing up your research: books on thesis writing.

• Books on Thesis Writing
• Thesis Formatting (MS Word)
• Referencing

Other Research Support Guides 1. Plan (Design and Discover) your Research >>  2. Find & Manage Research Literature >> 3. Doing the Research >> 5. Publish & Share >> 6. Measure Impact

Your dissertation may be the longest piece of writing you have ever done, but there are ways to approach it that will help to make it less overwhelming.

Write up as you go along. It is much easier to keep track of how your ideas develop and writing helps clarify your thinking. It also saves having to churn out 1000s of words at the end.

You don't have to start with the introduction – start at the chapter that seems the easiest to write – this could be the literature review or methodology, for example.

Alternatively you may prefer to write the introduction first, so you can get your ideas straight. Decide what will suit your ways of working best - then do it.

Think of each chapter as an essay in itself – it should have a clear introduction and conclusion. Use the conclusion to link back to the overall research question.

Think of the main argument of your dissertation as a river, and each chapter is a tributary feeding into this. The individual chapters will contain their own arguments, and go their own way, but they all contribute to the main flow.

Write a chapter, read it and do a redraft - then move on. This stops you from getting bogged down in one chapter.

Write your references properly and in full from the beginning.

Keep your word count in mind – be ruthless and don't write anything that isn't relevant. It's often easier to add information, than have to cut down a long chapter that you've slaved over for hours.

Save your work! Remember to save your work frequently to somewhere you can access it easily. It's a good idea to at least save a copy to a cloud-based service like Google Docs or Dropbox so that you can access it from any computer - if you only save to your own PC, laptop or tablet, you could lose everything if you lose or break your device.

E-books on thesis writing

Who to Contact

Nick scullin, phone:  +6433693904, find more books.

Try the following subject headings to search UC library catalogue for books on thesis writing

More books on writing theses

Dissertations, Academic

Dissertations, Academic -- Authorship

Dissertations, Academic -- Handbooks, manuals , 

Academic writing

Academic writing -- Handbooks, manuals , 

Report writing

Technical writing

Remember to save your work in different places

Save your work! Remember to save your work frequently to somewhere you can access it easily. It's a good idea to save your work in at least three places: on your computer, a flash drive and a copy to a cloud-based service like Google Docs or Dropbox .

Save each new file with the date in the file name as different files can get very confusing 

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The best two books on doing a thesis

I started my PhD at the University of Melbourne in early 2006 and finished in 2009. I did well, collecting the John Grice Award for best thesis in my faculty and coming second for the university medal (dammit!). I attribute this success to two ‘how to’ books in particular: Evans and Gruba’s “How to write a better thesis” and Kamler and Thomson’s “Helping doctoral students write” , both of which recently went into their second edition.

I picked up “How to write a better thesis” from the RMIT campus bookstore in June, 2004. I met this book at a particularly dark time in my first thesis journey. I did my masters by creative practice at RMIT, which meant I made a heap of stuff and then had to write about it. The making bit was fun, but the writing was agony.

My poor supervisors did their best to help me revise draft after draft, but I was terrible at it. Nothing in my previous study in architecture had prepared me for writing a proper essay, let alone a long thesis. I had no idea what one should even look like. What sections should I have? What does each one do? In desperation, I visited the bookstore and “How to write a better thesis” jumped off the rack and into my arms.

I’ll admit, my choice was largely informed by its student friendly price point : at the time it was $21.95, it’s now gone up to around $36. In my opinion that’s a bit steep, given that the average student budget is still as constrained as it was a decade ago, but you do get a lot for your money.

David Evans sadly died some years ago, but Justin Zobel has ably stepped into his shoes for the revision. What I’ve always liked best about this book is the way it breaks the ‘standard thesis’ down into its various components: introduction, literature review, method etc, then treats the problems of each separately. This enables you to use it tactically to ‘spot check’ for problem areas in your thesis.

The new edition of the book has remained essentially the same, but with some useful additions that, I think, better reflect the complexity of the contemporary thesis landscape. It acknowledges a broader spread of difficulties with writing the thesis and includes worked examples which illustrate the various traps students can fall into.

A couple of weeks ago I was sent a review copy of Zobel and Gruba’s new collaboration: “How to write a better Minor Thesis” . This is a stripped down version of the original book, with some minor additions, but designed specifically for masters by course work and honours students who have to write a thesis between 15,000 and 30,000 in length. It’s a brilliant idea as, to my knowledge, there hasn’t been much on the market for these students before. The majority of the book is relevant to the PhD and since it’s only $9.95 on Kindle you might want to start with this instead and upgrade to the more expensive paperback if you think you want more.

My introduction to Barbara Kamler and Pat Thomson’s “Helping doctoral students to write: pedagogies for supervision” was quite different. My colleague at the time, Dr Robyn Barnacle, handed me this book when I was in the first year of my PhD. By that time I was a much more confident writer and I was ready for the more complex writing journey this book offered. And “Helping doctoral students to write” does tackle complicated issues – nominalisation, modality, them/rheme analysis and so on – but not in a complicated way. This is largely because it’s full of practical exercises and suggestions, many of which I use in my workshops (for an example, see this slide deck on treating the zombie thesis ).

Although “Helping doctoral students write” has more of a humanities bent than ‘how to write a thesis’, it steps through a broad range of thesis writing issues with a light touch that never makes you feel bored or frustrated. It argues that the thesis is a genre proposition – an amazingly powerful insight – and the chapter on grammar is simply a work of brilliance.

I’ve given this book to engineers, architects, biologists and musicologists, all of whom have told me it was useful – but I find total beginners react with fear to sub-headings like ‘modality: the goldilocks dilemma’. For that reason I usually save it for students near their final year, especially when they tell me their supervisor doesn’t like their writing, but can’t explain why.

“Helping doctoral students to write” is not explicitly written for PhD students (the authors are in the process of doing one). The new edition is an improvement on the old in many ways and well worth buying again if you happen to own it already. The new edition is around $42, which is ok but I think the Kindle edition is over priced (why do publishers keep doing this when many people like to own both for convenience?). It’s a great book for the advanced student who is prepared to roll up their sleeves and do some serious work. Not only will this work pay dividends, as my award attests, it will stand you in good stead for being a supervisor yourself later on as you will be able to diagnose and treat some of the most common – yet difficult to describe – writing problems.

Pat Thomson, is, of course, the author of the popular ‘Patter’ blog , so you can access her wisdom, for free, on a weekly basis. I should own up to the fact that Pat and I met on Twitter, as many bloggers do, and started to collaborate. I’m still in awe of Pat’s knowledge, experience and good humour. I sometimes pinch myself that we have become friends (in fact, she gave me my new copy of the book when I last visited the UK), but I hope this isn’t the only reason the new edition mentions the Whisperer in one of the chapters (squee!).

If I hadn’t already had deep familiarity with this book before I met Pat I would definitely have to say I have a conflict of interest, but I can hand on my heart tell you I would recommend it anyway. Pat and Barbara have written another, truly fantastic, book “Writing for peer review journals: strategies for getting published” but that’s a review for another time 🙂

Have you read these books? Or any others that you think have significantly helped you on your PhD journey? Love to hear about them in the comments.

Other book reviews on the Whisperer

How to write a lot

BITE: recipes for remarkable research

Study skills for international postgraduates

Doing your dissertation with Microsoft Word

How to fail your Viva

Mapping your thesis

Demystifying dissertation writing

If you have a book you would like us to review, please email me.

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The Thesis Whisperer is written by Professor Inger Mewburn, director of researcher development at The Australian National University . New posts on the first Wednesday of the month. Subscribe by email below. Visit the About page to find out more about me, my podcasts and books. I'm on most social media platforms as @thesiswhisperer. The best places to talk to me are LinkedIn , Mastodon and Threads.

