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What is a thesis | A Complete Guide with Examples

Table of Contents

A thesis is a comprehensive academic paper based on your original research that presents new findings, arguments, and ideas of your study. It’s typically submitted at the end of your master’s degree or as a capstone of your bachelor’s degree.

However, writing a thesis can be laborious, especially for beginners. From the initial challenge of pinpointing a compelling research topic to organizing and presenting findings, the process is filled with potential pitfalls.

Therefore, to help you, this guide talks about what is a thesis. Additionally, it offers revelations and methodologies to transform it from an overwhelming task to a manageable and rewarding academic milestone.

What is a thesis?

A thesis is an in-depth research study that identifies a particular topic of inquiry and presents a clear argument or perspective about that topic using evidence and logic.

Writing a thesis showcases your ability of critical thinking, gathering evidence, and making a compelling argument. Integral to these competencies is thorough research, which not only fortifies your propositions but also confers credibility to your entire study.

Furthermore, there's another phenomenon you might often confuse with the thesis: the ' working thesis .' However, they aren't similar and shouldn't be used interchangeably.

A working thesis, often referred to as a preliminary or tentative thesis, is an initial version of your thesis statement. It serves as a draft or a starting point that guides your research in its early stages.

As you research more and gather more evidence, your initial thesis (aka working thesis) might change. It's like a starting point that can be adjusted as you learn more. It's normal for your main topic to change a few times before you finalize it.

While a thesis identifies and provides an overarching argument, the key to clearly communicating the central point of that argument lies in writing a strong thesis statement.

What is a thesis statement?

A strong thesis statement (aka thesis sentence) is a concise summary of the main argument or claim of the paper. It serves as a critical anchor in any academic work, succinctly encapsulating the primary argument or main idea of the entire paper.

Typically found within the introductory section, a strong thesis statement acts as a roadmap of your thesis, directing readers through your arguments and findings. By delineating the core focus of your investigation, it offers readers an immediate understanding of the context and the gravity of your study.

Furthermore, an effectively crafted thesis statement can set forth the boundaries of your research, helping readers anticipate the specific areas of inquiry you are addressing.

Different types of thesis statements

A good thesis statement is clear, specific, and arguable. Therefore, it is necessary for you to choose the right type of thesis statement for your academic papers.

Thesis statements can be classified based on their purpose and structure. Here are the primary types of thesis statements:

Argumentative (or Persuasive) thesis statement

Purpose : To convince the reader of a particular stance or point of view by presenting evidence and formulating a compelling argument.

Example : Reducing plastic use in daily life is essential for environmental health.

Analytical thesis statement

Purpose : To break down an idea or issue into its components and evaluate it.

Example : By examining the long-term effects, social implications, and economic impact of climate change, it becomes evident that immediate global action is necessary.

Expository (or Descriptive) thesis statement

Purpose : To explain a topic or subject to the reader.

Example : The Great Depression, spanning the 1930s, was a severe worldwide economic downturn triggered by a stock market crash, bank failures, and reduced consumer spending.

Cause and effect thesis statement

Purpose : To demonstrate a cause and its resulting effect.

Example : Overuse of smartphones can lead to impaired sleep patterns, reduced face-to-face social interactions, and increased levels of anxiety.

Compare and contrast thesis statement

Purpose : To highlight similarities and differences between two subjects.

Example : "While both novels '1984' and 'Brave New World' delve into dystopian futures, they differ in their portrayal of individual freedom, societal control, and the role of technology."

When you write a thesis statement , it's important to ensure clarity and precision, so the reader immediately understands the central focus of your work.

What is the difference between a thesis and a thesis statement?

While both terms are frequently used interchangeably, they have distinct meanings.

A thesis refers to the entire research document, encompassing all its chapters and sections. In contrast, a thesis statement is a brief assertion that encapsulates the central argument of the research.

Here’s an in-depth differentiation table of a thesis and a thesis statement.

Now, to craft a compelling thesis, it's crucial to adhere to a specific structure. Let’s break down these essential components that make up a thesis structure

15 components of a thesis structure

Navigating a thesis can be daunting. However, understanding its structure can make the process more manageable.

Here are the key components or different sections of a thesis structure:

Your thesis begins with the title page. It's not just a formality but the gateway to your research.

Here, you'll prominently display the necessary information about you (the author) and your institutional details.

• Title of your thesis
• Your full name
• Your department
• Your institution and degree program
• Your submission date
• Your Supervisor's name (in some cases)
• Your Department or faculty (in some cases)
• Your University's logo (in some cases)
• Your Student ID (in some cases)

In a concise manner, you'll have to summarize the critical aspects of your research in typically no more than 200-300 words.

This includes the problem statement, methodology, key findings, and conclusions. For many, the abstract will determine if they delve deeper into your work, so ensure it's clear and compelling.

Acknowledgments

Research is rarely a solitary endeavor. In the acknowledgments section, you have the chance to express gratitude to those who've supported your journey.

This might include advisors, peers, institutions, or even personal sources of inspiration and support. It's a personal touch, reflecting the humanity behind the academic rigor.

Table of contents

A roadmap for your readers, the table of contents lists the chapters, sections, and subsections of your thesis.

By providing page numbers, you allow readers to navigate your work easily, jumping to sections that pique their interest.

List of figures and tables

Research often involves data, and presenting this data visually can enhance understanding. This section provides an organized listing of all figures and tables in your thesis.

It's a visual index, ensuring that readers can quickly locate and reference your graphical data.

Introduction

Here's where you introduce your research topic, articulate the research question or objective, and outline the significance of your study.

• Present the research topic : Clearly articulate the central theme or subject of your research.
• Background information : Ground your research topic, providing any necessary context or background information your readers might need to understand the significance of your study.
• Define the scope : Clearly delineate the boundaries of your research, indicating what will and won't be covered.
• Literature review : Introduce any relevant existing research on your topic, situating your work within the broader academic conversation and highlighting where your research fits in.
• State the research Question(s) or objective(s) : Clearly articulate the primary questions or objectives your research aims to address.
• Outline the study's structure : Give a brief overview of how the subsequent sections of your work will unfold, guiding your readers through the journey ahead.

The introduction should captivate your readers, making them eager to delve deeper into your research journey.

Literature review section

Your study correlates with existing research. Therefore, in the literature review section, you'll engage in a dialogue with existing knowledge, highlighting relevant studies, theories, and findings.

It's here that you identify gaps in the current knowledge, positioning your research as a bridge to new insights.

To streamline this process, consider leveraging AI tools. For example, the SciSpace literature review tool enables you to efficiently explore and delve into research papers, simplifying your literature review journey.

Methodology

In the research methodology section, you’ll detail the tools, techniques, and processes you employed to gather and analyze data. This section will inform the readers about how you approached your research questions and ensures the reproducibility of your study.

Here's a breakdown of what it should encompass:

• Research Design : Describe the overall structure and approach of your research. Are you conducting a qualitative study with in-depth interviews? Or is it a quantitative study using statistical analysis? Perhaps it's a mixed-methods approach?
• Data Collection : Detail the methods you used to gather data. This could include surveys, experiments, observations, interviews, archival research, etc. Mention where you sourced your data, the duration of data collection, and any tools or instruments used.
• Sampling : If applicable, explain how you selected participants or data sources for your study. Discuss the size of your sample and the rationale behind choosing it.
• Data Analysis : Describe the techniques and tools you used to process and analyze the data. This could range from statistical tests in quantitative research to thematic analysis in qualitative research.
• Validity and Reliability : Address the steps you took to ensure the validity and reliability of your findings to ensure that your results are both accurate and consistent.
• Ethical Considerations : Highlight any ethical issues related to your research and the measures you took to address them, including — informed consent, confidentiality, and data storage and protection measures.

