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How can indie authors raise their game through academic-style rigour? How might AI tools fit into a thoughtful research process without replacing the joy of discovery? Melissa Addey explores the intersection of scholarly discipline, creative writing, and the practical realities of building an author career. In the intro, mystery and thriller tropes [Wish I'd Known Then]; The differences between trad and indie in 2026 [Productive Indie Fiction Writer]; Five phases of an author business [Becca Syme]; Bones of the Deep – J.F. Penn; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Making the leap from a corporate career to full-time writing with a young family Why Melissa pursued a PhD in creative writing and how it fuelled her author business What indie authors can learn from academic rigour when researching historical fiction The problems with academic publishing—pricing, accessibility, and creative restrictions Organising research notes, avoiding accidental plagiarism, and knowing when to stop researching Using AI tools effectively as part of the research process without losing your unique voice You can find Melissa at MelissaAddey.com. Transcript of the interview with Melissa Addey JOANNA: Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. Welcome back to the show, Melissa. MELISSA: Hello. Thank you for having me. JOANNA: It's great to have you back. You were on almost a decade ago, in December 2016, talking about merchandising for authors. That is really a long time ago. So tell us a bit more about you and how you got into writing and self-publishing. MELISSA: I had a regular job in business and I was writing on the side. I did a couple of writing courses, and then I started trying to get published, and that took seven years of jumping through hoops. There didn't seem to be much progress. At some point, I very nearly had a small publisher, but we clashed over the cover because there was a really quite hideous suggestion that was not going to work. I think by that point I was really tired of jumping through hoops, really trying to play the game traditional publishing-wise. I just went, you know what? I've had enough now. I've done everything that was asked of me and it's still not working. I'll just go my own way. I think at the time that would've been 2015-ish. Suddenly, self-publishing was around more. I could see people and hear people talking about it, and I thought, okay, let's read everything there is to know about this. I had a little baby at the time and I would literally print off stuff during the day to read—probably loads of your stuff—and read it at two o'clock in the morning breastfeeding babies. Then I'd go, okay, I think I understand that bit now, I'll understand the next bit, and so on. So I got into self-publishing and I really, really enjoyed it. I've been doing it ever since. I'm now up to 20 books in the last 10 or 11 years. As you say, I did the creative writing PhD along the way, working with ALLi and doing workshops for others—mixing and matching lots of different things. I really enjoy it. JOANNA: You mentioned you had a job before in business. Are you full-time in all these roles that you're doing now, or do you still have that job? MELISSA: No, I'm full-time now. I only do writing-related things. I left that in 2015, so I took a jump. I was on maternity leave and I started applying for jobs to go back to, and I suddenly felt like, oh, I really don't want to. I want to do the writing. I thought, I've got about one year's worth of savings. I could try and do the jump. I remember saying to my husband, “Do you think it would be possible if I tried to do the jump? Would that be okay?” There was this very long pause while he thought about it. But the longer the pause went on, the more I was thinking, ooh, he didn't say no, that is out of the question, financially we can't do that. I thought, ooh, it's going to work. So I did the jump. JOANNA: That's great. I did something similar and took a massive pay cut and downsized and everything back in the day. Having a supportive partner is so important. The other thing I did—and I wonder if you did too—I said to Jonathan, my husband, if within a year this is not going in a positive direction, then I'll get another job. How long did you think you would leave it before you just gave up? And how did that go? Because that beginning is so difficult, especially with a new baby. MELISSA: I thought, well, I'm at home anyway, so I do have more time than if I was in a full-time job. The baby sleeps sometimes—if you're lucky—so there are little gaps where you could really get into it. I had a year of savings/maternity pay going on, so I thought I've got a year. And the funny thing that happened was within a few months, I went back to my husband and I was like, I don't understand. I said, all these doors are opening—they weren't massive, but they were doors opening. I said, but I've wanted to be a writer for a long time and none of these doors have opened before. He said, “Well, it's because you really committed. It's because you jumped. And when you jump, sometimes the universe is on board and goes, yes, all right then, and opens some doors for you.” It really felt like that. Even little things—like Writing Magazine gave me a little slot to do an online writer-in-residence thing. Just little doors opened that felt like you were getting a nod, like, yes, come on then, try. Then the PhD was part of that. I applied to do that and it came with a studentship, which meant I had three years of funding coming in. That was one of the biggest creative gifts that's ever been given to me—three years of knowing you've got enough money coming in that you can just try and make it work. By the time that finished, the royalties had taken over from the studentship. That was such a gift. JOANNA: A couple of things there. I've got to ask about that funding. You're saying it was a gift, but that money didn't just magically appear. You worked really hard to get that funding, I presume. MELISSA: I did, yes. You do have to do the work for it, just to be clear. My sister had done a PhD in an entirely different subject. She said, “You should do a PhD in creative writing.” I said, “That'd be ridiculous. Nobody is going to fund that. Who's going to fund that?” She said, “Oh, they might. Try.” So I tried, and the deadline was something stupid like two weeks away. I tried and I got shortlisted, but I didn't get it. I thought, ah, but I got shortlisted with only two weeks to try. I'll try again next year then. So then I tried again the next year and that's when I got it. It does take work. You have to put in quite a lot of effort to make your case. But it's a very joyful thing if you get one. JOANNA: So let's go to the bigger question: why do a PhD in creative writing? Let's be clear to everyone—you don't need even a bachelor's degree to be a successful author. Stephen King is a great example of someone who isn't particularly educated in terms of degrees. He talks about writing his first book while working at a laundry. You can be very successful with no formal education. So why did you want to do a PhD? What drew you to academic research? MELISSA: Absolutely. I would briefly say, I often meet people who feel they must do a qualification before they're allowed to write. I say, do it