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Developing a Thesis Statement

Many papers you write require developing a thesis statement. In this section you’ll learn what a thesis statement is and how to write one.

Keep in mind that not all papers require thesis statements . If in doubt, please consult your instructor for assistance.

What is a thesis statement?

A thesis statement . . .

• Makes an argumentative assertion about a topic; it states the conclusions that you have reached about your topic.
• Makes a promise to the reader about the scope, purpose, and direction of your paper.
• Is focused and specific enough to be “proven” within the boundaries of your paper.
• Is generally located near the end of the introduction ; sometimes, in a long paper, the thesis will be expressed in several sentences or in an entire paragraph.
• Identifies the relationships between the pieces of evidence that you are using to support your argument.

Not all papers require thesis statements! Ask your instructor if you’re in doubt whether you need one.

Identify a topic

Your topic is the subject about which you will write. Your assignment may suggest several ways of looking at a topic; or it may name a fairly general concept that you will explore or analyze in your paper.

Consider what your assignment asks you to do

Inform yourself about your topic, focus on one aspect of your topic, ask yourself whether your topic is worthy of your efforts, generate a topic from an assignment.

Below are some possible topics based on sample assignments.

Sample assignment 1

Analyze Spain’s neutrality in World War II.

Identified topic

Franco’s role in the diplomatic relationships between the Allies and the Axis

This topic avoids generalities such as “Spain” and “World War II,” addressing instead on Franco’s role (a specific aspect of “Spain”) and the diplomatic relations between the Allies and Axis (a specific aspect of World War II).

Sample assignment 2

Analyze one of Homer’s epic similes in the Iliad.

The relationship between the portrayal of warfare and the epic simile about Simoisius at 4.547-64.

This topic focuses on a single simile and relates it to a single aspect of the Iliad ( warfare being a major theme in that work).

Developing a Thesis Statement–Additional information

Your assignment may suggest several ways of looking at a topic, or it may name a fairly general concept that you will explore or analyze in your paper. You’ll want to read your assignment carefully, looking for key terms that you can use to focus your topic.

Sample assignment: Analyze Spain’s neutrality in World War II Key terms: analyze, Spain’s neutrality, World War II

After you’ve identified the key words in your topic, the next step is to read about them in several sources, or generate as much information as possible through an analysis of your topic. Obviously, the more material or knowledge you have, the more possibilities will be available for a strong argument. For the sample assignment above, you’ll want to look at books and articles on World War II in general, and Spain’s neutrality in particular.

As you consider your options, you must decide to focus on one aspect of your topic. This means that you cannot include everything you’ve learned about your topic, nor should you go off in several directions. If you end up covering too many different aspects of a topic, your paper will sprawl and be unconvincing in its argument, and it most likely will not fulfull the assignment requirements.

For the sample assignment above, both Spain’s neutrality and World War II are topics far too broad to explore in a paper. You may instead decide to focus on Franco’s role in the diplomatic relationships between the Allies and the Axis , which narrows down what aspects of Spain’s neutrality and World War II you want to discuss, as well as establishes a specific link between those two aspects.

Before you go too far, however, ask yourself whether your topic is worthy of your efforts. Try to avoid topics that already have too much written about them (i.e., “eating disorders and body image among adolescent women”) or that simply are not important (i.e. “why I like ice cream”). These topics may lead to a thesis that is either dry fact or a weird claim that cannot be supported. A good thesis falls somewhere between the two extremes. To arrive at this point, ask yourself what is new, interesting, contestable, or controversial about your topic.

As you work on your thesis, remember to keep the rest of your paper in mind at all times . Sometimes your thesis needs to evolve as you develop new insights, find new evidence, or take a different approach to your topic.

Derive a main point from topic

Once you have a topic, you will have to decide what the main point of your paper will be. This point, the “controlling idea,” becomes the core of your argument (thesis statement) and it is the unifying idea to which you will relate all your sub-theses. You can then turn this “controlling idea” into a purpose statement about what you intend to do in your paper.

Look for patterns in your evidence

Compose a purpose statement.

Consult the examples below for suggestions on how to look for patterns in your evidence and construct a purpose statement.

• Franco first tried to negotiate with the Axis
• Franco turned to the Allies when he couldn’t get some concessions that he wanted from the Axis

Possible conclusion:

Spain’s neutrality in WWII occurred for an entirely personal reason: Franco’s desire to preserve his own (and Spain’s) power.

Purpose statement

This paper will analyze Franco’s diplomacy during World War II to see how it contributed to Spain’s neutrality.

• The simile compares Simoisius to a tree, which is a peaceful, natural image.
• The tree in the simile is chopped down to make wheels for a chariot, which is an object used in warfare.

At first, the simile seems to take the reader away from the world of warfare, but we end up back in that world by the end.

This paper will analyze the way the simile about Simoisius at 4.547-64 moves in and out of the world of warfare.

Derive purpose statement from topic

To find out what your “controlling idea” is, you have to examine and evaluate your evidence . As you consider your evidence, you may notice patterns emerging, data repeated in more than one source, or facts that favor one view more than another. These patterns or data may then lead you to some conclusions about your topic and suggest that you can successfully argue for one idea better than another.

For instance, you might find out that Franco first tried to negotiate with the Axis, but when he couldn’t get some concessions that he wanted from them, he turned to the Allies. As you read more about Franco’s decisions, you may conclude that Spain’s neutrality in WWII occurred for an entirely personal reason: his desire to preserve his own (and Spain’s) power. Based on this conclusion, you can then write a trial thesis statement to help you decide what material belongs in your paper.

Sometimes you won’t be able to find a focus or identify your “spin” or specific argument immediately. Like some writers, you might begin with a purpose statement just to get yourself going. A purpose statement is one or more sentences that announce your topic and indicate the structure of the paper but do not state the conclusions you have drawn . Thus, you might begin with something like this:

• This paper will look at modern language to see if it reflects male dominance or female oppression.
• I plan to analyze anger and derision in offensive language to see if they represent a challenge of society’s authority.

At some point, you can turn a purpose statement into a thesis statement. As you think and write about your topic, you can restrict, clarify, and refine your argument, crafting your thesis statement to reflect your thinking.

As you work on your thesis, remember to keep the rest of your paper in mind at all times. Sometimes your thesis needs to evolve as you develop new insights, find new evidence, or take a different approach to your topic.

Compose a draft thesis statement

If you are writing a paper that will have an argumentative thesis and are having trouble getting started, the techniques in the table below may help you develop a temporary or “working” thesis statement.

Begin with a purpose statement that you will later turn into a thesis statement.

Assignment: Discuss the history of the Reform Party and explain its influence on the 1990 presidential and Congressional election.

Purpose Statement: This paper briefly sketches the history of the grassroots, conservative, Perot-led Reform Party and analyzes how it influenced the economic and social ideologies of the two mainstream parties.

Question-to-Assertion

If your assignment asks a specific question(s), turn the question(s) into an assertion and give reasons why it is true or reasons for your opinion.

Assignment : What do Aylmer and Rappaccini have to be proud of? Why aren’t they satisfied with these things? How does pride, as demonstrated in “The Birthmark” and “Rappaccini’s Daughter,” lead to unexpected problems?

Beginning thesis statement: Alymer and Rappaccinni are proud of their great knowledge; however, they are also very greedy and are driven to use their knowledge to alter some aspect of nature as a test of their ability. Evil results when they try to “play God.”

Write a sentence that summarizes the main idea of the essay you plan to write.

Main idea: The reason some toys succeed in the market is that they appeal to the consumers’ sense of the ridiculous and their basic desire to laugh at themselves.

Make a list of the ideas that you want to include; consider the ideas and try to group them.

• nature = peaceful
• war matériel = violent (competes with 1?)
• need for time and space to mourn the dead
• war is inescapable (competes with 3?)

