how to make a thesis on a book

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

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

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

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

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

Arguable thesis with analytical claim 

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

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

Arguable thesis with normative claim 

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

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

Questions to ask about your thesis 

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

Thesis Statements

What this handout is about.

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

Introduction

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

What is a thesis statement?

A thesis statement:

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

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

How do I create a thesis?

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

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

How do I know if my thesis is strong?

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

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

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

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

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

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

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

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

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

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

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

You begin to analyze your thesis:

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

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

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

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

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

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

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

Works consulted

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

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

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

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

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

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

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How to write a thesis statement, what is a thesis statement.

Almost all of us—even if we don’t do it consciously—look early in an essay for a one- or two-sentence condensation of the argument or analysis that is to follow. We refer to that condensation as a thesis statement.

Why Should Your Essay Contain a Thesis Statement?

• to test your ideas by distilling them into a sentence or two
• to better organize and develop your argument
• to provide your reader with a “guide” to your argument

In general, your thesis statement will accomplish these goals if you think of the thesis as the answer to the question your paper explores.

How Can You Write a Good Thesis Statement?

Here are some helpful hints to get you started. You can either scroll down or select a link to a specific topic.

How to Generate a Thesis Statement if the Topic is Assigned How to Generate a Thesis Statement if the Topic is not Assigned How to Tell a Strong Thesis Statement from a Weak One

How to Generate a Thesis Statement if the Topic is Assigned

Almost all assignments, no matter how complicated, can be reduced to a single question. Your first step, then, is to distill the assignment into a specific question. For example, if your assignment is, “Write a report to the local school board explaining the potential benefits of using computers in a fourth-grade class,” turn the request into a question like, “What are the potential benefits of using computers in a fourth-grade class?” After you’ve chosen the question your essay will answer, compose one or two complete sentences answering that question.

Q: “What are the potential benefits of using computers in a fourth-grade class?” A: “The potential benefits of using computers in a fourth-grade class are . . .”

A: “Using computers in a fourth-grade class promises to improve . . .”

The answer to the question is the thesis statement for the essay.

[ Back to top ]

How to Generate a Thesis Statement if the Topic is not Assigned

Even if your assignment doesn’t ask a specific question, your thesis statement still needs to answer a question about the issue you’d like to explore. In this situation, your job is to figure out what question you’d like to write about.

A good thesis statement will usually include the following four attributes:

• take on a subject upon which reasonable people could disagree
• deal with a subject that can be adequately treated given the nature of the assignment
• express one main idea
• assert your conclusions about a subject

Let’s see how to generate a thesis statement for a social policy paper.

Brainstorm the topic . Let’s say that your class focuses upon the problems posed by changes in the dietary habits of Americans. You find that you are interested in the amount of sugar Americans consume.

You start out with a thesis statement like this:

Sugar consumption.

This fragment isn’t a thesis statement. Instead, it simply indicates a general subject. Furthermore, your reader doesn’t know what you want to say about sugar consumption.

Narrow the topic . Your readings about the topic, however, have led you to the conclusion that elementary school children are consuming far more sugar than is healthy.

You change your thesis to look like this:

Reducing sugar consumption by elementary school children.

This fragment not only announces your subject, but it focuses on one segment of the population: elementary school children. Furthermore, it raises a subject upon which reasonable people could disagree, because while most people might agree that children consume more sugar than they used to, not everyone would agree on what should be done or who should do it. You should note that this fragment is not a thesis statement because your reader doesn’t know your conclusions on the topic.

Take a position on the topic. After reflecting on the topic a little while longer, you decide that what you really want to say about this topic is that something should be done to reduce the amount of sugar these children consume.

You revise your thesis statement to look like this:

More attention should be paid to the food and beverage choices available to elementary school children.

This statement asserts your position, but the terms more attention and food and beverage choices are vague.

Use specific language . You decide to explain what you mean about food and beverage choices , so you write:

Experts estimate that half of elementary school children consume nine times the recommended daily allowance of sugar.

This statement is specific, but it isn’t a thesis. It merely reports a statistic instead of making an assertion.