if you'd like to, but you don't have to. You could just practise the writing. I fully agree with that. It was a combination of things. I do actually like studying. I do actually enjoy the research—that's why I do historical research. I like that kind of work. So that's one element. Another element was the funding. I thought, if I get that funding, I've got three years to build up a back catalogue of books, to build up the writing. It will give me more time. So that was a very practical financial issue. Also, children. My children were very little. I had a three-year-old and a baby, and everybody went, “Are you insane? Doing a PhD with a three-year-old and a baby?” But the thing about three-year-olds and babies is they're quite intellectually boring. Emotionally, very engaging—on a number of levels, good, bad, whatever—but they're not very intellectually stimulating. You're at home all day with two small children who think that hide and seek is the highlight of intellectual difficulty because they've hidden behind the curtains and they're shuffling and giggling. I felt I needed something else. I needed something for me that would be interesting. I've always enjoyed passing on knowledge. I've always enjoyed teaching people, workshops, in whatever field I was in. I thought, if I want to do that for writing at some point, it will sound more important if I've done a PhD. Not that you need that to explain how to do writing to someone if you do a lot of writing. But there were all these different elements that came together. JOANNA: So to summarise: you enjoy the research, it's an intellectual challenge, you've got the funding, and there is something around authority. In terms of a PhD—and just for listeners, I'm doing a master's at the moment in death, religion, and culture. MELISSA: Your topic sounds fascinating. JOANNA: It is interesting because, same as you, I enjoy research. Both of us love research as part of our fiction process and our nonfiction. I'm also enjoying the intellectual challenge, and I've also considered this idea of authority in an age of AI when it is increasingly easy to generate books—let's just say it, it's easy to generate books. So I was like, well, how do I look at this in a more authoritative way? I wanted to talk to you because even just a few months back into it—and I haven't done an academic qualification for like two decades—it struck me that the academic rigour is so different. What lessons can indie authors learn from this kind of academic rigour? What do you think of in terms of the rigour and what can we learn? MELISSA: I think there are a number of things. First of all, really making sure that you are going to the quality sources for things—the original sources, the high-quality versions of things. Not secondhand, but going back to those primary sources. Not “somebody said that somebody said something.” Well, let's go back to the original. Have a look at that, because you get a lot from that. I think you immerse yourself more deeply. Someone can tell you, “This is how they spoke in the 1800s.” If you go and read something that was written in the 1800s, you get a better sense of that than just reading a dictionary of slang that's been collated for you by somebody else. So I think that immerses you more deeply. Really sticking with that till you've found interesting things that spark creativity in you. I've seen people say, “I used to do all the historical research. Nowadays I just fact-check. I write what I want to write and I fact-check.” I think, well, that's okay, but you won't find the weird little things. I tend to call it “the footnotes of history.” You won't find the weird little things that really make something come alive, that really make a time and a place come alive. I've got a scene in one of my Regency romances—which actually I think are less full of historical emphasis than some of my other work—where a man gives a woman a gift. It's supposed to be a romantic gift and maybe slightly sensual. He could have given her a fan and I could have fact-checked and gone, “Are there fans? Yes, there are fans. Do they have pretty romantic poems on them? Yes, they do. Okay, that'll do.” Actually, if you go round and do more research than that, you discover they had things like ribbons that held up your stockings, on which they wrote quite smutty things in embroidery. That's a much more sexy and interesting gift to give in that scene. But you don't find that unless you go doing a bit of research. If I just fact-check, I'm not going to find that because it would never have occurred to me to fact-check it in the first place. JOANNA: I totally agree with you. One of the wonderful things about research—and I also like going to places—is you might be somewhere and see something that gives you an idea you never, ever would have found in a book or any other way. I used to call it “the serendipity of the stacks” in the physical library. You go looking for a particular book and then you're in that part of the shelf and you find several other books that you never would have looked for. I think it's encouraging people, as you're saying, but I also think you have to love it. MELISSA: Yes. I think some people find it a bit of a grind, or they're frightened by it and they think, “Have I done enough?” JOANNA: Mm-hmm. MELISSA: I get asked that a lot when I talk about writing historical fiction. People go, “But when do I stop? How do I know it's enough? How do I know there wasn't another book that would have been the book? Everyone will go, ‘Oh, how did you not read such-and-such?'” I always say there are two ways of finding out when you can stop. One is when you get to the bibliographies, you look through and you go, “Yep, read that, read that, read that. Nah, I know that one's not really what I wanted.” You're familiar with those bibliographies in a way that at the beginning you're not. At the beginning, every single bibliography, you haven't read any of it. So that's quite a good way of knowing when to stop. The other way is: can you write ordinary, everyday life? I don't start writing a book till I can write everyday life in that historical era without notes. I will obviously have notes if I'm doing a wedding or a funeral or a really specific battle or something. Everyday life, I need to be able to just write that out of my own head. You need to be confident enough to do that. JOANNA: One of the other problems I've heard from academics—people who've really come out of academia and want to write something more pop, even if it's pop nonfiction or fiction—they're also really struggling. It is a different game, isn't it? For people who might be immersed in academia, how can they release themselves into doing something like self-publishing? Because there's still a lot of stigma within academia. MELISSA: You're going to get me on the academic publishing rant now. I think academic publishing is horrendous. Academics are very badly treated. I know quite a lot of academics and they have to do all the work. Nobody's helping them with indexing or anything like that. The publisher will say things like, “Well, could you just cut 10,000 words out of that?” Just because of size. Out of somebody's argument that they're making over a whole work. No consideration for that. The royalties are basically zilch. I've seen people's royalty statements come in, and the way