Use a formula to arrive at a working thesis statement (you will revise this later).

• although most readers of _______ have argued that _______, closer examination shows that _______.
• _______ uses _______ and _____ to prove that ________.
• phenomenon x is a result of the combination of __________, __________, and _________.

What to keep in mind as you draft an initial thesis statement

Beginning statements obtained through the methods illustrated above can serve as a framework for planning or drafting your paper, but remember they’re not yet the specific, argumentative thesis you want for the final version of your paper. In fact, in its first stages, a thesis statement usually is ill-formed or rough and serves only as a planning tool.

As you write, you may discover evidence that does not fit your temporary or “working” thesis. Or you may reach deeper insights about your topic as you do more research, and you will find that your thesis statement has to be more complicated to match the evidence that you want to use.

You must be willing to reject or omit some evidence in order to keep your paper cohesive and your reader focused. Or you may have to revise your thesis to match the evidence and insights that you want to discuss. Read your draft carefully, noting the conclusions you have drawn and the major ideas which support or prove those conclusions. These will be the elements of your final thesis statement.

Sometimes you will not be able to identify these elements in your early drafts, but as you consider how your argument is developing and how your evidence supports your main idea, ask yourself, “ What is the main point that I want to prove/discuss? ” and “ How will I convince the reader that this is true? ” When you can answer these questions, then you can begin to refine the thesis statement.

Refine and polish the thesis statement

To get to your final thesis, you’ll need to refine your draft thesis so that it’s specific and arguable.

• Ask if your draft thesis addresses the assignment
• Question each part of your draft thesis
• Clarify vague phrases and assertions
• Investigate alternatives to your draft thesis

Consult the example below for suggestions on how to refine your draft thesis statement.

Sample Assignment

Choose an activity and define it as a symbol of American culture. Your essay should cause the reader to think critically about the society which produces and enjoys that activity.

• Ask The phenomenon of drive-in facilities is an interesting symbol of american culture, and these facilities demonstrate significant characteristics of our society.This statement does not fulfill the assignment because it does not require the reader to think critically about society.

Drive-ins are an interesting symbol of American culture because they represent Americans’ significant creativity and business ingenuity.

Among the types of drive-in facilities familiar during the twentieth century, drive-in movie theaters best represent American creativity, not merely because they were the forerunner of later drive-ins and drive-throughs, but because of their impact on our culture: they changed our relationship to the automobile, changed the way people experienced movies, and changed movie-going into a family activity.

While drive-in facilities such as those at fast-food establishments, banks, pharmacies, and dry cleaners symbolize America’s economic ingenuity, they also have affected our personal standards.

While drive-in facilities such as those at fast- food restaurants, banks, pharmacies, and dry cleaners symbolize (1) Americans’ business ingenuity, they also have contributed (2) to an increasing homogenization of our culture, (3) a willingness to depersonalize relationships with others, and (4) a tendency to sacrifice quality for convenience.

This statement is now specific and fulfills all parts of the assignment. This version, like any good thesis, is not self-evident; its points, 1-4, will have to be proven with evidence in the body of the paper. The numbers in this statement indicate the order in which the points will be presented. Depending on the length of the paper, there could be one paragraph for each numbered item or there could be blocks of paragraph for even pages for each one.

Complete the final thesis statement

The bottom line.

As you move through the process of crafting a thesis, you’ll need to remember four things:

• Context matters! Think about your course materials and lectures. Try to relate your thesis to the ideas your instructor is discussing.
• As you go through the process described in this section, always keep your assignment in mind . You will be more successful when your thesis (and paper) responds to the assignment than if it argues a semi-related idea.
• Your thesis statement should be precise, focused, and contestable ; it should predict the sub-theses or blocks of information that you will use to prove your argument.
• Make sure that you keep the rest of your paper in mind at all times. Change your thesis as your paper evolves, because you do not want your thesis to promise more than your paper actually delivers.

In the beginning, the thesis statement was a tool to help you sharpen your focus, limit material and establish the paper’s purpose. When your paper is finished, however, the thesis statement becomes a tool for your reader. It tells the reader what you have learned about your topic and what evidence led you to your conclusion. It keeps the reader on track–well able to understand and appreciate your argument.

Writing Process and Structure

This is an accordion element with a series of buttons that open and close related content panels.

Getting Started with Your Paper

Interpreting Writing Assignments from Your Courses

Generating Ideas for

Creating an Argument

Thesis vs. Purpose Statements

Architecture of Arguments

Working with Sources

Quoting and Paraphrasing Sources

Using Literary Quotations

Citing Sources in Your Paper

Drafting Your Paper

Generating Ideas for Your Paper

Introductions

Paragraphing

Developing Strategic Transitions

Conclusions

Revising Your Paper

Peer Reviews

Reverse Outlines

Revising an Argumentative Paper

Revision Strategies for Longer Projects

Finishing Your Paper

Twelve Common Errors: An Editing Checklist

How to Proofread your Paper

Writing Collaboratively

Collaborative and Group Writing

Thesis Writing for Master's and Ph.D. Program

• © 2018
• Subhash Chandra Parija 0 ,
• Vikram Kate 1

Sri Balaji Vidyapeeth (Deemed University), Pondicherry, India

You can also search for this editor in PubMed   Google Scholar

Department of Surgery, Jawaharlal Institute of Postgraduate Medical Education and Research (JIPMER), Pondicherry, India

The book covers all aspects of writing a thesis and dissertation in detail

Chapters are easy to understand with essential contents for writing thesis presented in a lucid manner.

Easy to follow algorithms, key points and case scenarios in each chapter to enhance the understanding of the topics.

The chapters are arranged in a manner that the reader will understand the importance of each section of the thesis writing and will be able to write the protocol, register with clinical trial registry, conduct the research and write the final dissertation.

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About this book

This book on Thesis Writing for Master’s and Ph.D. program focuses on the difficulties students encounter with regard to choosing a guide; selecting an appropriate research title considering the available resources; conducting research; and ways to overcome the hardships they face while researching, writing and preparing their dissertation for submission. 

Thesis writing is an essential skill that medical and other postgraduates are expected to learn during their academic career as a mandatory partial requirement in order to receive the Master’s degree. However, at the majority of medical schools, writing a thesis is largely based on self-learning, which adds to the burden on students due to the tremendous amount of time spent learning the writing skills in addition to their exhausting clinical and academic work.  Due to the difficulties faced during the early grooming years and lack of adequate guidance, acquiring writing skills continues to be a daunting task for most students.

This book addresses these difficulties and deficiencies and provides comprehensive guidance, from selecting the research title to publishing in a scientific journal.

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• Thesis writing for masters and doctoral programme
• Choosing a suitable research area
• Preparing a content list, title Page and abstract
• Obtaining ethics committee approval for scientific research
• Presentation of dissertation work in scientific conferences
• Publishing the thesis work in scientific journal
• Obtaining support and grants for thesis work
• Plagiarism software

Table of contents (28 chapters)

Front matter, deciding on the topic/area of research/approval, thesis, dissertation and project.

• Subhash Chandra Parija, Vikram Kate

Objectives of Writing Thesis

• Meena A. Pangarkar, Nitin V. Pangarkar, Anand V. Pangarkar

Choosing a Suitable Research Area and Supervisor

• Prashant Joshi

Assessing Availability of Facilities, Infrastructure and Resources

• Puneet Dhar, Johns Shaji Mathew

Obtaining Support and Grants for Research

• William Y. Shi, Julian A. Smith

How to Write a Protocol

• Mukta Wyawahare, Raja Kalayarasan, Anahita Kate

Approval of the Institute Review Board, Ethics Committee and Registering with the Clinical Trial Registry

• Zile Singh, P. Stalin

Conduct of Research and Analysis

Plan and conduct of research: observational and interventional study designs.