Make an assertion based on clearly stated support. You finally revise your thesis statement one more time to look like this:

Because half of all American elementary school children consume nine times the recommended daily allowance of sugar, schools should be required to replace the beverages in soda machines with healthy alternatives.

Notice how the thesis answers the question, “What should be done to reduce sugar consumption by children, and who should do it?” When you started thinking about the paper, you may not have had a specific question in mind, but as you became more involved in the topic, your ideas became more specific. Your thesis changed to reflect your new insights.

How to Tell a Strong Thesis Statement from a Weak One

1. a strong thesis statement takes some sort of stand..

Remember that your thesis needs to show your conclusions about a subject. For example, if you are writing a paper for a class on fitness, you might be asked to choose a popular weight-loss product to evaluate. Here are two thesis statements:

There are some negative and positive aspects to the Banana Herb Tea Supplement.

This is a weak thesis statement. First, it fails to take a stand. Second, the phrase negative and positive aspects is vague.

Because Banana Herb Tea Supplement promotes rapid weight loss that results in the loss of muscle and lean body mass, it poses a potential danger to customers.

This is a strong thesis because it takes a stand, and because it's specific.

2. A strong thesis statement justifies discussion.

Your thesis should indicate the point of the discussion. If your assignment is to write a paper on kinship systems, using your own family as an example, you might come up with either of these two thesis statements:

My family is an extended family.

This is a weak thesis because it merely states an observation. Your reader won’t be able to tell the point of the statement, and will probably stop reading.

While most American families would view consanguineal marriage as a threat to the nuclear family structure, many Iranian families, like my own, believe that these marriages help reinforce kinship ties in an extended family.

This is a strong thesis because it shows how your experience contradicts a widely-accepted view. A good strategy for creating a strong thesis is to show that the topic is controversial. Readers will be interested in reading the rest of the essay to see how you support your point.

3. A strong thesis statement expresses one main idea.

Readers need to be able to see that your paper has one main point. If your thesis statement expresses more than one idea, then you might confuse your readers about the subject of your paper. For example:

Companies need to exploit the marketing potential of the Internet, and Web pages can provide both advertising and customer support.

This is a weak thesis statement because the reader can’t decide whether the paper is about marketing on the Internet or Web pages. To revise the thesis, the relationship between the two ideas needs to become more clear. One way to revise the thesis would be to write:

Because the Internet is filled with tremendous marketing potential, companies should exploit this potential by using Web pages that offer both advertising and customer support.

This is a strong thesis because it shows that the two ideas are related. Hint: a great many clear and engaging thesis statements contain words like because , since , so , although , unless , and however .

4. A strong thesis statement is specific.

A thesis statement should show exactly what your paper will be about, and will help you keep your paper to a manageable topic. For example, if you're writing a seven-to-ten page paper on hunger, you might say:

World hunger has many causes and effects.

This is a weak thesis statement for two major reasons. First, world hunger can’t be discussed thoroughly in seven to ten pages. Second, many causes and effects is vague. You should be able to identify specific causes and effects. A revised thesis might look like this:

Hunger persists in Glandelinia because jobs are scarce and farming in the infertile soil is rarely profitable.

This is a strong thesis statement because it narrows the subject to a more specific and manageable topic, and it also identifies the specific causes for the existence of hunger.

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Tips and Examples for Writing Thesis Statements

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Tips for Writing Your Thesis Statement

1. Determine what kind of paper you are writing:

• An analytical paper breaks down an issue or an idea into its component parts, evaluates the issue or idea, and presents this breakdown and evaluation to the audience.
• An expository (explanatory) paper explains something to the audience.
• An argumentative paper makes a claim about a topic and justifies this claim with specific evidence. The claim could be an opinion, a policy proposal, an evaluation, a cause-and-effect statement, or an interpretation. The goal of the argumentative paper is to convince the audience that the claim is true based on the evidence provided.

If you are writing a text that does not fall under these three categories (e.g., a narrative), a thesis statement somewhere in the first paragraph could still be helpful to your reader.

2. Your thesis statement should be specific—it should cover only what you will discuss in your paper and should be supported with specific evidence.

3. The thesis statement usually appears at the end of the first paragraph of a paper.

4. Your topic may change as you write, so you may need to revise your thesis statement to reflect exactly what you have discussed in the paper.