they price the books is insane. They'll price a book at 70 pounds. I actually want that book for my research and I'm hesitating because I can't be buying all of them at that price. That's ridiculous. I've got people who are friends or family who bring out a book, and I'm like, well, I would gladly buy your book and read it. It's priced crazy. It's priced only for institutions. I think actually, if academia was written a little more clearly and open to the lay person—which if you are good at your work, you should be able to do—and priced a bit more in line with other books, that would maybe open up people to reading more academia. You wouldn't have to make it “pop” as you say. I quite like pop nonfiction. But I don't think there would have to be such a gulf between those two. I think you could make academic work more readable generally. I read someone's thesis recently and they'd made a point at the beginning of saying—I can't remember who it was—that so-and-so academic's point of view was that it should be readable and they should be writing accordingly. I thought, wow, I really admired her for doing that. Next time I'm doing something like that, I should be putting that at the front as well. But the fact that she had to explain that at the beginning… It wasn't like words of one syllable throughout the whole thing. I thought it was a very quality piece of writing, but it was perfectly readable to someone who didn't know about the topic. JOANNA: I might have to get that name from you because I've got an essay on the Philosophy of Death. And as you can imagine, there's a heck of a lot of big words. MELISSA: I know. I've done a PhD, but I still used to tense up a little bit thinking they're going to pounce on me. They're going to say that I didn't talk academic enough, I didn't sound fancy enough. That's not what it should be about, really. In a way, you are locking people out of knowledge, and given that most academics are paid for by public funds, that knowledge really ought to be a little more publicly accessible. JOANNA: I agree on the book price. I'm also buying books for my course that aren't in the library. Some of them might be 70 pounds for the ebook, let alone the print book. What that means is that I end up looking for secondhand books, when of course the money doesn't go to the author or the publisher. The other thing that happens is it encourages piracy. There are people who openly talk about using pirate sites for academic works because it's just too expensive. If I'm buying 20 books for my home library, I can't be spending that kind of money. Why is it so bad? Why is it not being reinvented, especially as we have done with indie authors for the wider genres? Has this at all moved into academia? MELISSA: I think within academia there's a fear because there's the peer reviews and it must be proven to be absolutely correct and agreed upon by everybody. I get that. You don't want some complete rubbish in there. I do think there's space to come up with a different system where you could say, “So-and-so is professor of whatever at such-and-such a university. I imagine what they have to say might be interesting and well-researched.” You could have some sort of kite mark. You could have something that then allows for self-publishing to take over a bit. I do just think their system is really, really poor. They get really reined in on what they're allowed to write about. Alison Baverstock, who is a professor now at Kingston University and does stuff about publishing and master's programmes, started writing about self-publishing because she thought it was really interesting. This was way back. JOANNA: I remember. I did one of those surveys. MELISSA: She got told in no uncertain terms, “Do not write about this. You will ruin your career.” She stuck with it. She was right to stick with it. But she was told by senior academics, “Do not write about self-publishing. You're just embarrassing yourself. It's just vanity press.” They weren't even being allowed to write about really quite interesting phenomena that were happening. Just from a historical point of view, that was a really interesting rise of self-publishing, and she was being told not to write about it. JOANNA: It's funny, that delay as well. I'm looking to maybe do my thesis on how AI is impacting death and the death industry. And yet it's such a fast-moving thing. MELISSA: Yes. JOANNA: Sometimes it can take a year, two years or more to get a paper through the process. MELISSA: Oh, yes. It moves really, really fast. Like you say, by the time it comes out, people are going, “Huh? That's really old.” And you'll be going, “No, it's literally two years.” But yes, very, very slow. JOANNA: Let's come back to how we can help other people who might not want to be doing academic-level stuff. One of the things I've found is organising notes, sources, references. How do you manage that? Any tips for people? They might not need to do footnotes for their historical novel, but they might want to organise their research. What are your thoughts? MELISSA: I used to do great big enormous box files and print vast quantities of stuff. Each box file would be labelled according to servant life, or food, or seasons, or whatever. I've tried various different things. I'm moving more and more now towards a combination of books on the shelf, which I do like, and papers and other materials that are stored on my computer. They'll be classified according to different parts of daily life, essentially. Because when you write historical fiction, you have to basically build the whole world again for that era. You have to have everything that happens in daily life, everything that happens on special events, all of those things. So I'll have it organised by those sorts of topics. I'll read it and go through it until I'm comfortable with daily life. Then special things—I'll have special notes on that that can talk me through how you run a funeral or a wedding or whatever, because that's quite complicated to just remember in your head. MELISSA: I always do historical notes at the end. They really matter to me. When I read historical fiction, I really like to read that from the author. I'll say, “Right, these things are true”—especially things that I think people will go, “She made that up. That is not true.” I'll go, “No, no, these are true.” These other things I've fudged a little, or I've moved the timeline a bit to make the story work better. I try to be fairly clear about what I did to make it into a story, but also what is accurate, because I want people to get excited about that timeline. Occasionally if there's been a book that was really important, I'll mention it in there because I don't want to have a proper bibliography, but I do want to highlight certain books. If you got excited by this novel, you could go off and read that book and it would take you into the nonfiction side of it. JOANNA: I'm similar with my author's notes. I've just done the author's note for Bones of the Deep, which has some merfolk in it, and I've got a book on Merpeople. It's awesome. It's just a brilliant book. I'm like, this has to go in. You could question whether that is really nonfiction or something else. But I think that's really important. Just to be more practical: when you're actually writing, what tools do you use? I use Scrivener and I keep all my