• Vikram Kate, Sathasivam Sureshkumar, Mohsina Subair

Data Management in Clinical Research

• Karthik Balachandran, Sadishkumar Kamalanathan

Preparing and Decoding the Master Chart

• Meenakshi Girish, Senthil Amudhan

Statistical Analysis: Data Presentation and Statistical Tests

• Mahalakshmy Thulasingam, Kariyarath Cheriyath Premarajan

Structuring the Material and Writing the Thesis

Preparing a title page, abstract and table of contents page.

• Kiruthika Sivasubramanian, Rajive Mathew Jose, Stuart Enoch

Methods and Materials in a Thesis

• Sanjay Gupta

Writing the Review of Literature in a Thesis

• A. M. Quraishi

Drawing Observations from Data and Making Conclusions

• Rajesh Panwar, Peush Sahni

Preparing Figures and Tables

• Sudhir Kumar Jain, Rohit Kaushik

Editors and Affiliations

Subhash Chandra Parija

Vikram Kate

About the editors

Subhash Chandra Parija  is the Former Director and Senior Professor, Department of Microbiology of the Jawaharlal Institute of Postgraduate Medical Education & Research (JIPMER), Pondicherry, India, and has nearly three and a half decades of teaching and research experience in Medical Microbiology. Prof. Parija is a Food and Agriculture Organization (FAO) expert, and has been consulted to draft guidelines on food safety for parasites. Prof. Parija was on the Board of MD Examination at Colombo University, Sri Lanka, Sultan Quaboos University, Oman, University of Malaya, Malaysia. He was conferred a D.Sc. for his contributions in the field of Medical Parasitology by Madras University. The author of ten books including the “ Text Book of Medical Parasitology, ” he has published more than 300 papers in prominent national and international journals.

Prof. Parija  has been honored with more than 25 awards including the Medical Council of India’s Dr. BC Roy National Award and the National Academy of Medical Sciences’ Dr. PN Chuttani Oration Award. Prof. Parija founded the Indian Academy of Tropical Parasitology (IATP), the only professional organization of Medical Parasitologists in India, and initiated the journal Tropical Parasitology . Professor Parija in collaboration with Prof. Vikram Kate edited a book on Writing and Publishing a Scientific Paper , which was published by Springer Nature in 2017.

Vikram Kate  is currently the Senior Professor and Head of the Department of the Surgery and Senior Consultant General and Gastrointestinal Surgeon at Jawaharlal Institute of Postgraduate Medical Education & Research (JIPMER), Puducherry. He has contributed more than 25 chapters in prominent surgical gastroenterology and surgery textbooks, and has more than 140 papers to his credit. He is a Past President of the Indian Association of Surgical Gastroenterology. He was awarded the Membership Diploma of the Faculty of Surgical Trainers by the Royal College of Surgeons, Edinburgh. Further, he currently serves as Editor-in-Chief of  The International Journal of Advanced Medical and Health Research , the official journal of JIPMER.

Professor Kate is an Examiner for the M.S./M.Ch./DNB and Ph.D. program for Surgery, Surgical Gastroenterology and Intercollegiate Membership of the Royal College of Surgeons, Edinburgh. He is a Fellow of the Royal College of Surgeons of England, Edinburgh and Glasgow (FRCS, FRCS Ed., FRCS Glasg.), and of the American College of Surgeons (FACS) and the American College of Gastroenterology (FACG). He has been honored with many awards, including the Dr. Mathias Oration (2010) and Prof. N. Rangabashyam Oration (2015) by the Tamil Nadu and Pondicherry Chapter of the Association of Surgeons of India, and the Dr. S.K. Bhansali Memorial Oration (2017) of the Association of Surgeons of India.

Bibliographic Information

Book Title : Thesis Writing for Master's and Ph.D. Program

Editors : Subhash Chandra Parija, Vikram Kate

DOI : https://doi.org/10.1007/978-981-13-0890-1

Publisher : Springer Singapore

eBook Packages : Medicine , Medicine (R0)

Copyright Information : Springer Nature Singapore Pte Ltd. 2018

Hardcover ISBN : 978-981-13-0889-5 Published: 13 November 2018

eBook ISBN : 978-981-13-0890-1 Published: 03 November 2018

Edition Number : 1

Number of Pages : XX, 317

Number of Illustrations : 13 b/w illustrations, 70 illustrations in colour

Topics : Medicine/Public Health, general

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9 Effective Tips for Publishing Thesis As a Book

While they may look alike, a thesis is not a book! The process of publishing thesis as a book is different right from its conception to completion. Created with an intent to target a specific audience, a thesis differs from a book in multiple aspects. Although your thesis topic would surely be relevant to your field of study, it perhaps, can be of interest to a wider audience. In such a case, your thesis can be turned into a book .

In this article, we will shed some light on the possible ways of publishing your thesis as a book .

Table of Contents

What is the Difference Between a Thesis and a Book?

Researchers spend years working on their thesis. A thesis focuses on the research conducted, and is thus published as journal articles . However, in some cases, it may also be published as a book for a wider readership. While both thesis and book writing require effort, time, and are equally longer versions of documents, they are different in several ways.

• A thesis always begins with a question or hypothesis. On the other hand, a book begins with a series of reflections to grab the reader’s attention. To a certain extent, it could be said that while the thesis starts with a question, the book starts with an answer.
• Another major difference between the two is their audience. The content of a thesis, as well as its format and language is aimed at the academic community. However, since the book is written with an intent to reach out to wider audience, the language and format is simpler for easy comprehension by non-academic readers as well.
• Furthermore, thesis is about documenting or reporting your research activities during doctorate; whereas, a book can be considered as a narrative medium to capture the reader’s attention toward your research and its impact on the society.

How to Turn a Thesis into a Book?

The structure of your thesis will not necessarily be similar to the structure of your book. This is primarily because the readership is different and the approach depends on both the audience as well as the purpose of your book. If the book is intended as a primary reference for a course, take the course syllabus into account to establish the topics to be covered. Perhaps your thesis already covers most of the topics, but you will have to fill in the gaps with existing literature.

Additionally, it may be so that you want your book to be a complementary reference not only for one course, but for several courses with different focuses; in this case, you must consider different interests of your audience.

The layout of most thesis involve cross-references, footnotes, and an extensive final bibliography. While publishing your thesis as a book , eliminate excessive academic jargon and reduce the bibliography to reference books for an ordinary reader.

Key Factors to Consider While Publishing Your Thesis as a Book

• Purpose of the book and the problems it intends to solve
• A proposed title
• The need for your proposed book
• Existing and potential competition
• Index of contents
• Overview of the book
• Summary of each book chapter
• Timeline for completing the book
• Brief description of the audience and the courses it would cover

With all of this in mind, here are 9 steps to successfully turn your thesis into a book .

9 Steps to Successfully Publish Your Thesis as a Book!

1. Establish Your Target Audience

Based on the topic of your thesis, determine the areas that may potentially rise interest in your book’s audience. Once you establish your target audience, figure out the nature of book they would like to read.

2. Determine the Objective of Your Book

Reflect on the scope of your book and the impact it would have on your target audience. Perhaps it can be used as a textbook or supplementary for one or more courses. Visualize what the reach of your book may be; if it is a book with an identified local market, an interest that arose in your educational institution, which can be traced to other similar institutions, or if it can have a national or even international reach.

3. Identify Your Competition

Find out which books are already on the market, what topics they cover, what problems do they solve, etc. Furthermore, ask yourself what would be the advantage of your book over those that already exist.

4. Define the Structure of Your Book

If the book is written as part of a curriculum, use that program to define its structure. If it covers several programs, make a list of topics to focus on individually and sequence them in an order based on educational criteria or interest for the potential reader.