Thesis Statement Examples

Example of an analytical thesis statement:

The paper that follows should:

• Explain the analysis of the college admission process
• Explain the challenge facing admissions counselors

Example of an expository (explanatory) thesis statement:

• Explain how students spend their time studying, attending class, and socializing with peers

Example of an argumentative thesis statement:

• Present an argument and give evidence to support the claim that students should pursue community projects before entering college

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A Guide to Thesis Writing That Is a Guide to Life

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

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

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

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

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

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

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

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

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

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

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

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By Bill McKibben

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 .”

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How to Write a Master's Thesis

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

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

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

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

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

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

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

NEW TO THIS EDITION:             

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

KEY FEATURES:  

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

Sample Materials & Chapters

1: Overview of the Master's Degree and Thesis

3: Using the Literature to Research Your Problem

For instructors

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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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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.

• research writing
• thesis preparation
• dissertation writing
• final project preparation
• thesis structure
• learning and instruction

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

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.

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 write a PhD thesis: a step-by-step guide

A draft isn’t a perfect, finished product; it is your opportunity to start getting words down on paper, writes Kelly Louise Preece

Kelly Louise Preece

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Congratulations; you’ve finished your research! Time to write your PhD thesis. This resource will take you through an eight-step plan for drafting your chapters and your thesis as a whole. 

Organise your material

Before you start, it’s important to get organised. Take a step back and look at the data you have, then reorganise your research. Which parts of it are central to your thesis and which bits need putting to one side? Label and organise everything using logical folders – make it easy for yourself! Academic and blogger Pat Thomson calls this  “Clean up to get clearer” . Thomson suggests these questions to ask yourself before you start writing:

• What data do you have? You might find it useful to write out a list of types of data (your supervisor will find this list useful too.) This list is also an audit document that can go in your thesis. Do you have any for the “cutting room floor”? Take a deep breath and put it in a separate non-thesis file. You can easily retrieve it if it turns out you need it.
• What do you have already written? What chunks of material have you written so far that could form the basis of pieces of the thesis text? They will most likely need to be revised but they are useful starting points. Do you have any holding text? That is material you already know has to be rewritten but contains information that will be the basis of a new piece of text.
• What have you read and what do you still need to read? Are there new texts that you need to consult now after your analysis? What readings can you now put to one side, knowing that they aren’t useful for this thesis – although they might be useful at another time?
• What goes with what? Can you create chunks or themes of materials that are going to form the basis of some chunks of your text, perhaps even chapters?

Once you have assessed and sorted what you have collected and generated you will be in much better shape to approach the big task of composing the dissertation. 

Decide on a key message

A key message is a summary of new information communicated in your thesis. You should have started to map this out already in the section on argument and contribution – an overarching argument with building blocks that you will flesh out in individual chapters.

You have already mapped your argument visually, now you need to begin writing it in prose. Following another of Pat Thomson’s exercises, write a “tiny text” thesis abstract. This doesn’t have to be elegant, or indeed the finished product, but it will help you articulate the argument you want your thesis to make. You create a tiny text using a five-paragraph structure:

• The first sentence addresses the broad context. This locates the study in a policy, practice or research field.
• The second sentence establishes a problem related to the broad context you have set out. It often starts with “But”, “Yet” or “However”.
• The third sentence says what specific research has been done. This often starts with “This research” or “I report…”
• The fourth sentence reports the results. Don’t try to be too tricky here, just start with something like: “This study shows,” or “Analysis of the data suggests that…”
• The fifth and final sentence addresses the “So What?” question and makes clear the claim to contribution.

Here’s an example that Thomson provides:

Secondary school arts are in trouble, as the fall in enrolments in arts subjects dramatically attests. However, there is patchy evidence about the benefits of studying arts subjects at school and this makes it hard to argue why the drop in arts enrolments matters. This thesis reports on research which attempts to provide some answers to this problem – a longitudinal study which followed two groups of senior secondary students, one group enrolled in arts subjects and the other not, for three years. The results of the study demonstrate the benefits of young people’s engagement in arts activities, both in and out of school, as well as the connections between the two. The study not only adds to what is known about the benefits of both formal and informal arts education but also provides robust evidence for policymakers and practitioners arguing for the benefits of the arts. You can  find out more about tiny texts and thesis abstracts on Thomson’s blog.