Moreover, different research questions necessitate different types of methodologies. For instance:

• Experimental methodology : Often used in sciences, this involves a controlled experiment to discern causality.
• Qualitative methodology : Employed when exploring patterns or phenomena without numerical data. Methods can include interviews, focus groups, or content analysis.
• Quantitative methodology : Concerned with measurable data and often involves statistical analysis. Surveys and structured observations are common tools here.
• Mixed methods : As the name implies, this combines both qualitative and quantitative methodologies.

The Methodology section isn’t just about detailing the methods but also justifying why they were chosen. The appropriateness of the methods in addressing your research question can significantly impact the credibility of your findings.

Results (or Findings)

This section presents the outcomes of your research. It's crucial to note that the nature of your results may vary; they could be quantitative, qualitative, or a mix of both.

Quantitative results often present statistical data, showcasing measurable outcomes, and they benefit from tables, graphs, and figures to depict these data points.

Qualitative results , on the other hand, might delve into patterns, themes, or narratives derived from non-numerical data, such as interviews or observations.

Regardless of the nature of your results, clarity is essential. This section is purely about presenting the data without offering interpretations — that comes later in the discussion.

In the discussion section, the raw data transforms into valuable insights.

Start by revisiting your research question and contrast it with the findings. How do your results expand, constrict, or challenge current academic conversations?

Dive into the intricacies of the data, guiding the reader through its implications. Detail potential limitations transparently, signaling your awareness of the research's boundaries. This is where your academic voice should be resonant and confident.

Practical implications (Recommendation) section

Based on the insights derived from your research, this section provides actionable suggestions or proposed solutions.

Whether aimed at industry professionals or the general public, recommendations translate your academic findings into potential real-world actions. They help readers understand the practical implications of your work and how it can be applied to effect change or improvement in a given field.

When crafting recommendations, it's essential to ensure they're feasible and rooted in the evidence provided by your research. They shouldn't merely be aspirational but should offer a clear path forward, grounded in your findings.

The conclusion provides closure to your research narrative.

It's not merely a recap but a synthesis of your main findings and their broader implications. Reconnect with the research questions or hypotheses posited at the beginning, offering clear answers based on your findings.

Reflect on the broader contributions of your study, considering its impact on the academic community and potential real-world applications.

Lastly, the conclusion should leave your readers with a clear understanding of the value and impact of your study.

References (or Bibliography)

Every theory you've expounded upon, every data point you've cited, and every methodological precedent you've followed finds its acknowledgment here.

In references, it's crucial to ensure meticulous consistency in formatting, mirroring the specific guidelines of the chosen citation style .

Proper referencing helps to avoid plagiarism , gives credit to original ideas, and allows readers to explore topics of interest. Moreover, it situates your work within the continuum of academic knowledge.

To properly cite the sources used in the study, you can rely on online citation generator tools  to generate accurate citations!

Here’s more on how you can cite your sources.

Often, the depth of research produces a wealth of material that, while crucial, can make the core content of the thesis cumbersome. The appendix is where you mention extra information that supports your research but isn't central to the main text.

Whether it's raw datasets, detailed procedural methodologies, extended case studies, or any other ancillary material, the appendices ensure that these elements are archived for reference without breaking the main narrative's flow.

For thorough researchers and readers keen on meticulous details, the appendices provide a treasure trove of insights.

Glossary (optional)

In academics, specialized terminologies, and jargon are inevitable. However, not every reader is versed in every term.

The glossary, while optional, is a critical tool for accessibility. It's a bridge ensuring that even readers from outside the discipline can access, understand, and appreciate your work.

By defining complex terms and providing context, you're inviting a wider audience to engage with your research, enhancing its reach and impact.

Remember, while these components provide a structured framework, the essence of your thesis lies in the originality of your ideas, the rigor of your research, and the clarity of your presentation.

As you craft each section, keep your readers in mind, ensuring that your passion and dedication shine through every page.

Thesis examples

To further elucidate the concept of a thesis, here are illustrative examples from various fields:

Example 1 (History): Abolition, Africans, and Abstraction: the Influence of the ‘Noble Savage’ on British and French Antislavery Thought, 1787-1807 by Suchait Kahlon.

Example 2 (Climate Dynamics): Influence of external forcings on abrupt millennial-scale climate changes: a statistical modelling study by Takahito Mitsui · Michel Crucifix

Checklist for your thesis evaluation

Evaluating your thesis ensures that your research meets the standards of academia. Here's an elaborate checklist to guide you through this critical process.

Content and structure

• Is the thesis statement clear, concise, and debatable?
• Does the introduction provide sufficient background and context?
• Is the literature review comprehensive, relevant, and well-organized?
• Does the methodology section clearly describe and justify the research methods?
• Are the results/findings presented clearly and logically?
• Does the discussion interpret the results in light of the research question and existing literature?
• Is the conclusion summarizing the research and suggesting future directions or implications?

Clarity and coherence

• Is the writing clear and free of jargon?
• Are ideas and sections logically connected and flowing?
• Is there a clear narrative or argument throughout the thesis?

Research quality

• Is the research question significant and relevant?
• Are the research methods appropriate for the question?
• Is the sample size (if applicable) adequate?
• Are the data analysis techniques appropriate and correctly applied?
• Are potential biases or limitations addressed?

Originality and significance

• Does the thesis contribute new knowledge or insights to the field?
• Is the research grounded in existing literature while offering fresh perspectives?

Formatting and presentation

• Is the thesis formatted according to institutional guidelines?
• Are figures, tables, and charts clear, labeled, and referenced in the text?
• Is the bibliography or reference list complete and consistently formatted?
• Are appendices relevant and appropriately referenced in the main text?

Grammar and language

• Is the thesis free of grammatical and spelling errors?
• Is the language professional, consistent, and appropriate for an academic audience?
• Are quotations and paraphrased material correctly cited?

Feedback and revision

• Have you sought feedback from peers, advisors, or experts in the field?
• Have you addressed the feedback and made the necessary revisions?

Overall assessment

• Does the thesis as a whole feel cohesive and comprehensive?
• Would the thesis be understandable and valuable to someone in your field?

Ensure to use this checklist to leave no ground for doubt or missed information in your thesis.

After writing your thesis, the next step is to discuss and defend your findings verbally in front of a knowledgeable panel. You’ve to be well prepared as your professors may grade your presentation abilities.

Preparing your thesis defense

A thesis defense, also known as "defending the thesis," is the culmination of a scholar's research journey. It's the final frontier, where you’ll present their findings and face scrutiny from a panel of experts.

Typically, the defense involves a public presentation where you’ll have to outline your study, followed by a question-and-answer session with a committee of experts. This committee assesses the validity, originality, and significance of the research.

The defense serves as a rite of passage for scholars. It's an opportunity to showcase expertise, address criticisms, and refine arguments. A successful defense not only validates the research but also establishes your authority as a researcher in your field.

Here’s how you can effectively prepare for your thesis defense .

Now, having touched upon the process of defending a thesis, it's worth noting that scholarly work can take various forms, depending on academic and regional practices.

One such form, often paralleled with the thesis, is the 'dissertation.' But what differentiates the two?

Dissertation vs. Thesis

Often used interchangeably in casual discourse, they refer to distinct research projects undertaken at different levels of higher education.

To the uninitiated, understanding their meaning might be elusive. So, let's demystify these terms and delve into their core differences.

Here's a table differentiating between the two.

Wrapping up

From understanding the foundational concept of a thesis to navigating its various components, differentiating it from a dissertation, and recognizing the importance of proper citation — this guide covers it all.

As scholars and readers, understanding these nuances not only aids in academic pursuits but also fosters a deeper appreciation for the relentless quest for knowledge that drives academia.

It’s important to remember that every thesis is a testament to curiosity, dedication, and the indomitable spirit of discovery.

Good luck with your thesis writing!

Frequently Asked Questions

A thesis typically ranges between 40-80 pages, but its length can vary based on the research topic, institution guidelines, and level of study.