5. Identify Potential Publishers

Search for publishers in your country or on the web and the kind of books they publish to see if there is a growing interest in the book you are planning to develop. Furthermore, you can also look at self-publishing or publishing-on-demand options if you already have a captive audience interested in your work.

6. Plan a Schedule

Based on the structure of your book, schedule your progress and create a work plan. Consider that many topics are already written in your thesis, you will only have to rewrite them and not have to do the research from scratch. Plan your day in such a way that you get enough time to fill in technical or generic gaps if they exist.

7. Follow a Writing Style

The writing style depends on the type of book and your target audience. While academic writing style is preferred in thesis writing, books can be written in simpler ways for easy comprehension. If you have already spoken to an interested publisher, they can help in determining the writing style to follow. If you’re self-publishing, refer to some competitor books to determine the most popular style of writing and follow it.

8. Incorporate Visual Aids

Depending on the subject of your book, there may be various types of visual and graphic aids to accentuate your writing, which may prove lucrative. Give due credit to images, diagrams, graphical representations, etc. to avoid copyright infringement. Furthermore, ensure that the presentation style of visual aids is same throughout the book.

9. Review Your Draft

Your supervisor and the advisory council review and refine you thesis draft. However, a book must be proofread , preferably by someone with a constructive view. You can also use professional editing services or just go ahead with an excellent grammar checking tool to avoid the hassle.

Do you plan on publishing your thesis as a book ? Have you published one before? Share your experience in the comments!

good article

Hello. Nice to read your paper. However, I fell on your article while browsing the net for the exact opposite reason and I think you can equally give me some insights. I am interested, as I earlier said, on how to transform my book into a thesis instead, and how I can defend it at an academic level. I am writing a research work on financial digital options trading and have done a lot of back testing with technical analysis that I explain, to rake thousands of dollars from the financial markets. I find the technical analysis very peculiar and would like to defend this piece of work as a thesis instead. Is it possible? Please you can reply me through e:mail thanks

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How to Turn Your Thesis into a Book

Table of contents, introduction, understanding your audience, adapting thesis content for a book, crafting a compelling narrative, writing style and tone, exploring publishing options, understanding literary agents and academic presses, preparing your manuscript for publication, creating a book proposal, marketing and promotion.

The transition from researcher to author can seem daunting, but turning a thesis into a book offers significant rewards. Publishing a book allows you to share your research with a broader audience beyond academia. It also helps establish your authority and expertise in your field.

Books have more longevity than journal articles, enabling you to tell a richer, more in-depth story. As an author, you can reach practitioners who can apply your insights and educate the general public. The process of adapting your thesis helps strengthen your writing and communication abilities.

A book enhances your brand and opens speaking opportunities, consulting engagements, and career options. However, writing a book requires reevaluating how to convey your ideas to non-specialist readers best. You must shift to a more accessible writing style and think creatively about crafting a compelling narrative arc.

This involves restructuring content, integrating anecdotes, choosing an engaging voice, and mastering storytelling techniques focused on keeping readers’ attention. The publishing process also brings new complexities concerning agents, editors, guidelines, and marketing. Yet, with careful planning and persistence, it is possible to navigate these hurdles successfully.

For academic researchers, the thesis often represents the culmination of years of study in a specialized field. However, researchers can turn their thesis into a published book rather than let it collect dust. This allows them to reach a much wider audience with their ideas and establish themselves as authorities in their subject.

Books have a permanence and legitimacy that other mediums lack. While journal articles may have more prestige in academia, books make research accessible to mainstream readers. They have the potential to educate the public, shape dialogues in a discipline, inspire future scholarship and impact real-world practice. By publishing a book , researchers greatly amplify the influence of their thesis.

Yet, transitioning from researcher to author involves more than copy-pasting a thesis. It requires adapting to a completely different style of writing. Academic writing prioritizes precision, empirical rigor, complex language, and speaking to a niche audience. Books aimed at general readers use clearer prose, compelling narratives, and real-world stories and structure content more thematically.

Researchers must shift their mindset accordingly. The publishing process also brings new challenges concerning agents, editors , guidelines, publicity, and marketing. With commitment and perseverance, this obstacle course can be successfully navigated.

Beyond making an original contribution to academic literature, publishing a book version of your thesis can provide career advantages and personal satisfaction. Turning a thesis into a book dramatically expands your audience and visibility. While only committee members may have read your thesis, a published book makes your ideas accessible to students, practitioners in your field, policymakers, journalists, and interested lay readers. This establishes your reputation as an authority on the topic.

With an academic book on your resume, opportunities for speaking engagements, consulting jobs, teaching roles, and media commentary will likely arise. Your work may even influence legislation or real-world applications of your research. On a personal level, adapting your writing style, finding your narrative voice, and connecting with readers can be deeply fulfilling. After spending years on specialized research, being able to articulate your insights to the public is incredibly rewarding.

Finally, a successfully published book represents a seminal career achievement. As an academic book author, you join the ranks of thought leaders pushing disciplines forward and changing conversations through their writings. Few accomplishments are gratifying than seeing your name and ideas preserved between book covers for posterity.

When transitioning from writing a thesis to writing a book, it is crucial to recognize that the audiences differ significantly. Academic writing is geared towards a specialized scholarly community familiar with theory, methodology , and disciplinary conventions. In contrast, writing a trade book targets a more mainstream readership looking for an accessible and engaging narrative. As an author, you must identify who your new readers are and what kind of content would appeal to them.

Academic writing utilizes discipline-specific jargon, an impersonal tone, extensive literature reviews, and a rigid structure to establish authority on a narrow topic. Trade writing uses plain language, anecdotes, humor, and a flexible narrative style to captivate nonspecialist readers on a more universal theme.

Determine if your book will speak to students, professionals, policymakers, or the general public interested in your field. Analyze comparable titles to discern what resonated. Shape chapter content and style to align with readers’ interests and background knowledge levels. Weave in examples and analogies rooted in their contexts to increase relevance.

Becoming an adept storyteller enables your specialized material to crossover to mainstream audiences. Master cliffhangers, plot twists, character development, and other devices to immerse readers. Share amusing anecdotes and clever turns of phrase to add flair. Stimulate imagination through vivid scenic descriptions. Pose thoughtful discussion questions to encourage critical reflection. Building rapport with readers amplifies the book’s real-world influence.

Transforming a thesis into a book requires re-evaluating and restructuring the content for a more narrative-driven approach. Academic writing tends to be dense and technical, while general readers expect an engaging story and relatable concepts. As an author, you must balance retaining scholarly rigor and making the ideas accessible.

Identify your thesis research’s key themes, arguments, and findings. Break these down into logical chapters and subsections. Consider which topics would benefit from additional examples or backstories to embed within the analysis. You may need to condense detailed statistical analyses into summarized findings and then expand on the practical implications. The goal is to convert technical content into an intriguing narrative that draws readers in.

While academic texts impress with jargon and complex concepts, the general public loses interest quickly. As an author, focus on explaining ideas using everyday language. Define terminology and provide illustrative examples wherever possible. Break down complex arguments into step-by-step logic that is easy to follow. Quote outside experts to reinforce your points. Include stories and anecdotes to humanize the research. However, it upholds standards of intellectual rigor by substantiating claims and highlighting study limitations.

Personal perspectives allow readers to connect with the author and material more deeply. Share what motivated your research questions and discuss memorable moments from collecting or analyzing data. Describe conversations with study participants that illuminated key insights. Use examples from your own life to illustrate broader concepts. Occasional touches of humor also help. Such anecdotes breathe life into academic subjects. However, ensure that any personal information shared is appropriate and relevant to the discussion.

Storytelling is a powerful tool that can breathe new life into academic material. Researchers can make their work more engaging and memorable for general audiences by incorporating narrative elements like plot, characters, and setting.