• Writing tips for higher education professionals
• Resource collection on academic writing
• What is your academic writing temperament?

Write a plan

You might not be a planner when it comes to writing. You might prefer to sit, type and think through ideas as you go. That’s OK. Everybody works differently. But one of the benefits of planning your writing is that your plan can help you when you get stuck. It can help with writer’s block (more on this shortly!) but also maintain clarity of intention and purpose in your writing.

You can do this by creating a  thesis skeleton or storyboard , planning the order of your chapters, thinking of potential titles (which may change at a later stage), noting down what each chapter/section will cover and considering how many words you will dedicate to each chapter (make sure the total doesn’t exceed the maximum word limit allowed).

Use your plan to help prompt your writing when you get stuck and to develop clarity in your writing.

Some starting points include:

• This chapter will argue that…
• This section illustrates that…
• This paragraph provides evidence that…

Of course, we wish it werethat easy. But you need to approach your first draft as exactly that: a draft. It isn’t a perfect, finished product; it is your opportunity to start getting words down on paper. Start with whichever chapter you feel you want to write first; you don’t necessarily have to write the introduction first. Depending on your research, you may find it easier to begin with your empirical/data chapters.

Vitae advocates for the “three draft approach” to help with this and to stop you from focusing on finding exactly the right word or transition as part of your first draft.

This resource originally appeared on Researcher Development .

Kelly Louse Preece is head of educator development at the University of Exeter.

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Research Guides

Submit and publish your thesis.

• The Graduate Thesis: What is it?
• Thesis Defences
• Deadlines and Fees
• Formatting in MS Word
• Formatting in LaTeX
• Making Thesis Accessible
• Thesis Embargo
• Review and Release
• Your Rights as an Author
• Re-using Third Party Materials
• Creative Commons Licenses for Theses
• Turning Thesis into an Article
• Turning Thesis into a Book
• Other Venues of Publication

Turning Your Thesis into a Book

“A dissertation is a report, a book tells a story”

Turning a thesis into a book means more than simply printing and binding your thesis as is. Neither will it be a quick touch up or superficial revision. Your book manuscript will likely mean a substantial rewrite of your thesis. Consider the following aspects that will need to change:

Your audience

The audience for the thesis is mainly your committee whereas for a book it may be fellow researchers, professionals working in the field, policy makers, educators, or the general audience. The majority of your readers will be less familiar with your topic than was your supervisor and will be more interested in the bigger picture than in the methodological details.

A book has a different purpose from a thesis. A thesis is meant to demonstrate your mastery of the subject and research process. A book is an opportunity to discuss the implications of your research to the larger community. The way you define an audience for your book will directly affect its goal and vice versa.

The structure of your thesis

A book’s structure will be different from that of a thesis. You will need to thoroughly re-order your work into chapters. In particular, the Literature Review and Methodology sections would be shortened drastically or incorporated into the introduction. Copious footnotes typical for a thesis could be transformed into stories.

The voice you use for a book is different from the academic voice in your thesis. You will want to edit out the academic jargon, complex sentences, lengthy paragraphs and passive voice. Be ready to show your own voice and clearly say what you think.

When looking to publish a book you would normally follow these steps:

Select a press

Start by selecting a press that would be a good fit for your topic and audience:

• Look at your own bookshelf - where have authors published on similar topics?
• Check presses’ lists in your subject area
• Consider academic vs commercial publishers
• Get in touch with acquisition editors at the presses you are looking at to check if your idea will be of interest

Prepare your book proposal

• Think of your proposal as a pitch that communicates the book’s value in terms of content and your value as the subject matter expert
• Problems or pain points that the book addresses
• How the book addresses these pain points and what value it provides to the reader
• A proposed title
• Market research evidence that there is a need and niche for the book
• Contents page
• A proposal can be submitted to more than one press. Once you get a book deal, commit to that press and discontinue negotiations with other presses.

Negotiate and sign the contract

• The Understanding and Negotiating Book Publication Contracts from the Authors Alliance is a great resource for all questions related to book contracts.