A PhD thesis usually spans 200-300 pages, though this can vary based on the discipline, complexity of the research, and institutional requirements.

To identify a thesis topic, consider current trends in your field, gaps in existing literature, personal interests, and discussions with advisors or mentors. Additionally, reviewing related journals and conference proceedings can provide insights into potential areas of exploration.

The conceptual framework is often situated in the literature review or theoretical framework section of a thesis. It helps set the stage by providing the context, defining key concepts, and explaining the relationships between variables.

A thesis statement should be concise, clear, and specific. It should state the main argument or point of your research. Start by pinpointing the central question or issue your research addresses, then condense that into a single statement, ensuring it reflects the essence of your paper.

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Think of yourself as a member of a jury, listening to a lawyer who is presenting an opening argument. You'll want to know very soon whether the lawyer believes the accused to be guilty or not guilty, and how the lawyer plans to convince you. Readers of academic essays are like jury members: before they have read too far, they want to know what the essay argues as well as how the writer plans to make the argument. After reading your thesis statement, the reader should think, "This essay is going to try to convince me of something. I'm not convinced yet, but I'm interested to see how I might be."

An effective thesis cannot be answered with a simple "yes" or "no." A thesis is not a topic; nor is it a fact; nor is it an opinion. "Reasons for the fall of communism" is a topic. "Communism collapsed in Eastern Europe" is a fact known by educated people. "The fall of communism is the best thing that ever happened in Europe" is an opinion. (Superlatives like "the best" almost always lead to trouble. It's impossible to weigh every "thing" that ever happened in Europe. And what about the fall of Hitler? Couldn't that be "the best thing"?)

A good thesis has two parts. It should tell what you plan to argue, and it should "telegraph" how you plan to argue—that is, what particular support for your claim is going where in your essay.

Steps in Constructing a Thesis

First, analyze your primary sources.  Look for tension, interest, ambiguity, controversy, and/or complication. Does the author contradict himself or herself? Is a point made and later reversed? What are the deeper implications of the author's argument? Figuring out the why to one or more of these questions, or to related questions, will put you on the path to developing a working thesis. (Without the why, you probably have only come up with an observation—that there are, for instance, many different metaphors in such-and-such a poem—which is not a thesis.)

Once you have a working thesis, write it down.  There is nothing as frustrating as hitting on a great idea for a thesis, then forgetting it when you lose concentration. And by writing down your thesis you will be forced to think of it clearly, logically, and concisely. You probably will not be able to write out a final-draft version of your thesis the first time you try, but you'll get yourself on the right track by writing down what you have.

Keep your thesis prominent in your introduction.  A good, standard place for your thesis statement is at the end of an introductory paragraph, especially in shorter (5-15 page) essays. Readers are used to finding theses there, so they automatically pay more attention when they read the last sentence of your introduction. Although this is not required in all academic essays, it is a good rule of thumb.

Anticipate the counterarguments.  Once you have a working thesis, you should think about what might be said against it. This will help you to refine your thesis, and it will also make you think of the arguments that you'll need to refute later on in your essay. (Every argument has a counterargument. If yours doesn't, then it's not an argument—it may be a fact, or an opinion, but it is not an argument.)

This statement is on its way to being a thesis. However, it is too easy to imagine possible counterarguments. For example, a political observer might believe that Dukakis lost because he suffered from a "soft-on-crime" image. If you complicate your thesis by anticipating the counterargument, you'll strengthen your argument, as shown in the sentence below.

Some Caveats and Some Examples

A thesis is never a question.  Readers of academic essays expect to have questions discussed, explored, or even answered. A question ("Why did communism collapse in Eastern Europe?") is not an argument, and without an argument, a thesis is dead in the water.

A thesis is never a list.  "For political, economic, social and cultural reasons, communism collapsed in Eastern Europe" does a good job of "telegraphing" the reader what to expect in the essay—a section about political reasons, a section about economic reasons, a section about social reasons, and a section about cultural reasons. However, political, economic, social and cultural reasons are pretty much the only possible reasons why communism could collapse. This sentence lacks tension and doesn't advance an argument. Everyone knows that politics, economics, and culture are important.

A thesis should never be vague, combative or confrontational.  An ineffective thesis would be, "Communism collapsed in Eastern Europe because communism is evil." This is hard to argue (evil from whose perspective? what does evil mean?) and it is likely to mark you as moralistic and judgmental rather than rational and thorough. It also may spark a defensive reaction from readers sympathetic to communism. If readers strongly disagree with you right off the bat, they may stop reading.

An effective thesis has a definable, arguable claim.  "While cultural forces contributed to the collapse of communism in Eastern Europe, the disintegration of economies played the key role in driving its decline" is an effective thesis sentence that "telegraphs," so that the reader expects the essay to have a section about cultural forces and another about the disintegration of economies. This thesis makes a definite, arguable claim: that the disintegration of economies played a more important role than cultural forces in defeating communism in Eastern Europe. The reader would react to this statement by thinking, "Perhaps what the author says is true, but I am not convinced. I want to read further to see how the author argues this claim."

A thesis should be as clear and specific as possible.  Avoid overused, general terms and abstractions. For example, "Communism collapsed in Eastern Europe because of the ruling elite's inability to address the economic concerns of the people" is more powerful than "Communism collapsed due to societal discontent."

Copyright 1999, Maxine Rodburg and The Tutors of the Writing Center at Harvard University

How To Write Your First Thesis

• © 2017
• Paul Gruba 0 ,
• Justin Zobel 1

School of Languages & Linguistics, University of Melbourne SLL, Babel Bldg 608, Melbourne, Australia

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School of Computing & Information Systems, University of Melbourne Comp. Science & Software Engg., Carlton, VIC, Australia

• A practical guide for the entire process of producing a thesis for the first time
• Written by authors with many years of experience advising students
• Provides grounded advice to students who are new to writing extended original research, either undergraduate or graduate coursework

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About this book

Many courses and degrees require that students write a short thesis. This book guides students through their first experience of producing a thesis and undertaking original research. Written by experienced researchers and advisors, the book sets out signposts and tasks to help students to understand what is needed to succeed, including scoping a topic, managing references, interpreting data, and successful completion.

For students, the task of writing a thesis is a transition from structured coursework to becoming a researcher. The book provides advice on:

• What to expect from research and how to work with a supervisor
• Getting organized and approaching the work in a productive way
• Developing an overall thesis structure and avoidance of mistakes such as inadvertent plagiarism
• Producing each major component: a strong introduction, background chapters that are situated in the discipline, and an explanation ofmethods and results that are crucial to successful original research
• How to wrap up a complex project with an extended checklist of the many details needed to be checked before a final submission

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What Is a Thesis?

• research writing
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Table of contents (9 chapters)

Front matter, transition to your first thesis.

• Paul Gruba, Justin Zobel

Getting Organized

The structure of a thesis, a strong beginning: the introduction, situating the study: the background, explaining the investigation: methods and innovations, presenting the outcome: the results, wrapping it up: discussion and conclusion, before you submit, back matter, authors and affiliations, school of languages & linguistics, university of melbourne sll, babel bldg 608, melbourne, australia, school of computing & information systems, university of melbourne comp. science & software engg., carlton, vic, australia.

Justin Zobel

About the authors

Paul Gruba  is Associate Professor in the School of Languages and Linguistics, University of Melbourne.

Justin Zobel  is Professor in the School of Computing & Information Systems, University of Melbourne.

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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.

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 .”

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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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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How to... Convert your thesis into a book

This how to guide takes you through everything you need to know to convert your thesis into a book.

You can read all the information you need below, or watch this video from Books Commissioning Editor, Katy Mathers.

On this page

Consider the level of conversion.

• What are book publishers looking for

Consider the audience

• Tips for converting your thesis

What happens next?

Your first consideration when thinking about book publishing options for your thesis should be the level of conversion. You could consider the following options.