Academic writing often focuses solely on facts, theories, and data analysis. While important, this approach rarely captivates readers outside one’s field. Storytelling techniques offer a solution—they provide structure, conflict, and resolution to make the content more compelling. For instance, case studies allow researchers to frame their work around a specific person or organization, adding a human element. Techniques like foreshadowing, flashbacks, and cliffhangers also heighten narrative tension. Applying story arcs to research gives readers a reason to care beyond factual accuracy.

Weaving in real-world examples brings sterile academic concepts to life. For example, an economic treatise could profile a small business owner grappling with rising inflation. This puts a human face on monetary policy debates. Case studies also showcase how theories operate in specific organizational contexts. Infographics, photos, diagrams, and other illustrations make complex ideas more understandable. Using relatable examples and visuals helps concretize abstract arguments for non-specialist readers.

A disjointed narrative quickly loses readers’ interest. Compelling storytelling strategically sequences events, balancing scene-setting, rising action, climax, and resolution. Transitions should smoothly guide readers between ideas. Maintaining narrative momentum also means limiting digressions and cutting content that distracts from the core story arc. Like fiction, academic writing succeeds when readers feel transported into an immersive world brimming with possibilities. Careful narrative construction makes scholarly work impossible to put down.

The shift from formal academic writing to a more conversational and engaging tone is key when adapting a thesis into a book for a general audience. Academic writing is often dense, technical, and aimed at a narrow group of experts. In contrast, trade nonfiction requires an accessible writing style that feels like a conversation with an intelligent friend sharing hard-won knowledge.

When academics write books for general readers, they must consciously work to transform their formal thesis prose into a more relaxed yet authoritative style. Sentences should generally be shorter and less complex. Technical jargon should give way to clear explanations and vivid examples. The text may directly address the reader through second-person narration and rhetorical questions.

At the paragraph level, variety in sentence structure and length helps carry the reader along. An occasional humorously phrased insight makes the text more enjoyable. Using active voice and strong action verbs injects energy into the narrative.

While academic writing seeks an objective, impersonal tone, trade nonfiction benefits from revealing glimpses into the author’s experiences, passions, and personality. The strategic use of anecdotes about the writer’s intellectual journey in a candid first-person voice makes the book more approachable and involving for readers.

That said, professional decorum must be maintained while allowing one’s voice to emerge. Too much informality risks undermining the writer’s scholarly credibility. A thoughtful, nuanced take on the subject matter, with careful qualifying statements where needed, reminds readers that this is still an expert guiding them through complex terrain.

For scholar-writers seeking to engage general readers, the central challenge lies in balancing academic rigor with accessibility. This means not watering down complex scholarly ideas but taking the time to contextualize and explain them clearly to intelligent non-specialists. Using vivid examples and metaphors to illustrate abstractions can aid understanding.

Occasionally, the author might consciously decide to retain some technical terminology where no equivalent plain language substitute exists or adequately conveys the precise meaning. In such cases, clear definitions should be supplied the first time such a term is introduced. The glossary can also be utilized for convenient reference.

By emphasizing quality over quantity of information and spotlighting the most critical insights from the thesis, scholarly authors can craft books that inform and enlighten readers without overwhelming them. The art lies in judicious simplification without distortion of meaning.

How to Turn Your Thesis into a Book: Navigating the Publishing Process

Understanding the publishing industry landscape is crucial for academics looking to turn their thesis into a published book. There are two main paths to publication – traditional publishing through an established publisher or self-publishing your work independently. Both have their own merits and considerations.

The traditional publishing route involves signing with an academic or trade publisher. This option benefits the publisher’s distribution networks, marketing capabilities, editorial services, and imprint credibility. However, competition is fierce, with low acceptance rates.

Self-publishing offers greater control and faster time-to-market, enabled by print-on-demand technology. Platforms like Amazon Kindle Direct Publishing make self-publishing accessible. The downside is that marketing and distribution remain the author’s responsibility.

For the traditional route, securing a literary agent can be invaluable for getting your book noticed by publishers. Literary agents have established relationships with publishers and can help negotiate book deals and navigate the publishing process. On the other hand, academic presses specialize in publishing scholarly works and may be more interested in publishing academic theses. Researching and identifying potential literary agents and academic presses that align with your book’s subject matter and target audience is important.

Before submitting your manuscript to publishers or self-publishing, it is crucial to ensure it is polished and ready for publication. This involves careful editing and proofreading to eliminate any errors or inconsistencies. It is also important to format your manuscript according to the publisher’s guidelines or industry standards. Creating a visually appealing and well-structured book will enhance its professionalism and appeal to readers.

When submitting your manuscript to publishers, it is common practice to include a book proposal. This document provides an overview of your book, including its subject matter, target audience, market potential, and competition analysis. It is also important to highlight your qualifications and expertise as the author. A well-crafted book proposal can help publishers understand the value and marketability of your book.

Regardless of your publishing route, marketing and promotion are essential for getting your book noticed and reaching your target audience. This involves creating an author platform, including a website and social media presence, and engaging with your readers through blog posts or public speaking events. Utilizing online platforms such as Goodreads, Amazon, or book review websites can also help generate buzz and attract readers to your book.

Navigating the publishing process can be challenging, but with careful planning and consideration, turning your thesis into a book can be a rewarding experience. By understanding the publishing industry landscape, preparing your manuscript effectively, and implementing effective marketing strategies, you can increase the chances of your book reaching a wide readership and making a meaningful impact in your field.

We have delved into how to turn your thesis into a book that melds creative storytelling with scholarly acumen. It is a transformative act that extends the reach of your rigorous academic efforts to inform, engage, and inspire a general audience. The endeavor presents an opportunity to refine your ideas, solidify your expertise, and broaden the dialogue within and beyond your field. The thesis-to-book transition requires critical adjustments in writing style, narrative construction, and audience engagement. It demands that complex ideas be distilled without diluting their significance, enabling readers from various backgrounds to glean insights and appreciate the depths of your research. At once a scholarly and creative pursuit, reshaping a thesis into a book offers academics a wider platform for influence. It allows a work that might otherwise remain within the confines of academic circles to educate, affect public discourse, and potentially guide policy and practice. Upon successful publication, seeing your work in book form is not simply an act of personal accomplishment but a contribution to the collective repository of knowledge that charts new paths for understanding and innovation. Whether navigating traditional publishing avenues or embracing the autonomy of self-publishing, the meticulous effort to produce and promote a book is an adventure with unique challenges and rewards. The act of persevering through these stages is a testament to the importance you place on the dissemination of knowledge. Ultimately, transitioning your thesis into a book is more than a mere reformatting of academic work; it is a sharing of passion, a conversation extended to curious minds, and a beacon for those seeking to delve into your study’s essence.

As a newly minted author, you offer a window into a world shaped by your expertise, inviting readers to explore, question, and apply the knowledge within. The book that ensues carries the weight of your scholarly dedication and serves as a dynamic vessel for ideas to be encountered, contemplated, and utilized in the ever-evolving tapestry of intellectual pursuit.

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Thesis Book.pdf

High poverty rates, unemployment, illegal immigration, etc. are the causes of low economy growth in Somaliland. Among the reasons of low economy is corruption. In the thesis, the researchers will examine the relationship between corruption and economy in order to analyze the impact of corruption on the economy and create practical solutions to solve it. The topic of the thesis will be based on “The impact of corruption on economic growth of Somaliland (with reference to Good Governance And Anti-Corruption Commission).Many young people are leaving the country due to lack of job because of low economy, there is nothing done to solve the poverty as Somaliland is dependent on foreign countries economically, these factors caused me to write about this factor in order for Somaliland to improve its economic competence.