research there. I'm using EndNote for academic stuff. MELISSA: I've always just stuck to Word. I did get Scrivener and played with it for a while, but I felt like I've already got a way of doing it, so I'll just carry on with that. So I mostly just do Word. I have a lot of notes, so I'll have notepads that have got my notes on specific things, and they'll have page numbers that go back to specific books in case I need to go and double-check that again. You mentioned citations, and that's fascinating to me. Do you know the story about Angle of Repose by Wallace Stegner? It won the Pulitzer. It's a novel, but he used 10% of that novel—and it's a fairly slim novel—10% of it is actually letters written by somebody else, written by a woman before his time. He includes those and works with them in the story. He mentioned her very briefly, like, “Oh, and thanks to the relatives of so-and-so.” Very brief. He got accused of plagiarism for using that much of it by another part of her family who hadn't agreed to it. I've always thought it's because he didn't give enough credence to her. He didn't give her enough importance. If he'd said, “This was the woman who wrote this stuff. It's fascinating. I loved it. I wanted to creatively respond and engage with it”—I think that wouldn't have happened at all. That's why I think it's quite important when there are really big, important elements that you're using to acknowledge those. JOANNA: That's part of the academic rigour too— You can barely have a few of your own thoughts without referring to somebody else's work and crediting them. What's so interesting to me in the research process is, okay, I think this, but in order to say it, I'm going to have to go find someone else who thought this first and wrote a paper on it. MELISSA: I think you would love a PhD. When you've done a master's, go and do a PhD as well. Because it was the first time in academia that I genuinely felt I was allowed my own thoughts and to invent stuff of my own. I could go, “Oh no, I've invented this theory and it's this.” I didn't have to constantly go, “As somebody else said, as somebody else said.” I was like, no, no. This is me. I said this thing. I wasn't allowed to in my master's, and I found it annoying. I remember thinking, but I'm trying to have original thoughts here. I'm trying to bring something new to it. In a PhD, you're allowed to do that because you're supposed to be contributing to knowledge. You're supposed to be bringing a new thing into the world. That was a glorious thing to finally be allowed to do. JOANNA: I must say I couldn't help myself with that. I've definitely put my own opinion. But a part of why I mention it is the academic rigour—it's actually quite good practice to see who else has had these thoughts before. Speed is one of the biggest issues in the indie author community. Some of the stuff you were talking about—finding original sources, going to primary sources, the top-quality stuff, finding the weird little things—all of that takes more time than, for example, just running a deep research report on Gemini or Claude or ChatGPT. You can do both. You can use that as a starting point, which I definitely do. But then the point is to go back and read the original stuff. On this timeframe— Why do you think research is worth doing? It's important for academic reasons, but personal growth as well. MELISSA: Yes, I think there's a joy to be had in the research. When I go and stand in a location, by that point I'm not measuring things and taking photos—I've done all of that online. I'm literally standing there feeling what it is to be there. What does it smell like? What does it feel like? Does it feel very enclosed or very open? Is it a peaceful place or a horrible place? That sensory research becomes very important. All of the book research before that should lead you into the sensory research, which is then also a joy to do. There's great pleasure in it. As you say, it slows things down. What I tend to say to people if they want to speed things up again is: write in a series. Because once you've done all of that research and you just write one book and then walk away, that's a lot. That really slows you down. If you then go, “Okay, well now I'm going to write four books, five books, six books, still in that place and time”—obviously each book will need a little more research, but it won't need that level of starting-from-scratch research. That can help in terms of speeding it back up again. Recently I wrote some Regency romances to see what that was like. I'd done all my basic research, and then I thought, right, now I want to write a historical novel which could have been Victorian or could have been Regency. It had an openness to it. I thought, well, I've just done all the research for Regency, so I'll stick with that era. Why go and do a whole other piece of research when I've only written three books in it so far? I'll just take that era and work with that. So there are places to make up the time again a bit. But I do think there's a joy in it as well. JOANNA: I just want to come back to the plagiarism thing. I discovered that you can plagiarise yourself in academia, which is quite interesting. For example, my books How to Write a Novel and How to Write Nonfiction—they're aimed at different audiences. They have lots of chapters that are different, but there's a chapter on dictation. I thought, why would I need to write the same chapter again? I'm just going to put the same chapter in. It's the same process. Then I only recently learned that you can plagiarise yourself. I did not credit myself for that original chapter. MELISSA: How dare you not credit yourself! JOANNA: But can you talk a bit about that? Where are the lines here? I'm never going to credit myself. I think that's frankly ridiculous. MELISSA: No, that's silly. I mean, it depends what you're doing. In your case, that completely makes sense. It would be really peculiar of you to sit down and write a whole new chapter desperately trying not to copy what you'd said in a chapter about exactly the same topic. That doesn't make any sense. JOANNA: I guess more in the wider sense. Earlier you mentioned you keep notes and you put page numbers by them. I think the point is with research, a lot of people worry about accidental plagiarism. You write a load of notes on a book and then it just goes into your brain. Perhaps you didn't quote people properly. It's definitely more of an issue in nonfiction. You have to keep really careful notes. Sometimes I'm copying out a quote and I'll just naturally maybe rewrite that quote because the way they've put it didn't make sense, or I use a contraction or something. It's just the care in note-taking and then citing people. MELISSA: Yes. When I talk to people about nonfiction, I always say, you're basically joining a conversation. I mean, you are in fiction as well, but not as obviously. I say, well, why don't you read the conversation first? Find out what the conversation is in your area at the moment, and then what is it that you're bringing that's different? The most likely reason for you to end up writing something similar to someone else is that you haven't understood what the conversation was, and you need to be bringing your own thing to it. Then even if you're talking about the same topic, you might talk about it in a different