A full conversion – from thesis to book

This is a good option should your thesis be on a topic that would have wide appeal to an academic audience. A key consideration here is that the structure of a thesis is massively different to a book. Rather than starting with a hypothesis, a book should showcase a considered argument and its narrative should communicate that argument to peers in the field – demonstrating how the research has evolved into this viewpoint, and what impact it can have.

Partial conversion – using parts of your thesis in a book

Using parts of your thesis in a book usually means that you are conducting further research that might be ongoing, and might involve colleagues that might be a co-author on the project.

Partial conversion – a chapter in an edited collection

Perhaps your thesis doesn’t quite have the broad appeal for a full book conversion. In this case you might consider a chapter in an edited collection under a broader theme – this means you’re broadening the scope of your PhD research to a wider audience by collaborating with a team of contributors on an edited book. Look out for calls for chapters on relevant themes.

What are publishers looking for?

Broad (global) scholarly appeal.

• Remember your thesis is written for a handful of examiners and experts in your field and is partly there to demonstrate the expertise you have gained from your research. A book should have a much wider audience than that, and should be engaging and interesting enough to appeal to a broad section of researchers across your field (and potentially other disciplines as appropriate), and should particularly be accessible enough to engage any researcher interested in your topic of study.
• Single-country case studies won’t always translate well into a book given their focused scope, however, they would work as part of an edited collection with a broader global scope.
• A good book manuscript should focus on a coherent argument/narrative, rather than a step-by-step checklist of things you need to demonstrate in a thesis.
• You don’t need to include big sections or whole chapters on literature review or methodology, these can be weaved into the book as and when appropriate.

Development potential

• An original thesis should be regarded as the basis for an entirely new work, written with a new audience in mind.

Talking about your research and the process of working it into a book is one of the best ways to ensuring success.

Try reaching out to your immediate colleagues, and co-authors on published papers, your PhD supervisor, peers you might meet at conferences, with a publishing contact, or even online. Try asking for advice on twitter, or any professional network sites.

It is advisable to start a conversation with supervisors and other colleagues shortly after the completion of a PhD.

Once you’ve started to get a good idea of what you want to do, it’s also a great time to reach out to a commissioning editor at a publisher. They can advise on further considerations for turning your thesis into a book with a broad scholarly appeal, as well as how to fill in a book proposal form.

Following this, the next natural step is to submit a book proposal which will be considered by the publisher, often involving a peer review process.

The single most important thing to remember when converting your thesis is the audience. Your thesis is written for a select amount of examiners with specific expertise in your field and showcases your nuanced and rich expertise, which you have gleaned from your research in your particular area.

In contrast, a book should have a much wider audience and should be engaging and interesting enough to appeal to a broad section of researchers across your field, and potentially even other disciplines as appropriate.

As a book, your research should be accessible enough to engage any researcher interested in your topic of study.

• Realise which parts of your thesis are useful only to examiners. Any sections such as literature review, or extended methodology discussion should be cut or heavily amended/digested. These sections can weave in and out of your overall narrative rather than be structured separately.
• Writing style is less important for examiners, but essential for book readers. PhD examiners will read your thesis regardless of the writing style, but the writing style for book readers is essential for ensuring your research is accessible and engaging. You must be prepared to extensively re-write your thesis to retain and engage readers. This should be seen as essential rather than optional.
• Keep the big picture in mind. It’s important to take a step back while putting together a proposal, or during the manuscript writing process. Set reminders at intervals to focus on the overall narrative of the book. Is there a logical development of an argument? Does it make sense to a reader’s point of view? If not , be prepared to rethink the structure – it can be freeing to step away from a traditional thesis structure.
• Write concisely. It’s important to bear in mind the importance of the reader’s time. At all stages of the writing process you should focus on streamlining where possible and keep in mind the agreed length of the book. Books are often much shorter than theses, which by their nature contain much repetition. If you’re finding it hard to meet the agreed word limit, your writing style is likely not quite right yet for a book audience.
• Emphasise context. If your research is specialist and nuanced, with a narrow scope, try boosting its contextual implications by adding an international or inter-disciplinary context. It’s particularly useful to do this within the introductory and concluding chapters. Rounding off your book with opening and closing contextual chapters can really emphasise the place of the research within the field and showcase how it’s adding to the literature or breaking fresh ground.
• Get a third party proof-reader. Consider getting someone within your field, perhaps without the specialist knowledge relating to your PhD knowledge, and see what they think of your writing style. If they can follow your argument and find value in the work you’re presenting for the wider field, then the book has good potential. If they’re struggling, you might need to re-think the project.

Top tips for converting your thesis

• The main title of the book should position it clearly without reference to other bibliographic information, and should be as short as possible.
• Chapter titles are something people often forget, and chapter titles can sometimes be a real giveaway in a proposal that a book is based on a thesis and maybe hasn’t been revised appropriately. It’s often a comment reviewers make, and a clear sign to them that the proposal is a thesis conversion. Chapter titles can be way more dynamic in a book than in a thesis, and there’s no need to have chapters called 'methodology' or 'results'. Freeing yourself from these structured ways of thinking can be liberating, and is a good way of diverting yourself from writing in a thesis style.
• Remember that readers of the book are most interested in what your findings/argument are. Think about leading your book with the 'end' of your thesis, i.e. the results/answer to the question you were researching, rather than starting by explaining how you got there.
• You don’t need to include big sections or whole chapters on literature review or methodology, these can be weaved in to the book as and when appropriate (particularly if your research employed an innovative methodology, for example).
• A book manuscript should typically be shorter than your thesis. If you’re struggling to bring the word count down, you might need to get help with your writing style, or evaluate if you’ve cut enough “thesis-heavy” content from your work.
• Use introductory and concluding chapters to contextualise your research. This is super helpful for placing your work within the field.

To summarise

Be prepared to re-write: Having sketched out a new structure and focus, you now have to start writing all over again to create a completely new work. You should accept this as a must for success, and enjoy the creative process that comes with it.

Remove academic structuring: Ordinary readers want you to get straight to the point, Anything that sounds like "In this chapter I will argue . . ." or "In this chapter I have shown . . ." should be deleted immediately.

Audience is the most important consideration. Re-organise your writing around your new audience – remember that concise, narrative-led writing is essential.

Re-focus on the storytelling. Any background material (such as surveys of previous literature, historical background, discussions of earlier and current theories, arguments, methodology, etc.) if retained at all, should be moved from the beginning to the end of the book, or incorporated in a condensed form into the relevant sections of the main text. From start to finish, you should begin with an answer rather than a question, and your argument should be maintained throughout.

Once you’ve formed an idea for your book project, it’s a good time to talk to a commissioning editor at a publisher about submitting a proposal.

Get ready to publish a book

See a list of our book commissioning editors, along with their subject areas and contact information.

Submit your book proposal

Find out how submit a book or series proposal and what the next steps in the publishing process are.

The book peer review process

A helpful guide to our book peer review process.

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The Thesis and the Book: A Guide for First-Time Academic Authors

Edited by Eleanor Harman , Ian Montagnes , Siobhan McMenemy and Chris Bucci

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Published: May 2003

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Imprint: University of Toronto Press

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The academic caveat Publish or Perish is not a new one, and for over a quarter of a century, The Thesis and the Book has come to the aid of graduate students in their quest for publication. The doctoral dissertation, usually the first book-length study completed by a scholar, is, however, only rarely publishable as a book. Understanding the differences between the two forms is a crucial part of one's education as a scholar and is equally important in appreciating the endeavours of scholarly publishers. The Thesis and the Book: A Guide for First-Time Academic Authors , revised and expanded in this second edition, will continue to provide the best overview of the process of revising a dissertation for publication.

Drawing on the expertise of the contributors, all of whom are editors, publishers, and scholars themselves, the chapters present the rudimentary differences between a thesis and a book (including matters of purpose and audience), give guidance on the necessary stylistic, technical, and structural revisions to the dissertation, and offer advice to first-time authors who must not only revise their work to satisfy prospective publishers, but also learn a good deal of the ins and outs of scholarly publishing.