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While there's an outsized consensus within the empirical literature on the negative impact of corruption on the economic process, some studies still argue that corruption could also be economically justified. There is, however, little empirical evidence to validate the impact of corruption on economic growth within the devolved units. The effect of the corruption rate on the economic activities is examined using ordinary least squares regression analysis and Kenya county-level data. The results of this study revealed that there exists a negative independent relationship between corruption and county per-capita income growth. Arising from the study findings, this study submits that the county authorities and policymakers must put in situ policies that may eradicate the grounds for bribe-taking in counties to stimulate economic growth.

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News, Notes, Talk

Against the objectification of books (or, some thoughts on The Discourse).

A few weeks back, The Washington Post ran a piece spotlighting “super readers,” a self-selecting class of book nerds who pride themselves on reading very, very fast. I clicked on this article even as my hackles rose, and some pre-programmed scorn settled in the back of my throat. Why, I asked the author, who could not hear me in Washington — Why pedestal the reader who goes to books like a buffet, craving quantity? Why is our culture so intent on praising folks for reading not wider or more deeply, but faster and more ? 

That’s a rhetorical question, of course. This late in the timeline, I can’t pretend to be surprised by the symptoms of capitalism. Books are not exempt from our relentless, always-be-optimizing productivity culture . Maris Kreizman observed a trend toward their “bulletpointification” in a recent column. “It’s troubling to see books treated like mere vessels for self-betterment the way that cold-water therapy and Fitbits are, ” she wrote. I tend to agree. 

What strikes me — and Kreizman, later in her essay — is the profound incompatibility between the object of the book and the ethos of productivity. Novels, in general, take a long time to create and consume. Unlike other cultural products like, say, the TikTok, they are not necessarily designed for single-use, speedy consumption. Their effects, too, are nebulous. Such that they cannot be repurposed for advertising in easy, obvious ways. 

Because what one can “get” from a novel is rarely clear at the outset, their quantitative consumption — or, let’s just call it binging them, to keep with the times — seems particularly silly. 

And what do we hope to “get ,”  anyway? 

When it’s not merely working as a portal to another universe, what’s a book even for these days?

If we follow the implicit WaPo thesis, one answer to this question might be: “being a metric for self-improvement.” After all, “super” is not a bad word to hear applied to oneself. Ditto, “achiever.” Or, “Meeter-of-goals.” 

I know from personal experience that apps like Goodreads, which allow one to set an annual reading goal, have contributed to the gamification of reading. For many years, I used the site to share recommendations and gently compete with book club buddies. But it didn’t take long for me and my peers to start taking our reviews too seriously. Thanks to the site’s design, we got to thinking about books in terms of a reductive ranking system. (Three gold stars for “liked.” Four for “ really liked,” etc.) We’d up our ante every spin around the sun, turning a book-a-month goal into a book-a-week one. Until “hitting” a specific number of books per annum became another New Year’s resolution, on par with designs to work out or eat better. Books, in short, became for me something to win. 

Others have documented Goodreads’ slide from promising nerd hub to hellsite. (In another salient op-ed for The New York Times , Kreizman called the site’s current incarnation not just broken, but “an unreliable, unmanageable, nearly unnavigable morass of unreliable data and unfettered ill will”!) And it’s true! Over my years on the site, I watched what began as a fun nudge decay into a nasty compulsion. Yet another app impelling me to achieve, to finish, to judge — and yes, to buy. 

This brings me to another hackles-raising corner of Recent Book Discourse: the deification of the book as object. In a sharp musing for The Walrus , Michelle Cyca frankly catalogs the postmodern function of the book-as-physical prop. Sure, we may read a novel, she allows — or some of us might, anyway — but that novel is just as often enlisted as a “ decorative object …[a] social signifier,” and even — to invoke a John Waters maxim –an erotic spark. As proof that these shallower modes of engagement are dwarfing the novel’s intended purpose, Cyca sheepishly offers up her own TBR piles, as well as the confession that she is a hoarder of print.

Around this point in the article, I had to lower my hackles and consume some crow. Because I also can’t avoid the judgy spines from several towering piles in my immediate vicinity. And if I’m honest, there are books in those piles that I have purchased as totems, in support of a story I tell about myself about being a “reader.” 

(If not always a super one.)

To recap, then: books can be competitive measurement, and they can be wallpaper. They can be status and intellectual symbols, and self-soothing mise en scène . Habits, context, and costume, in short. All the things that make up… a character. 

In a last bit of hackle-raising clickbait, I offer this recent analysis from The Conversation . Inspired by the results of a poll showing that “ 61% of Generation Z and millennials have read a print book, e-book or audiobook in the past 12 months, but only 57% identify as readers ,” some journalists have extrapolated a theory. Apparently, these days? “‘ Reader’ is an identity, not a behavior .” 

I fear, with the addition of this brain-bursting line, that we have entered Tedious Nitpickers’ Corner. The walls of reason are closing in. For what could it possibly matter, whether or not a person “ identifies as a reader ?” Hackles high yet again, I was ready to chalk all the statistics up to clickbait nonsense. But then I looked at the raw data again, and saw tentative cause for rejoicing.

Because there is another way to tell the story of this poll: according to a recent study, more people read books than care about narrativizing themselves. And if that is true, couldn’t it be that the pleasurable task of reading is winning out against the dumber work of self-mythologizing? Is there hope for the book as mere portal, after all? 

This brought me back to the “super readers,” collected in the WaPo piece. A deeper read there reveals that they are not a monolith, those supers. Not in terms of their approach. Sure, there are those interviewed who offer tips on optimizing output but dispense no specific titles. Train as you would a marathon, they counsel, with spreadsheets and tracking apps. Consume, consume, consume. But on the other hand, we must consider the retiree Paul Scott, who chalks his reading speed up to insatiable curiosity. Or the book blogger Vivian Taylor, who emphasizes the pleasure she gets from reading, going so far as to describe it as her “self-care.”

On closer inspection, I find the main thing I take from all the supers is jealousy. Not for their reporting systems, but their time. 

I think this bit from Cyca finally captures both my holy relationship to books, and my shifty, totemistic impulses about them:

The truth is that books do have a kind of animating power to summon long-held memories, emotions, and ambitions. My books are an archive of who I’ve been, who I might be, who I still hope to become: maybe a person who has read all of Roberto Bolaño’s hulking posthumous novel 2666 , which I’ve been intending to finish for well over a decade now.

Her use of the specific title here is grounding. Because Bolaño is also on my list. I appreciate the nudge. And, today, I honestly believe I’ll get around to him. B ecause — if you’ll permit another self-soothing fiction — I like being thought of as a super-dooper reader. But I love to read. 

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Book Review: Memoirist Lilly Dancyger’s penetrating essays explore the power of female friendships

This cover image released by Dial Press shows “First Love” by Lilly Dancyger. (Dial Press via AP)

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Who means more to you — your friends or your lovers? In a vivid, thoughtful and nuanced collection of essays, Lilly Dancyger explores the powerful role that female friendships played in her chaotic upbringing marked by her parents’ heroin use and her father’s untimely death when she was only 12.

“First Love: Essays on Friendship” begins with a beautiful paean to her cousin Sabina, who was raped and murdered at age 20 on her way home from a club. As little kids, their older relatives used to call them Snow White and Rose Red after the Grimm’s fairy tale, “two sisters who are not rivals or foils, but simply love each other.”

That simple, uncomplicated love would become the template for a series of subsequent relationships with girls and women that helped her survive her self-destructive adolescence and provided unconditional support as she scrambled to create a new identity as a “hypercompetent” writer, teacher and editor. “It’s true that I’ve never been satisfied with friendships that stay on the surface. That my friends are my family, my truest beloveds, each relationship a world of its own,” she writes in the title essay “First Love.”

The collection stands out not just for its elegant, unadorned writing but also for the way she effortlessly pivots between personal history and spot-on cultural criticism that both comments on and critiques the way that girls and women have been portrayed — and have portrayed themselves — in the media, including on online platforms like Tumblr and Instagram.