way, and that takes you away from plagiarism because you're bringing your own view to it and your own direction to it. JOANNA: It's an interesting one. I think it's just the care. Taking more care is what I would like people to do. So let's talk about AI because AI tools can be incredible. I do deep research reports with Gemini and Claude and ChatGPT as a sort of “give me an overview and tell me some good places to start.” The university I'm with has a very hard line, which is: AI can be used as part of a research process, but not for writing. What are your thoughts on AI usage and tools? How can people balance that? MELISSA: Well, I'm very much a newbie compared to you. I follow you—the only person that describes how to use it with any sense at all, step by step. I'm very new to it, but I'm going to go back to the olden days. Sometimes I say to people, when I'm talking about how I do historical research, I start with Wikipedia. They look horrified. I'm like, no. That's where you have to get the overview from. I want an overview of how you dress in ancient Rome. I need a quick snapshot of that. Then I can go off and figure out the details of that more accurately and with more detail. I think AI is probably extremely good for that—getting the big picture of something and going, okay, this is what the field's looking like at the moment. These are the areas I'm going to need to burrow down into. It's doing that work for you quickly so that you're then in a position to pick up from that point. It gets you off to a quicker start and perhaps points you in the direction of the right people to start with. I'm trying to write a PhD proposal at the moment because I'm an idiot and want to do a second one. With that, I really did think, actually, AI should write this. Because the original concept is mine. I know nothing about it—why would I know anything about it? I haven't started researching it. This is where AI should go, “Well, in this field, there are these people. They've done these things.” Then you could quickly check that nobody's covered your thing. It would actually speed up all of that bit, which I think would be perfectly reasonable because you don't know anything about it yet. You're not an expert. You have the original idea, and then after that, then you should go off and do your own research and the in-depth quality of it. I think for a lot of things that waste authors' time—if you're applying for a grant or a writer-in-residence or things like that—it's a lot of time wasting filling in long, boring forms. “Could you make an artist statement and a something and a blah?” You're like, yes, yes, I could spend all day at my desk doing that. There's a moment where you start thinking, could you not just allow the AI to do this or much of it? JOANNA: Yes. Or at least, in that case, I'd say one of the very useful things is doing deep searches. As you were mentioning earlier about getting the funding—if I was to consider a PhD, which the thought has crossed my mind—I would use AI tools to do searches for potential sources of funding and that kind of research. In fact, I found this course at Winchester because I asked ChatGPT. It knows a lot about me because I chat with it all the time. I was talking about hitting 50 and these are the things I'm really interested in and what courses might interest me. Then it found it for me. That was quite amazing in itself. I'd encourage people to consider using it for part of the research process. But then all the papers it cites or whatever—then you have to go download those, go read them, do that work yourself. MELISSA: Yes, because that's when you bring your viewpoint to something. You and I could read the exact same paper and choose very different parts of it to write about and think about, because we're coming at it from different points of view and different journeys that we're trying to explore. That's where you need the individual to come in. It wouldn't be good enough to just have a generic overview from AI that we both try and slot into our work, because we would want something different from it. JOANNA: I kind of laugh when people say, “Oh, I can tell when it's AI.” I'm like, you might be able to tell when it's AI writing if nobody has taken that personal spin, but that's not the way we use it. If you're using it that way, that's not how those of us who are independent thinkers are using it. We're strong enough in our thoughts that we're using it as a tool. You're a confident person—intellectually and creatively confident—but I feel like some people maybe don't have that. Some people are not strong enough to resist what an AI might suggest. Any thoughts on that? MELISSA: Yes. When I first tried using AI with very little guidance from anyone, it just felt easy but very wooden and not very related to me. Then I've done webinars with you, and that was really useful—to watch somebody actually live doing the batting back and forth. That became a lot more interesting because I really like bouncing ideas and messing around with things and brainstorming, essentially, but with somebody else involved that's batting stuff back to you. “What does that look like?” “No, I didn't mean that at all.” “How about what does this look like?” “Oh no, no, not like that.” “Oh yes, a bit like that, but a bit more like whatever.” I remember doing that and talking to someone about it, going, “Oh, that's really quite an interesting use of it.” And they said, “Why don't you use a person?” I said, “Well, because who am I going to call at 8:30 in the morning on a Thursday and go, ‘Look, I want to spend two hours batting back and forth ideas, but I don't want you to talk about your stuff at all. Just my stuff. And you have to only think about my stuff for two hours. And you have to be very well versed in my stuff as well. Could you just do that?'” Who's going to do that for you? JOANNA: I totally agree with you. Before Christmas, I was doing a paper. It was an art history thing. We had to pick a piece of art or writing and talk about Christian ideas of hell and how it emerged. I was writing this essay and going back and forth with Claude at the time. My husband came in and saw the fresco I was writing about. He said, “No one's going to talk to you about this. Nobody.” MELISSA: Yes, exactly. JOANNA: Nobody cares. MELISSA: Exactly. Nobody cares as much as you. And they're not prepared to do that at 8:30 on a Thursday morning. They've got other stuff to do. JOANNA: It's great to hear because I feel like we're now at the point where these tools are genuinely super useful for independent work. I hope that more people might try that. JOANNA: Okay, we're almost out of time. Where can people find you and your books online? Also, tell us a bit about the types of books you have. MELISSA: I mostly write historical fiction. As I say, I've wandered my way through history—I'm a travelling minstrel. I've done ancient Rome, medieval Morocco, 18th century China, and I'm into Regency England now. So that's a bit closer to home for once. I'm at MelissaAddey.com and you can go and have a bit of a browse and download a free novel if you want. Try me out. JOANNA: Brilliant. Well, thanks so much for your time, Melissa. MELISSA: That was great. Thank you. It was fun. The post Research Like An Academic, Write Like an Indie With Melissa Addey first appeared on The Creative Penn.