The Thesis and the Book will continue to be of great value to graduating doctoral students seeking publication and to the faculty members who supervise these students. It will also be of value to acquisitions editors at scholarly presses, who must contend with the submission of revised dissertations for publication.

Eleanor Harman was the founding editor of Scholarly Publishing: A Journal for Authors and Publishers .

Ian Montagnes was formerly Editor-in-Chief of University of Toronto Press.

Siobhan McMenemy is an acquisitions editor at University of Toronto Press.

Chris Bucci was formerly an acquisitions editor at University of Toronto Press.

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How to Write a Hook- Steps With Examples

A hook in an essay or any piece of writing is like a fishing hook—it’s designed to grab your readers’ attention and draw them into the rest of your content. A well-crafted hook not only captures interest but also encourages readers to continue exploring what you have to say. If you’re unsure how to  write a hook that’s engaging, this article will provide you with effective tips for writing compelling openings, ensuring your engagement remains high.

What is a Hook?

A hook in writing is essentially a compelling sentence or paragraph that grabs the reader's attention from the very beginning. It sets the tone for the piece and entices readers to continue exploring what you have to say. To craft an effective hook, it needs to be engaging, informative, and suitable for the intended audience. This means it should capture interest, convey relevant information, and be appropriate for the reader's level and context. By focusing on relevance, audience, and cohesion, you can create a strong hook that not only draws readers in but also aligns with the main thesis and purpose of your writing.

6 Types of Essay Hooks

There are various types of hooks, each serving a different purpose and engaging the reader in unique ways.

Question Hook:

This type involves asking the reader a question that sparks their curiosity or gets them thinking.

For example:

"Have you ever watched the high-flying, jump shooting, slam dunking, ankle breaking players that play in the NBA?"

This question engages the reader by prompting them to visualize and think about the excitement of watching NBA players, setting the stage for a discussion about the thrill of the game.

Quotation Hook:

A quotation hook uses a relevant quote from a credible source to draw in the reader.

For instance:

"Some people want it to happen, some wish it would happen, others make it happen,” said Michael Jordan.

This quote from a famous athlete underscores the theme of determination and hard work, immediately connecting the reader to the topic of achieving success through effort.

Statistic Hook:

This type employs surprising or impressive statistics to catch the reader's eye.

"Just 0.00545 percent of the 550,000 boys playing high school basketball each year in the United States become a first-round draft pick."

This statistic highlights the incredibly slim chances of making it to the NBA, intriguing the reader with the stark reality and setting up a deeper exploration of what it takes to succeed in professional sports.

Anecdotal Hook:

An anecdotal hook uses a short story to illustrate a point and connect with the reader on a personal level.

"When I was in high school, I remember playing in an AAU basketball league and seeing a boy who practiced relentlessly every morning. Years later, he was drafted by the Philadelphia 76ers."

This story captivates the reader by providing a relatable and tangible example of dedication leading to success, making the topic more engaging and memorable.

Common Misconception Hook:

This type addresses a common misconception to grab the reader’s attention by challenging their existing beliefs.

"Many people believe that all professional athletes were naturally talented from a young age, but the truth is, most of them had to work incredibly hard to get where they are."

This hook piques the reader's interest by presenting surprising information that contradicts what they might think.

Rhetorical Statement Hook:

A rhetorical statement hook uses a bold statement or assertion to provoke thought or agreement.

"There's no shortcut to success in any field, including sports."

This kind of hook immediately sets a strong tone and encourages the reader to think about and agree with the statement, drawing them further into the essay.

How to Write a Hook [3 Steps with Examples]

Imagine yourself reading an article or an essay. Have you ever noticed that the first 2-3 lines set your entire mood? Either it looks interesting, or you might want to skip it. The same is true when someone reads your essay. This is why learning how to write a hook statement for an essay is crucial, and in this guide, I'll be sharing my process to help you write effective hook statements on your own.

I use a few simple steps for writing hook statements that help me craft an effective hook to engage readers and compel them to read further. Along with these steps, I also rely on writing tools, specifically WPS Office , which helps me significantly in writing a good hook. So, let's have a look at the process of learning how to write a hook for your essay, with a few examples.

1.Create an outline

First and foremost, you need to create an outline for your essay. This means your hook needs to be based on the information you plan to communicate through your essay. It's essential to lay the groundwork. Creating an outline helps you organize your thoughts and ensures your hook aligns perfectly with the rest of your essay.

Brainstorming:

To begin with your outline, start by brainstorming, where you can write down all the points you believe you can include in your essay. I usually carry out this step in WPS Writer, where I can type down all the important points I want to include in my essay. Additionally, if I find a few points on the internet, I can simply paste them into my WPS Writer document.

For example, let's say you're writing an essay about the impact of social media on mental health. Your main points might include:

The rise of social media usage

Positive effects on connectivity and community building

Negative impacts on self-esteem and anxiety

Strategies for healthy social media consumption

To further assist me in this process, I use WPS AI to help brainstorm ideas. A fresh perspective is always welcome, and when you're short on ideas, these suggestions can really enhance your essay.

Identify the Angle:

Once we have the main points, it's time to decide on the specific perspective or argument you want to present. This is where you'll start to shape your essay's unique voice. For instance, if your topic is social media, you might choose to focus on its double-edged nature, arguing that while it offers unprecedented connectivity, it also poses significant risks to mental well-being if not used mindfully.

Sketch the Structure:

With your main points and angle in mind, outline the basic structure of your essay. This doesn't need to be elaborate – a simple roadmap will do.

Your structure might look something like this:

Introduction (including your hook)

Brief history of social media's rise

Positive impacts on connectivity

Negative effects on mental health

Strategies for balanced use

Having this structure in place will help you craft a hook that seamlessly leads into the rest of your essay.

WPS AI can also assist in creating an outline. With a simple prompt, you can mention the details of your essay, and it will help you organize your main points and structure effectively.

2.Develop a Thesis

With your outline ready, it's time to develop your thesis statement. This is the core argument of your essay, and your hook should pave the way for it.

Be Clear and Specific:

Your thesis statement should clearly articulate your stance on the topic. Avoid ambiguous or uncertain statements. Focus on writing a precise and debatable assertion that provides a solid foundation for your argument.

For our social media essay, a strong thesis might be:

"While social media platforms have revolutionized communication and community-building, their unchecked use can significantly impact mental health, necessitating a balanced approach to digital engagement."

Ensure Relevance:

Make sure your thesis connects directly with the hook you plan to write. Your hook should intrigue readers about the argument you're going to make.

Keep it Focused:

Resist the temptation to cover everything in your thesis. A focused thesis is easier to argue effectively and helps keep your essay on track.

3.Write your Hook

Now for the exciting part – crafting your hook! Remember, the goal is to captivate your reader from the very first sentence. Let's look at some examples of different hook types we discussed earlier and break down why they work.

Example 1: The Question Hook

"Have you ever caught yourself mindlessly scrolling through your social media feed, only to look up and realize hours have passed?"

This hook works because it:

Directly engages the reader by asking a question

Relates to a common experience many readers can identify with

Introduces the topic of social media usage subtly

By posing this question, you're inviting readers to reflect on their own experiences, creating an immediate connection to your topic.

Example 2: The Statistic Hook

"In 2023, the average person spent 2 hours and 31 minutes per day on social media platforms – that's over 38 days a year scrolling, liking, and sharing."

This hook is effective because it:

Presents a surprising or shocking statistic

Immediately quantifies the impact of social media on our lives

Sets the stage for a discussion on the significance of social media use

Statistics like this grab attention by putting abstract concepts into concrete, relatable terms that can surprise or even shock your readers.