Other tips from book publishers

• Having an article published from your thesis may be a good starting point to get a book deal. However having too many chapters published may be a turn off for a press that looks for original content.
• Consider the timing of publication for your academic career. It takes a while for a book to be written, published, distributed and read. If you would like to proceed with an academic career upon graduation and have reviews of your published book ready for inclusion in your tenure portfolio, you will want to start looking into publishing as soon as possible.

Additional resources on converting your thesis into a book:

• Harman, E. (2003). The thesis and the book: A guide for first-time academic authors. Toronto: University of Toronto Press ( Print | Electronic )
• "Working on a book project? What I wish I knew…" - recording of the April 2021 webinar and presenters' book proposals
• Writers’ How To Series by the Writers’ Union of Canada
• See writing guides for creative non-fiction
• << Previous: Turning Thesis into an Article
• Next: Other Venues of Publication >>
• Last Updated: Sep 15, 2023 3:23 PM
• URL: https://guides.library.utoronto.ca/thesis

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Home / Guides / Citation Guides / How to Cite Sources

How to Cite Sources

Here is a complete list for how to cite sources. Most of these guides present citation guidance and examples in MLA, APA, and Chicago.

If you’re looking for general information on MLA or APA citations , the EasyBib Writing Center was designed for you! It has articles on what’s needed in an MLA in-text citation , how to format an APA paper, what an MLA annotated bibliography is, making an MLA works cited page, and much more!

MLA Format Citation Examples

The Modern Language Association created the MLA Style, currently in its 9th edition, to provide researchers with guidelines for writing and documenting scholarly borrowings.  Most often used in the humanities, MLA style (or MLA format ) has been adopted and used by numerous other disciplines, in multiple parts of the world.

MLA provides standard rules to follow so that most research papers are formatted in a similar manner. This makes it easier for readers to comprehend the information. The MLA in-text citation guidelines, MLA works cited standards, and MLA annotated bibliography instructions provide scholars with the information they need to properly cite sources in their research papers, articles, and assignments.

• Book Chapter
• Conference Paper
• Documentary
• Encyclopedia
• Google Images
• Kindle Book
• Memorial Inscription
• Museum Exhibit
• Painting or Artwork
• PowerPoint Presentation
• Sheet Music
• Thesis or Dissertation
• YouTube Video

APA Format Citation Examples

The American Psychological Association created the APA citation style in 1929 as a way to help psychologists, anthropologists, and even business managers establish one common way to cite sources and present content.

APA is used when citing sources for academic articles such as journals, and is intended to help readers better comprehend content, and to avoid language bias wherever possible. The APA style (or APA format ) is now in its 7th edition, and provides citation style guides for virtually any type of resource.

Chicago Style Citation Examples

The Chicago/Turabian style of citing sources is generally used when citing sources for humanities papers, and is best known for its requirement that writers place bibliographic citations at the bottom of a page (in Chicago-format footnotes ) or at the end of a paper (endnotes).

The Turabian and Chicago citation styles are almost identical, but the Turabian style is geared towards student published papers such as theses and dissertations, while the Chicago style provides guidelines for all types of publications. This is why you’ll commonly see Chicago style and Turabian style presented together. The Chicago Manual of Style is currently in its 17th edition, and Turabian’s A Manual for Writers of Research Papers, Theses, and Dissertations is in its 8th edition.

Citing Specific Sources or Events

• Declaration of Independence
• Gettysburg Address
• Martin Luther King Jr. Speech
• President Obama’s Farewell Address
• President Trump’s Inauguration Speech
• White House Press Briefing

Additional FAQs

• Citing Archived Contributors
• Citing a Blog
• Citing a Book Chapter
• Citing a Source in a Foreign Language
• Citing an Image
• Citing a Song
• Citing Special Contributors
• Citing a Translated Article
• Citing a Tweet

6 Interesting Citation Facts

The world of citations may seem cut and dry, but there’s more to them than just specific capitalization rules, MLA in-text citations , and other formatting specifications. Citations have been helping researches document their sources for hundreds of years, and are a great way to learn more about a particular subject area.