Marty and Eric look at tools that organize, polish, and publish your academic work — balancing power, simplicity, and ethical use.All-in-One Writing and OrganizationScrivener – Powerful long-form writing, corkboard planning, manuscript export.https://www.literatureandlatte.com/scrivener Manuscripts App – Simplified alternative to Scrivener with structure tools.https://www.manuscriptsapp.com/ Ulysses – Distraction-free Markdown writing for blogs & articles.https://ulysses.app/ yWriter – Free project-based writing tool good for dissertations or long reports.https://www.spacejock.com/yWriter.html Academic and Collaboration PlatformsOverleaf – Collaborative LaTeX editor with journal templates & real-time co-authoring.https://www.overleaf.com/ Authorea – Hybrid LaTeX/WYSIWYG tool for scientific papers and preprints.https://www.authorea.com/ Google Docs – Ubiquitous collaborative writing & version history.https://docs.google.com/ AI-Assisted and Grammar EnhancersGrammarly – Context-aware grammar & tone checking.https://www.grammarly.com/ ProWritingAid – Deep style and structure feedback, integrates with Word & Scrivener.https://prowritingaid.com/ LanguageTool – Open-source multilingual grammar checker.https://languagetool.org/ Writefull for Overleaf – AI-based academic English feedback built into Overleaf.https://www.overleaf.com/learn/how-to/Writefull_integration Ginger Software – Real-time grammar & sentence rephraser.https://www.gingersoftware.com/ Citation & Reference ManagersZotero – Free open-source reference manager & PDF organizer.https://www.zotero.org /Mendeley Reference Manager – Integrated PDF annotations & bibliographies.https://www.mendeley.com/ EndNote 20 – Professional citation tool with journal style templates.https://endnote.com/ Moderate and Accessible AlternativesFocusWriter – Minimalist writing interface to reduce distraction.https://gottcode.org/focuswriter/ Typora – Seamless Markdown editor for structured notes & drafts.https://typora.io/ Notion – Modular workspace for research organization and writing.https://www.notion.so/ Email: ThePoTalkNetwork@gmail.comWebsite: https://ThePodTalk.netYouTube: https://www.youtube.com/@TechSavvyProfessor

In this episode of the International Enneagram Association podcast, we listen to the Endnote presentation by Chichi Agorom from the IEA Global Conference in 2023. Chichi is a certified Enneagram teacher and practitioner, Associate Faculty with the Narrative Enneagram, and holds a Master of Arts in Clinical Mental Health Counseling and a Post-Master's Certificate in Marriage and Family Therapy. Drawing from the theme of the conference–Unite and Ignite–she discusses how the Enneagram can be used as a tool for our collective liberation, drawing from her book, “The Enneagram for Black Liberation.” She explores how motivation behind our behavior and context–social, race, gender, social economics, religion, etc, that impact how we see ourselves and other people–are important for our inner work.Connect with us:Web: internationalenneagram.orgIEA Enneagram Experience 2025: ieaexperience.comJoin the email list: administration@internationalenneagram.orgIEA Conference Proposal Submission Information & Guidelines: internationalenneagram.org/wp-content/uploads/2024/07/2025-Proposal-Submission-Information-Guidelines.pdfIEA Global Podcast Proposal Submission Form: forms.gle/Q48QXSwQ3zDfDJaJAChichi Agorom:Web: chichiagorom.comBook: The Enneagram for Black LiberationIG: @theenneagramforblackliberationAephoria Partners:Web: aephoriapartners.comFB: Aephoria Partners Consulting

Eric and Marty review tips for using reference managers for scholarship and some of the experiences they have had using them.Getting StartedPick One & Stick With ItBoth tools are excellent—Zotero is known for openness and simplicity, Mendeley integrates tightly with PDFs and is Elsevier-backed. Try both, but avoid switching mid-project.Install the Browser ConnectorThe Zotero and Mendeley browser plugins let you grab citation info from journal websites, Google Scholar, or library databases with one click.Organize Like a ProUse Folders & TagsStructure your library by project, course, or publication. Tags help track themes like "qualitative," "AI," or "must-read."Group Your PDFsDrag and drop PDFs onto entries; most tools auto-extract citation data. If not, use “Retrieve Metadata” to save time.Citation ShortcutsCite While You WriteInstall Word or Google Docs plugins to insert properly formatted citations as you write—choose APA, MLA, Chicago, etc., on the fly.One-Click BibliographyNeed a full reference list? Select your items, right-click, and export a perfectly formatted bibliography instantly.Collaborate with EaseShared Libraries for TeamsCreate shared groups for research collaborators, teaching teams, or student assistants. Everyone stays synced, no duplicate files.Advanced Power-User TipsAnnotation & Highlighting (Mendeley specific)Annotate PDFs directly within Mendeley, great for paper reviews or class prep.Search Full-Text PDFs (Zotero with plugin)Zotero indexes PDFs so you can search the contents of your sources, not just titles/authors.Backup & SyncAlways Sync to the CloudUse Zotero or Mendeley's sync features to back up your library across devices. You can also export a local backup just in case.Mendeley - https://www.mendeley.com/reference-management/reference-manager Zotero - https://www.zotero.org/ RefWorks - https://refworks.proquest.com/learn-more/ EndNote - https://endnote.com/ Paperpile - https://paperpile.com/ Email: Thepotalknetwork@gmail.com Website: ThePodTalk.Net