For instance, she examines the 1994 Peter Jackson film, “Heavenly Creatures,” based on the true story of two teenage girls who bludgeoned to death one of their mothers. And in the essay “Sad Girls,” about the suicide of a close friend, she analyzes the allure of self-destructive figures like Sylvia Plath and Janis Joplin to a certain type of teen, including herself, who wallows in sadness and wants to make sure “the world knew we were in pain.”

In the last essay, “On Murder Memoirs,” Dancyger considers the runaway popularity of true crime stories as she tries to explain her decision not to attend the trial of the man charged with killing her cousin — even though she was trained as a journalist and wrote a well-regarded book about her late father that relied on investigative reporting. “When I finally sat down to write about Sabina, the story that came out was not about murder at all,” she says. “It was a love story.”

Readers can be thankful that it did.

AP book reviews: https://apnews.com/hub/book-reviews

E. B. White is one of the most famous children’s book authors. But he should be better known for his essays.

I was well into adulthood before I realized the co-author of my battered copy of The Elements of Style was also the author of Stuart Little and Charlotte’s Web . That’s right, the White of the revered style manual that everyone knew as “Strunk and White” also wrote children’s books…as well as some of the best essays in the English language.

If you’re of a certain age, you might well remember E. B. White’s pointers in The Elements of Style :

Place yourself in the background; write in a way that comes naturally; work from a suitable design; write with nouns and verbs; do not overwrite; do not overstate; avoid the use of qualifiers; do not affect a breezy style; use orthodox spelling; do not explain too much; avoid fancy words; do not take shortcuts at the cost of clarity; prefer the standard to the offbeat; make sure the reader knows who is speaking; do not use dialect; revise and rewrite.

That’s some good advice, much better than the terrible counsel offered on Page 76: “Avoid the elaborate, the pretentious, the coy, and the cute.” Thanks, E. B., I do what I want. ☹️

Born in 1899 in Mount Vernon, N.Y., Elwyn Brooks White attended Cornell University, where he earned the nickname “Andy.” (Weird historical fact: If your last name was White, you were automatically an Andy at Cornell, in honor of the school’s co-founder, Andrew Dickson White. There is no connection to fellow Cornell alum Andy Bernard .) After graduation, White worked as a journalist and an advertising copywriter for several years. He published his first article in The New Yorker the year it was founded, 1925.

White became a staff writer at The New Yorker in 1927, but was an early enthusiast of the work-from-home movement, initially refusing to come to the office and eventually agreeing to come in only on Thursdays. In those days, he shared a small office (“a sort of elongated closet,” he called it) with James Thurber.

His famous officemate later recalled that White had an odd a brilliant habit: When visitors were announced, he would climb out the office window and scamper down the fire escape. “He has avoided the Man in the Reception Room as he has avoided the interviewer, the photographer, the microphone, the rostrum, the literary tea, and the Stork Club,” Thurber later remembered of the chronically shy author. “His life is his own.”

In 1929, White and Thurber co-authored their first book, Is Sex Necessary? Or, Why You Feel the Way You Do . (Don’t worry: It was comic essays.) That same year, White married Katharine Angell, The New Yorker’s fiction editor from its inaugural year until 1960. She was the mother of Roger Angell , the famed essayist and baseball writer who himself became a fiction editor at The New Yorker in the 1950s.

In 1938, White and Katharine moved permanently to a farm in Maine they had purchased five years before. If you’re wondering about the inspiration for 1952’s Charlotte’s Web , look no further than White’s 1948 essay for The Atlantic, “ Death of a Pig .” (He bought the pig with the intention of fattening it for slaughter; instead, he later nursed it through a fatal illness and buried it on the farm.)

Stuart Little had been published seven years before Charlotte’s Web . Along with 1970’s The Trumpet of the Swan , these books have made White one of the nation’s best-known children’s authors. I’m sure White didn’t mind, but by all rights, he should be better known for his essays. He authored over 20 collections of such classics as “Once More to the Lake,” “The Sea and The Wind That Blow,” “The Ring of Time,” “A Slight Sound at Evening” and “Farewell, My Lovely!” Endlessly anthologized, many are also taught in writing workshops to this day.

In 1949, White published Here Is New York , a short book developed from an essay about the pros and cons of living in New York City. In a 2012 essay for America , literary editor Raymond Schroth, S.J., noted White’s juxtaposition in Here Is New York of technological terrors like nuclear bombers (the Soviet Union detonated its first atomic bomb in 1949) with the simple beauties of nature:

Grand Central Terminal has become honky tonk, the great mansions are in decline, and there is generally more tension, irritability and great speed. The subtlest change is that the city is now destructible. A single flight of planes no bigger than a flock of geese could end this island fantasy, burn the towers and crumble the bridges. But the United Nations will make this the capital of the world. The perfect target may become the perfect “demonstration of nonviolence and racial brotherhood.” A block away in an interior garden was an old willow tree. This tree, symbol of the city, White said, must survive.

“It is a battered tree, long suffering and much climbed, held together by strands of wire but beloved of those who know it,” White wrote in Here Is New York . “In a way it symbolizes the city: life under difficulties, growth against odds, sap-rise in the midst of concrete, and the steady reaching for the sun. Whenever I look at it nowadays, and feel the cold shadow of the planes, I think: ‘This must be saved, this particular thing, this very tree.’”

The tree lasted for another six decades —two more than the Cold War, in fact—before finally being chopped down in 2009.

In a 1954 review of books by White and James Michener, America literary editor Harold C. Gardiner, S.J. , said White “has one of the most distinctive styles discernible on the American literary scene.” Since even the most cursory review of Father Gardiner’s many years of commentary shows he hated almost everything, it was quite a compliment. (Later in the review, he noted that “Mr. Michener, who has done better in his other books, comes a cropper here mainly because his style is wooden, sententious and dull.”)

In 1963, White received the Presidential Medal of Freedom for his writings. Fifteen years later, he was awarded a special Pulitzer Prize for “his letters, essays, and the full body of his work.” In 2005, the composer Nico Muhly debuted a song cycle based on The Elements of Style at the New York Public Library. Among its signature moments was a tenor offering more of White’s good advice, this time in song:

Do not use a hyphen between words that can be better written as one word .

White died in 1985 at his farm in Maine. His wife Katharine had died eight years earlier. His obituary in The New York Times quoted William Shawn, the legendary editor of The New Yorker:

His literary style was as pure as any in our language. It was singular, colloquial, clear, unforced, thoroughly American and utterly beautiful. Because of his quiet influence, several generations of this country's writers write better than they might have done. He never wrote a mean or careless sentence. He was impervious to literary, intellectual and political fashion. He was ageless, and his writing was timeless.

Our poetry selection for this week is “ Another Doubting Sonnet ,” by Renee Emerson. Readers can view all of America ’s published poems here .

Also, news from the Catholic Book Club: We are reading Norwegian novelist and 2023 Nobel Prize winner Jon Fosse’s multi-volume work Septology . Click here to buy the book, and click here to sign up for our Facebook discussion group .

In this space every week, America features reviews of and literary commentary on one particular writer or group of writers (both new and old; our archives span more than a century), as well as poetry and other offerings from America Media. We hope this will give us a chance to provide you with more in-depth coverage of our literary offerings. It also allows us to alert digital subscribers to some of our online content that doesn’t make it into our newsletters.

Other Catholic Book Club columns:

The spiritual depths of Toni Morrison

What’s all the fuss about Teilhard de Chardin?

Moira Walsh and the art of a brutal movie review

​​Who’s in hell? Hans Urs von Balthasar had thoughts.

Happy reading!

James T. Keane

James T. Keane is a senior editor at America.

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