Example 3: The Anecdote Hook

"As I watched my teenage daughter burst into tears over a single Instagram post, I realized social media was no longer just a fun pastime – it had become a powerful force shaping her self-image and mental health."

This hook works well because it:

Tells a brief, relatable story

Evokes emotion and empathy

Introduces the theme of social media's impact on mental health through a personal lens

Personal stories can be powerful hooks, drawing readers in with emotional resonance and real-world relevance.

Example 4: The Quote Hook

"'We are creating and encouraging a culture of distraction where we are increasingly disconnected from the people and events around us,' warns technology ethicist Tristan Harris."

This hook is powerful because it:

Uses an expert's words to lend authority to your topic

Introduces a critical perspective on social media

Sets up a discussion on the broader implications of our digital habits

Quotes from experts can lend credibility to your essay right from the start, setting the tone for a well-researched discussion.

When writing your hook, consider your audience and the tone of your essay. Choose a hook style that aligns with your topic and engages your readers effectively. Don't be afraid to write several versions and ask for feedback – sometimes the perfect hook takes a few tries to get right.

And if you're still having trouble writing a perfect hook for your essay, you can try using WPS AI features like Improve Writing to craft more effective hooks. WPS AI will help ensure your hook reads well and communicates your message clearly to readers.

Bonus Tips: How to Polish your Hook with WPS AI

WPS Office is an excellent tool for anyone looking to enhance their writing. It's particularly useful as a writing companion, helping you refine your sentences, choose the right words, and correct errors. If you're struggling with writer's block, especially when trying to craft an engaging hook for your article, WPS Office can assist you in several ways.

Invoke the AI Writing Assistant:

This feature offers tailored suggestions for opening sentences or paragraphs that are designed to grab attention. It can help generate various types of hooks, such as intriguing questions, startling facts, or impactful quotes. By analyzing your topic and audience, the AI Writing Assistant provides options that resonate well, making it easier to start with a strong, engaging hook.

Request Feedback from the AI Chatbot:

The AI Chatbot reviews your initial draft and provides targeted feedback on your hook. It evaluates the effectiveness of your opening lines, suggesting ways to enhance their impact or refine your approach. Whether your hook needs more clarity, engagement, or relevance, the chatbot’s feedback helps you make necessary adjustments to ensure it captures and retains your readers' interest.

FAQs about Writing a Hook

1. why is it important to have a good essay hook.

A well-crafted essay hook is essential as it captures the reader's attention and motivates them to continue reading. Without a captivating hook, readers may lose interest and discontinue reading. An engaging hook ensures that the audience remains invested, thereby enhancing the likelihood of effectively conveying the essay's message.

2. What's the difference between a hook and a thesis?

A hook is a statement that captures the reader's attention and is positioned at the beginning of the introduction. A thesis explains the main point of the essay, paper, or other writing. Typically, a hook appears as the attention-grabbing opener, followed by additional sentences that connect it to the thesis, which presents the primary argument or premise of the writing.

3. How long is a hook?

A hook is typically one to two sentences long and appears at the beginning of the introduction. It should be brief and engaging to quickly capture the reader's attention and encourage them to continue reading.

Grab Your Audience Attention With The Help of WPS Office

As a writer, I often face challenges in writing something clever enough to grab readers' attention. That’s why I rely on WPS Office to help me on how to write a hook and its suite of tools to assist with my writing and content sharing. WPS Office offers a wealth of amazing tools and services that benefit everyone who uses them. I highly recommend downloading WPS Office to experience its powerful features for yourself.

• 1. How to Write A thesis statement - Steps with Examples
• 2. How to Write a Call to Action - Steps with Examples
• 3. How to Write an Argumentative Essay- Steps with Examples
• 4. How to Write a Research Paper [Steps & Examples]
• 5. How to Write A Literature Review - Steps with Examples
• 6. How to Write a Proposal [ Steps & Examples]

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• Dissertation

How to Write a Thesis or Dissertation Introduction

Published on September 7, 2022 by Tegan George and Shona McCombes. Revised on November 21, 2023.

The introduction is the first section of your thesis or dissertation , appearing right after the table of contents . Your introduction draws your reader in, setting the stage for your research with a clear focus, purpose, and direction on a relevant topic .

Your introduction should include:

• Your topic, in context: what does your reader need to know to understand your thesis dissertation?
• Your focus and scope: what specific aspect of the topic will you address?
• The relevance of your research: how does your work fit into existing studies on your topic?
• Your questions and objectives: what does your research aim to find out, and how?
• An overview of your structure: what does each section contribute to the overall aim?

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Table of contents

How to start your introduction, topic and context, focus and scope, relevance and importance, questions and objectives, overview of the structure, thesis introduction example, introduction checklist, other interesting articles, frequently asked questions about introductions.

Although your introduction kicks off your dissertation, it doesn’t have to be the first thing you write — in fact, it’s often one of the very last parts to be completed (just before your abstract ).

It’s a good idea to write a rough draft of your introduction as you begin your research, to help guide you. If you wrote a research proposal , consider using this as a template, as it contains many of the same elements. However, be sure to revise your introduction throughout the writing process, making sure it matches the content of your ensuing sections.

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Begin by introducing your dissertation topic and giving any necessary background information. It’s important to contextualize your research and generate interest. Aim to show why your topic is timely or important. You may want to mention a relevant news item, academic debate, or practical problem.

After a brief introduction to your general area of interest, narrow your focus and define the scope of your research.

You can narrow this down in many ways, such as by:

• Geographical area
• Time period
• Demographics or communities
• Themes or aspects of the topic

It’s essential to share your motivation for doing this research, as well as how it relates to existing work on your topic. Further, you should also mention what new insights you expect it will contribute.

Start by giving a brief overview of the current state of research. You should definitely cite the most relevant literature, but remember that you will conduct a more in-depth survey of relevant sources in the literature review section, so there’s no need to go too in-depth in the introduction.

Depending on your field, the importance of your research might focus on its practical application (e.g., in policy or management) or on advancing scholarly understanding of the topic (e.g., by developing theories or adding new empirical data). In many cases, it will do both.

Ultimately, your introduction should explain how your thesis or dissertation:

• Helps solve a practical or theoretical problem
• Addresses a gap in the literature
• Builds on existing research
• Proposes a new understanding of your topic

Perhaps the most important part of your introduction is your questions and objectives, as it sets up the expectations for the rest of your thesis or dissertation. How you formulate your research questions and research objectives will depend on your discipline, topic, and focus, but you should always clearly state the central aim of your research.

If your research aims to test hypotheses , you can formulate them here. Your introduction is also a good place for a conceptual framework that suggests relationships between variables .

• Conduct surveys to collect data on students’ levels of knowledge, understanding, and positive/negative perceptions of government policy.
• Determine whether attitudes to climate policy are associated with variables such as age, gender, region, and social class.
• Conduct interviews to gain qualitative insights into students’ perspectives and actions in relation to climate policy.

To help guide your reader, end your introduction with an outline  of the structure of the thesis or dissertation to follow. Share a brief summary of each chapter, clearly showing how each contributes to your central aims. However, be careful to keep this overview concise: 1-2 sentences should be enough.

I. Introduction

Human language consists of a set of vowels and consonants which are combined to form words. During the speech production process, thoughts are converted into spoken utterances to convey a message. The appropriate words and their meanings are selected in the mental lexicon (Dell & Burger, 1997). This pre-verbal message is then grammatically coded, during which a syntactic representation of the utterance is built.

Speech, language, and voice disorders affect the vocal cords, nerves, muscles, and brain structures, which result in a distorted language reception or speech production (Sataloff & Hawkshaw, 2014). The symptoms vary from adding superfluous words and taking pauses to hoarseness of the voice, depending on the type of disorder (Dodd, 2005). However, distortions of the speech may also occur as a result of a disease that seems unrelated to speech, such as multiple sclerosis or chronic obstructive pulmonary disease.