Herzlich willkommen zu „Fit für die IHK“ – deinem Begleiter auf dem Weg zur Abschlussprüfung als Kauffrau oder Kaufmann im Gesundheitswesen! In diesem Podcast erfährst du alles Wichtige rund um die schriftliche und mündliche IHK-Prüfung 2025. Wir schauen gemeinsam auf die Prüfungsinhalte, geben dir hilfreiche Tipps zur Vorbereitung und erklären dir ganz genau, wie sich deine Endnote zusammensetzt. Egal ob Rechnungswesen, Organisation oder das Fachgespräch – mit diesem Podcast bist du bestens vorbereitet. Los geht's!Alles Gute und viel Erfolg, euer Thomas Montag.Kontakt zu uns: www.cotrain-berlin.com

On today's episode of Architectette we chat with Erin Peavey. Erin is an architect, researcher, and the Health & Well-being Design Leader at HKS. She bridges the gap between research and practice with a focus on design for health, happiness, and social connection.We talk about: - Erin's career journey: her early exposure to environmental psychology, how she navigated uncertainties in her career, and how she came to lead healthcare and community-focused architecture projects.- We talk about the importance of research and data and how this information can guide architectural decisions that promote health and wellbeing. - We also talk about loneliness and the importance of social connection. We focus on strategies to design spaces that foster belonging, community, and connection, with an emphasis on the impacts of the pandemic and how mindful engagement can reduce loneliness and lack of connection____Thank you to our sponsors:⁠⁠⁠⁠⁠⁠Arcol⁠⁠⁠⁠⁠⁠ is a collaborative building design tool built for modern teams. Arcol streamlines your design process by keeping your model, data and presentations in sync enabling your team to work together seamlessly.- Website:⁠⁠⁠⁠⁠⁠ Arcol.io⁠⁠⁠⁠⁠⁠- LinkedIn: ⁠⁠⁠⁠⁠⁠https://www.linkedin.com/company/arcol-tech⁠⁠⁠⁠⁠⁠- Twitter/ X:⁠⁠⁠⁠⁠⁠ https://x.com/ArcolTech⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Layer⁠⁠⁠⁠⁠ is the workflow platform for buildings, empowering teams to capture field data & photos, connect it to their drawings & models, and create beautiful deliverables & reports.Use Layer to build your own workflow to generate Room Data Sheets from Revit, manage your CA processes such as RFIs or Punch lists, conduct field surveys and much more. The best thing is, it's all connected directly to Revit so you'll never have to copy and paste data between windows again.- Website:⁠⁠⁠⁠⁠ https://layer.team/architectette⁠⁠⁠⁠⁠____Links:Website: www.erinpeavey.comErin's Writing: https://www.psychologytoday.com/us/contributors/erin-peaveyConnect with Erin: https://www.linkedin.com/in/erinpeavey/ and https://www.instagram.com/erin.peavey/Peace by Design Book: https://www.erinpeavey.com/news/peace-by-designErin's Recommended Resources: Dr. Mardelle Shepley, Dr. Kirk Hamilton, HERD Journal, Psychology Today, EndNote, Mendeley, JSTOR, Google Scholar (use "peer review"!), Research Gate, Visual Refence for Evidence Based Design, and senior living topical books by Margaret Calkins.____Connect with Architectette:- Website: ⁠⁠⁠⁠⁠ www.architectette.com⁠⁠⁠⁠⁠ (Learn more)- Instagram:⁠⁠⁠⁠⁠ @architectette⁠⁠⁠⁠⁠ (See more)- Newsletter:⁠⁠⁠⁠⁠ www.architectette.com/newsletter⁠⁠⁠⁠⁠ (Behind the Scenes Content)- LinkedIn:⁠⁠⁠⁠⁠ The Architectette Podcast⁠⁠⁠⁠⁠ Page and/or⁠⁠⁠⁠⁠ Caitlin Brady⁠⁠⁠⁠⁠Support Architectette:- Leave us a rating and review!-⁠⁠⁠⁠⁠ Patreon⁠⁠⁠⁠⁠Music by⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ AlexGrohl⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ from ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pixabay⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