Ever wonder what sets all the different styles apart, or how they came to be in the first place? Read on for some interesting facts about citations!

1. There are Over 7,000 Different Citation Styles

You may be familiar with MLA and APA citation styles, but there are actually thousands of citation styles used for all different academic disciplines all across the world. Deciding which one to use can be difficult, so be sure to ask you instructor which one you should be using for your next paper.

2. Some Citation Styles are Named After People

While a majority of citation styles are named for the specific organizations that publish them (i.e. APA is published by the American Psychological Association, and MLA format is named for the Modern Language Association), some are actually named after individuals. The most well-known example of this is perhaps Turabian style, named for Kate L. Turabian, an American educator and writer. She developed this style as a condensed version of the Chicago Manual of Style in order to present a more concise set of rules to students.

3. There are Some Really Specific and Uniquely Named Citation Styles

How specific can citation styles get? The answer is very. For example, the “Flavour and Fragrance Journal” style is based on a bimonthly, peer-reviewed scientific journal published since 1985 by John Wiley & Sons. It publishes original research articles, reviews and special reports on all aspects of flavor and fragrance. Another example is “Nordic Pulp and Paper Research,” a style used by an international scientific magazine covering science and technology for the areas of wood or bio-mass constituents.

4. More citations were created on  EasyBib.com  in the first quarter of 2018 than there are people in California.

The US Census Bureau estimates that approximately 39.5 million people live in the state of California. Meanwhile, about 43 million citations were made on EasyBib from January to March of 2018. That’s a lot of citations.

5. “Citations” is a Word With a Long History

The word “citations” can be traced back literally thousands of years to the Latin word “citare” meaning “to summon, urge, call; put in sudden motion, call forward; rouse, excite.” The word then took on its more modern meaning and relevance to writing papers in the 1600s, where it became known as the “act of citing or quoting a passage from a book, etc.”

6. Citation Styles are Always Changing

The concept of citations always stays the same. It is a means of preventing plagiarism and demonstrating where you relied on outside sources. The specific style rules, however, can and do change regularly. For example, in 2018 alone, 46 new citation styles were introduced , and 106 updates were made to exiting styles. At EasyBib, we are always on the lookout for ways to improve our styles and opportunities to add new ones to our list.

Why Citations Matter

Here are the ways accurate citations can help your students achieve academic success, and how you can answer the dreaded question, “why should I cite my sources?”

They Give Credit to the Right People

Citing their sources makes sure that the reader can differentiate the student’s original thoughts from those of other researchers. Not only does this make sure that the sources they use receive proper credit for their work, it ensures that the student receives deserved recognition for their unique contributions to the topic. Whether the student is citing in MLA format , APA format , or any other style, citations serve as a natural way to place a student’s work in the broader context of the subject area, and serve as an easy way to gauge their commitment to the project.

They Provide Hard Evidence of Ideas

Having many citations from a wide variety of sources related to their idea means that the student is working on a well-researched and respected subject. Citing sources that back up their claim creates room for fact-checking and further research . And, if they can cite a few sources that have the converse opinion or idea, and then demonstrate to the reader why they believe that that viewpoint is wrong by again citing credible sources, the student is well on their way to winning over the reader and cementing their point of view.

They Promote Originality and Prevent Plagiarism

The point of research projects is not to regurgitate information that can already be found elsewhere. We have Google for that! What the student’s project should aim to do is promote an original idea or a spin on an existing idea, and use reliable sources to promote that idea. Copying or directly referencing a source without proper citation can lead to not only a poor grade, but accusations of academic dishonesty. By citing their sources regularly and accurately, students can easily avoid the trap of plagiarism , and promote further research on their topic.

They Create Better Researchers

By researching sources to back up and promote their ideas, students are becoming better researchers without even knowing it! Each time a new source is read or researched, the student is becoming more engaged with the project and is developing a deeper understanding of the subject area. Proper citations demonstrate a breadth of the student’s reading and dedication to the project itself. By creating citations, students are compelled to make connections between their sources and discern research patterns. Each time they complete this process, they are helping themselves become better researchers and writers overall.

When is the Right Time to Start Making Citations?

Make in-text/parenthetical citations as you need them.