This study aims to determine which acoustic parameters are suitable for the automatic detection of exacerbations in patients suffering from chronic obstructive pulmonary disease (COPD) by investigating which aspects of speech differ between COPD patients and healthy speakers and which aspects differ between COPD patients in exacerbation and stable COPD patients.

Checklist: Introduction

I have introduced my research topic in an engaging way.

I have provided necessary context to help the reader understand my topic.

I have clearly specified the focus of my research.

I have shown the relevance and importance of the dissertation topic .

I have clearly stated the problem or question that my research addresses.

I have outlined the specific objectives of the research .

I have provided an overview of the dissertation’s structure .

You've written a strong introduction for your thesis or dissertation. Use the other checklists to continue improving your dissertation.

If you want to know more about AI for academic writing, AI tools, or research bias, make sure to check out some of our other articles with explanations and examples or go directly to our tools!

Research bias

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• Self-serving bias
• Availability heuristic
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The introduction of a research paper includes several key elements:

• A hook to catch the reader’s interest
• Relevant background on the topic
• Details of your research problem

and your problem statement

• A thesis statement or research question
• Sometimes an overview of the paper

Don’t feel that you have to write the introduction first. The introduction is often one of the last parts of the research paper you’ll write, along with the conclusion.

This is because it can be easier to introduce your paper once you’ve already written the body ; you may not have the clearest idea of your arguments until you’ve written them, and things can change during the writing process .

Research objectives describe what you intend your research project to accomplish.

They summarize the approach and purpose of the project and help to focus your research.

Your objectives should appear in the introduction of your research paper , at the end of your problem statement .

Scope of research is determined at the beginning of your research process , prior to the data collection stage. Sometimes called “scope of study,” your scope delineates what will and will not be covered in your project. It helps you focus your work and your time, ensuring that you’ll be able to achieve your goals and outcomes.

Defining a scope can be very useful in any research project, from a research proposal to a thesis or dissertation . A scope is needed for all types of research: quantitative , qualitative , and mixed methods .

To define your scope of research, consider the following:

• Budget constraints or any specifics of grant funding
• Your proposed timeline and duration
• Specifics about your population of study, your proposed sample size , and the research methodology you’ll pursue
• Any inclusion and exclusion criteria
• Any anticipated control , extraneous , or confounding variables that could bias your research if not accounted for properly.

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HISTORY 495S/496S: Honors Thesis Seminar 2024/25

• Topic: Counter Culture and Black Power Movements
• Thesis Writers & Duke Libraries
• Browse all Guides at Duke Libraries
• Define Archival Materials and Primary Sources
• Appreciate the "Finding Aid" for Archival Material
• Search Across Finding Aid Portals
• Organize and Cite Your Sources
• Topic: The West and the Soviet Union
• Topic: France Colonialism
• Topic: NAZI Germany Persecution US Perceptions
• Topic: US and Bosnia 1992–1995

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Primary sources and archives, secondary materials: books, secondary materials: articles.

• Topic: Canada and the American Civil War
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• Impact of Rabbinical Teachings on Israeli Settlers Violence 1967-1980

Kelley Lawton , Librarian for United States History, [email protected]

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2024 Theses Doctoral

The Market Microstructure of Decentralized Exchanges

Jia, Ruizhe

Since Bitcoin’s inception in 2008, the spotlight has increasingly been towards its underlying blockchain technology (Campbell, 2016, Yermack, 2017, Cong and He, 2019, Chiu and Koeppl, 2019, Gan, Tsoukalas, and Netessine, 2021). The introduction of smart contracts in 2015 marked a pivotal shift, transforming blockchain from a mere payment infrastructure into a cornerstone for decentralized finance (DeFi) services, a domain where decentralized exchanges (DEXs) play a critical role. The book "DeFi and the Future of Finance" by Harvey, Ramachandran, and Santoro, 2021 presents a vision of a financial system dominated by DeFi, arguing that its decentralized nature could lead to more efficient, cost-effective financial systems than traditional centralized systems. However, transitioning from potential to reality necessitates a critical examination of the underlying market structures, particularly as they pertain to trading on DEXs. By focusing on the market microstructure of DEXs, the research presented in my thesis seeks to uncover existing inefficiencies, understand their origins, and propose solutions for more effective market designs. Chapter 1 sets the stage by exploring the background and foundational principles of blockchainand DEXs, preparing the reader for a deeper dive into their complexities. Chapter 2 highlights the challenges of the current DEX infrastructure, such as exposure to arbitrage losses for liquidity providers, and evaluates the effectiveness of design changes. Empirical evidence from the Silicon Valley Bank collapse illustrates the impact of arbitrageurs on liquidity provision. In Chapter 3, the focus shifts to the mechanics of price discovery in blockchain-based trading platforms. The study delves into how DEXs’ unique infrastructure, such as gas fee bidding and priority sequencing rules, impacts trading strategies and information dissemination. We delve into the trading strategies of informed traders within DEXs, revealing a preference for high-fee bids to signal information, employing a "jump bidding" strategy to limit competition. Finally, Chapter 4 challenges the current information settings of public blockchains, highlighting their inadequacies for trading due to issues like information leakage, frontrunning, and inefficient blockspace allocation. It evaluates the introduction of private transaction pools as a remedy to these challenges, examining their effects on allocative efficiency and overall welfare. It suggests that private transaction submission pools could enhance welfare and mitigate frontrunning risk, without eliminating it. In summary, this thesis aims to bridge the gap between the theoretical promise of DeFi and the practical challenges it faces. By investigating the market microstructure of DEXs, it provides insights into the design of more robust, efficient, and equitable financial systems operating over blockchain technologies.

• Operations research
• Blockchains (Databases)
• Exchange traded funds
• Stock exchanges

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The Thesis and the Book: A Guide for First-Time Academic Authors 2nd Edition

The academic caveat Publish or Perish is not a new one, and for over a quarter of a century, The Thesis and the Book has come to the aid of graduate students in their quest for publication. The doctoral dissertation, usually the first book-length study completed by a scholar, is, however, only rarely publishable as a book. Understanding the differences between the two forms is a crucial part of one's education as a scholar and is equally important in appreciating the endeavours of scholarly publishers. The Thesis and the Book: A Guide for First-Time Academic Authors , revised and expanded in this second edition, will continue to provide the best overview of the process of revising a dissertation for publication.

Drawing on the expertise of the contributors, all of whom are editors, publishers, and scholars themselves, the chapters present the rudimentary differences between a thesis and a book (including matters of purpose and audience), give guidance on the necessary stylistic, technical, and structural revisions to the dissertation, and offer advice to first-time authors who must not only revise their work to satisfy prospective publishers, but also learn a good deal of the ins and outs of scholarly publishing.

The Thesis and the Book will continue to be of great value to graduating doctoral students seeking publication and to the faculty members who supervise these students. It will also be of value to acquisitions editors at scholarly presses, who must contend with the submission of revised dissertations for publication.

• ISBN-10 0802085881
• ISBN-13 978-0802085887
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• Publisher University of Toronto Press
• Publication date May 31, 2003
• Language English
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Tim Walz wrote a master’s thesis on Holocaust education, just as his own school’s approach drew criticism

In Judi Agustin’s freshman year at Mankato West High School, her teacher instructed her to wear a yellow star.

It was part of a Holocaust curriculum at the school, located in a remote area of Minnesota with barely any Jews. For a week, freshmen were asked to wear the yellow stars, which were reminiscent of the ones the Nazis made the Jews wear. Seniors played the part of the Gestapo, charged with persecuting the “Jews.”

Unlike everyone else in her class in the 2001-2002 school year, Agustin was Jewish. The experience “was incredibly hurtful and offensive and scary,” she recalled on Tuesday. Her father complained to the district, and wrote a letter to the local paper decrying the lesson.

In response, she recalled, a teacher intervened. That teacher, according to her recollection: current vice presidential nominee Tim Walz.

“When Tim Walz found out about it, he squashed it real quick, and as far as I understand they never did it again,” Agustin told the Jewish Telegraphic Agency. “So he was an advocate for my experience, as one of four Jewish kids in the entire school district. And I always felt like he had our back.”

A progressive favorite in Minnesota, where he is now governor, Walz is also heralded for his background as a public school educator. Lesser known is the fact that, while teaching in rural, largely white Midwestern school districts, Walz developed a particular interest in Holocaust and genocide education.

Walz is on the campaign trail this week with Vice President Kamala Harris, his running mate, and did not immediately respond to a request for comment. JTA could not independently verify that he was the teacher who stopped the Mankato West lesson.

But it’s clear that how to teach the Holocaust well has occupied Walz for decades. In 1993, while teaching in Nebraska, he was part of an inaugural conference of U.S. educators convened by the soon-to-open U.S. Holocaust Memorial Museum in Washington, D.C. Eight years later, after moving to Minnesota, he wrote a thesis arguing for changes in Holocaust education. And as governor, he backed a push to mandate teaching about the Holocaust in Minnesota schools.

Through it all, Walz modeled and argued for careful instruction that treated the Holocaust as one of multiple genocides worth understanding.

“Schools are teaching about the Jewish Holocaust, but the way it is traditionally being taught is not leading to increased knowledge of the causes of genocide in all parts of the world,” Walz wrote in his thesis, submitted in 2001.

The thesis was the culmination of Walz’s master’s degree focused on Holocaust and genocide education at Minnesota State University, Mankato, which he earned while teaching at Mankato West. His 27-page thesis, which JTA obtained, is titled “Improving Human Rights and Genocide Studies in the American High School Classroom.”

In it, Walz argues that the lessons of the “Jewish Holocaust” should be taught “in the greater context of human rights abuses,” rather than as a unique historical anomaly or as part of a larger unit on World War II. “To exclude other acts of genocide severely limited students’ ability to synthesize the lessons of the Holocaust and the ability to apply them elsewhere,” he wrote.

He then took a position that he noted was “controversial” among Holocaust scholars: that the Holocaust should not be taught as unique, but used to help students identify “clear patterns” with other historical genocides like the Armenian and Rwandan genocides.

Walz was describing, in effect, his own approach to teaching the Holocaust that he implemented in Alliance, Nebraska, years earlier. In the state’s remote northwest region, Walz asked his global geography class to study the common factors that linked the Holocaust to other historical genocides , including economic strife, totalitarian ideology and colonialism. The year was 1993. At year’s end, Walz and his class correctly predicted that Rwanda was most at risk of sliding into genocide.

“The Holocaust is taught too often purely as a historical event, an anomaly, a moment in time,” Walz Told the New York Times in 2008, reflecting on those Alliance lessons. “That relieves us of responsibility. Obviously, the mastermind was sociopathic, but on the scale for it to happen, there had to be a lot of people in the country who chose to go down that path.”

In his thesis, he noted that he intended to bring this curriculum to the Mankato school district as a “sample unit.” But another kind of lesson was unfolding there at the same time.

For years at Mankato West, high school students had been engaged in a peculiar lesson that was, all the same, not unusual for its time: In an effort to teach students who had never met a Jewish person what it might have been like to live under the Nazis, teachers had them role play.

For a week, freshmen wore the yellow stars, and seniors playing the Gestapo were given permission to torment them.

Such lessons had been going on since at least the 1990s, recalled Leah Solo, a Jewish student who graduated from Mankato West in 1998. For Solo, these lessons weren’t so bad.

“People knew I was Jewish, people knew to be sensitive around me,” Solo told JTA. Her teacher, who was not Walz and whom she liked, “was doing his best to try to teach a really hard subject to folks who had no idea. Most of these kids had never met a Jew before.” In her senior year she was given the choice of whether she wanted to play a Nazi or another kind of role, and chose the latter.

Things were different by the time Agustin took the class several years later. By then, the Holocaust role-playing wasn’t just limited to the confines of the classroom.

“They could come up to you in the lunchroom,” recalled Anne Heintz, a fellow student at the time. Local students whispered about the lesson before they got to high school, she said.

One senior, in Agustin’s recollection, got violent and started shoving the “Jewish” freshmen into lockers.

Outraged, her father wrote a letter to the local newspaper, and some parents complained to the school district. Agustin left the high school after her sophomore year. None of this happened in Walz’s classroom, according to the students, and Heintz recalled that the lessons had ended by the time she graduated in 2004.

“I’m not sure what his involvement was. I know it just ended,” Heintz, who is not Jewish, told JTA. “He was teaching at the time it ended.”

JTA could not verify whether Walz knew about the lessons, which had been going on for years, before they were stopped. A spokesperson for the high school told JTA they “don’t have any information” on the details of the lessons, but noted, “When Governor Walz was at Mankato West High School he was primarily a Global Geography Teacher and Football Coach. Subjects such as the Holocaust were taught in history courses.”

Agustin’s father, Stewart Ross, told JTA that he did not recall Walz being involved. Neither did Bob Ihrig, one of the teachers who taught the lesson as part of a World War II unit. He said it continued in a limited, classroom-only version until his retirement in 2014.

Ross, Ihrig and all three Mankato West High students spoke highly of Walz as a teacher and community leader, though only one, Heintz, actually had him in the classroom.

“What I remember most is, he always made all the subjects that we talked about super engaging,” she said. “It always seemed like he was able to make a subject really exciting for folks and really engage everyone in class. And I think that is part of how he speaks now that he’s on a national stage as well.”

Solo, who had Walz’s wife Gwen for a different class, took a student trip led by the couple to China, where Tim Walz taught for a year early in his career. She recalled how, in 2004, Walz stood up for her when she was working with John Kerry’s presidential campaign and security for a George W. Bush rally tried to boot them from the premises.

“When security also tried to kick him out, he was like, ‘I am a former Teacher of the Year who just returned from being deployed. I don’t think you want to kick me out,’” Solo recalled, describing an incident that made local news at the time. “And then after the rally, he came and signed up to volunteer with the Kerry campaign, because he did not appreciate that.”

Volunteering with Kerry’s campaign led directly to Walz’s entrance into politics . Solo would go on to work for Walz’s congressional campaigns.

Walz stuck with teaching as he began his political career; when he was elected to represent Mankato in 2006, he was the only active educator in Congress.

Last year, as Minnesota’s governor, Walz returned to Holocaust education, and supported and signed a law requiring the state’s middle and high schools to teach about the Holocaust. The law, initiated and championed by the Jewish Community Relations Council of Minnesota and the Dakotas, also encourages schools to teach about other genocides. A working group for the curriculum hit snags earlier this summer when a pro-Palestinian activist was removed from the committee amid debates on whether Israel’s conduct in Gaza constitutes genocide.

The mandate is still anticipated to go into effect in the 2025-2026 school year. “This is going to work out, this is going to be good, because the governor and his staff are highly attuned to the concerns and sensitivities of the Jewish community,” Ethan Roberts, the JCRC’s deputy executive director, told JTA.

Speaking at a JCRC event in June, Walz said he had been “privileged and proud” to have participated in the U.S. Holocaust Memorial Museum training early in his career. But he said more needed to be done, and he emphasized that the curriculum chosen to accomplish the requirement would determine its success.

“We need to do better on Holocaust education. We need to do better on ethnic studies,” he told the crowd. “And I tell you this as a teacher and as governor, too, we don’t need test scores or anything to tell us that we’re failing.”

It was the kind of message that former Mankato West students said they came to expect from him.

“He is what you hope a great teacher is,” said Solo, “which is someone who’s not only teaching, but also learning at all times.”

With additional reporting by Jackie Hajdenberg. 

Correction and updates (Aug. 8): This story has been corrected to remove a reference to Tim Walz as department chair. It has also been updated to reflect additional sources about Holocaust instruction at Mankato West High School.

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