As you are writing your paper, be sure to include references within the text that correspond with references in a works cited or bibliography. These are usually called in-text citations or parenthetical citations in MLA and APA formats. The most effective time to complete these is directly after you have made your reference to another source. For instance, after writing the line from Charles Dickens’ A Tale of Two Cities : “It was the best of times, it was the worst of times…,” you would include a citation like this (depending on your chosen citation style):

(Dickens 11).

This signals to the reader that you have referenced an outside source. What’s great about this system is that the in-text citations serve as a natural list for all of the citations you have made in your paper, which will make completing the works cited page a whole lot easier. After you are done writing, all that will be left for you to do is scan your paper for these references, and then build a works cited page that includes a citation for each one.

Need help creating an MLA works cited page ? Try the MLA format generator on EasyBib.com! We also have a guide on how to format an APA reference page .

2. Understand the General Formatting Rules of Your Citation Style Before You Start Writing

While reading up on paper formatting may not sound exciting, being aware of how your paper should look early on in the paper writing process is super important. Citation styles can dictate more than just the appearance of the citations themselves, but rather can impact the layout of your paper as a whole, with specific guidelines concerning margin width, title treatment, and even font size and spacing. Knowing how to organize your paper before you start writing will ensure that you do not receive a low grade for something as trivial as forgetting a hanging indent.

Don’t know where to start? Here’s a formatting guide on APA format .

3. Double-check All of Your Outside Sources for Relevance and Trustworthiness First

Collecting outside sources that support your research and specific topic is a critical step in writing an effective paper. But before you run to the library and grab the first 20 books you can lay your hands on, keep in mind that selecting a source to include in your paper should not be taken lightly. Before you proceed with using it to backup your ideas, run a quick Internet search for it and see if other scholars in your field have written about it as well. Check to see if there are book reviews about it or peer accolades. If you spot something that seems off to you, you may want to consider leaving it out of your work. Doing this before your start making citations can save you a ton of time in the long run.

Finished with your paper? It may be time to run it through a grammar and plagiarism checker , like the one offered by EasyBib Plus. If you’re just looking to brush up on the basics, our grammar guides  are ready anytime you are.

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An Assessment of Uncertainties in Coastal Flooding

Add to collection, downloadable content.

• Affiliation: College of Arts and Sciences, Department of Marine Sciences
• Growth in coastal flooding risks in recent decades has been met by significant advances both in our understanding of the processes involved and our modeling and prediction abilities. However, understanding of uncertainties and particularly the stochastic aspects of the problem have lagged. Most efforts to-date use mathematically robust approaches but are either conceptually narrow, studying only a small part of total uncertainties, or conceptually flawed, relying on invalid premises and misattributing actual uncertainties. This is not coincidental: uncertainty quantification is hard because there is rarely enough data of sufficient quality to robustly assess errors. And without overwhelming amounts of data, a hearty understanding of the physical and statistical aspects of both the system and the data are essential. With these challenges in mind, this dissertation attempts to reduce uncertainties in coastal flooding while improving our understanding of those uncertainties and their underlying causes. Throughout, focus is placed on expressing both what can and cannot be achieved, given limits in data, methods, and resources. After an introductory chapter, Chapter 2 identifies the sources of gradually varying errors in numerical models of coastal water level and develops a data assimilation method to correct for them. Chapter 3 uses a hindcast of coastal flooding from Hurricane Irma to study the effects of model calibration and measurement error. Chapter 4 reviews the state of coastal flood modeling and performs a metanalysis of hindcast studies. Through this, it assembles a large dataset of measured and modeled water levels, which are used to argue that model errors scale with the natural structure of the system. Finally, Chapter 5 uses the same dataset to study model error structures in detail, first proving the hypotheses in Chapter 4, then developing models to predict errors in simulated surges.
• Fluid mechanics
• Statistical physics
• uncertainty
• Physical oceanography
• https://doi.org/10.17615/vcvs-cz87
• Dissertation
• In Copyright - Educational Use Permitted
• Luettich, Rick
• Bensi, Michelle
• Blanton, Brian
• Smith, Richard
• Doctor of Philosophy
• University of North Carolina at Chapel Hill Graduate School

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