El Gamergate va començar aparentment com una disputa sobre l'ètica en el periodisme de videojocs, però aviat es va destapar com una campanya massiva d'assetjament contra dones, persones LGTBIQ+ i veus progressistes dins la indústria dels videojocs. Aquest episodi d'Això no és Veritat explora com aquell conflicte es va convertir en un dels punts d'inflexió que van preparar el terreny per a l'onada ultra-conservadora i reaccionària que vivim actualment. Analitzem els orígens del Gamergate, els actors principals, les narratives que es van utilitzar i com aquesta batalla cultural va ajudar a consolidar moviments d'extrema dreta en espais digitals, amb connexions directes a fenòmens com el trumpisme, el creixement del masclisme organitzat i els atacs sistemàtics contra la llibertat d'expressió i els drets socials. Un episodi imprescindible per entendre com allò que semblava una simple disputa en un sector concret es va convertir en una amenaça global contra la democràcia i els drets humans Amb perealvaro https://bsky.app/profile/perealvaro.bsky.social, Carme P https://bsky.app/profile/mslectora.bsky.social i Mireia https://bsky.app/profile/apitxada.bsky.social Enllaços: An Essay on GamerGate's /pol/ Origins and Evolution https://np.reddit.com/r/AgainstGamerGate/comments/3iqq7e/an_essay_on_gamergates_pol_origins_and_evolution/ Gamergate (harassment campaign) https://en.wikipedia.org/wiki/Gamergate_(harassment_campaign) The Future Of The Culture Wars Is Here, And It's Gamergate https://deadspin.com/the-future-of-the-culture-wars-is-here-and-its-gamerga-1646145844/ Endnote 5: A Case Study in Digital Radicalism (UC Merced Talk) https://youtu.be/lLYWHpgIoIw?si=obNlsQK2X8oQ7z_g Timeline of Gamergate https://rationalwiki.org/wiki/Timeline_of_Gamergate Game of Fear: The Rise of #Gamergate (entrevista a Eron Gjoni) https://www.bostonmagazine.com/news/2015/04/28/gamergate/ What we still haven't learned from Gamergate https://web.archive.org/web/20250325190105/https://www.vox.com/culture/2020/1/20/20808875/gamergate-lessons-cultural-impact-changes-harassment-laws * * * * * Ajuda'ns a continuar fent pòdcasts com aquest! - a la nostra Aixeta: https://podcasts-pel-valencia.aixeta.cat/ca/subscriptions - o contractant els serveis d'Ivoox: Ivoox Premium (mensual): https://www.ivoox.vip/premium?affiliate-code=93cef354284aa650ed315f9bdb89c629 Ivoox Premium (anual): https://www.ivoox.vip/premium?affiliate-code=e9e72fe749f37b587ebf60f0915c7c1c Ivoox Plus: https://www.ivoox.vip/plus?affiliate-code=af3826d6de2d6587e1ebedc766382bfe * * * * * Això no és Veritat és un pòdcast realitzat per Pere Àlvaro @perealvaro.bsky.social per a la plataforma Pòdcasts pel Valencià https://podcasts-pel-valencia.aixeta.cat/ca * * * * * Seguiu-nos a ivoox: https://go.ivoox.com/sq/453939 spotify: https://open.spotify.com/show/0qIE47HGJyc8jOvwQV6zcR?si=eedbc8ea6ee14098 youtube: https://www.youtube.com/channel/UCPu-naIqqbJGXTq06OLXRyw twitter: https://twitter.com/aixonoesveritat bluesky: https://bsky.app/profile/aixonoesveritat.bsky.social Altres pòdcasts de la Plataforma Pòdcasts pel Valencià: - La Comoditat Valenciana ivoox: https://go.ivoox.com/sq/1469724 spotify: https://open.spotify.com/show/0ihxJbgoREgikJgqe4UdKu?si=07bab8527c5744ae youtube: https://www.youtube.com/channel/UCCq1_VHl64TWU1_oWLTygjA twitter: https://twitter.com/lacomoditat Instagram: https://www.instagram.com/lacomoditatvalenciana/ - Repeŀlents Pòdcast ivoox: https://go.ivoox.com/sq/619916 spotify: https://open.spotify.com/show/5cny1boPcRLkkOEGMunEyT?si=ceb9a511d46648f4 youtube: https://www.youtube.com/channel/UC3U3j8RcEeLDZ36lP85I-og twitter: https://twitter.com/LentsRepel Instagram: https://www.instagram.com/repel.lents/ -La Llibreria d'Arkham https://twitter.com/llibdarkhampod https://mastodont.cat/@llibdarkhampod https://twitter.com/podcastspv * * * * * Ajuda'ns a continuar fent pòdcasts com aquest! - a la nostra Aixeta: https://podcasts-pel-valencia.aixeta.cat/ca/subscriptions - o contractant els serveis d'Ivoox: Ivoox Premium (mensual): https://www.ivoox.vip/premium?affiliate-code=93cef354284aa650ed315f9bdb89c629 Ivoox Premium (anual): https://www.ivoox.vip/premium?affiliate-code=e9e72fe749f37b587ebf60f0915c7c1c Ivoox Plus: https://www.ivoox.vip/plus?affiliate-code=af3826d6de2d6587e1ebedc766382bfe

Welcome back to the 'Research Mini-Series'.  Things we've discussed in this episode to help you on your journey: Setting up 'Google Scholar Alerts' Using platforms such as: EndNote, Zotero, Mendeley etc. to keep all of your articles in one place - this can assist you with finding out a methodology to use and you may find that there are the same groups of people doing particular studies around your topic.  Much more... Please check out this textbook Introducing, Designing and Conducting Research for Paramedics to help break down these topics more. Link to the Hexoskin study. DISCLAIMER: All of the opinions of each individual on 'The Student Paramedic Podcast' are their own.

Are you tired of feeling overwhelmed and frustrated when searching for relevant studies on PubMed for your medical writing projects? As a medical writer, you know that conducting a comprehensive literature review is crucial for delivering high-quality work to your clients and audiences. However, the process can be time-consuming and challenging, especially if you don't have a clear strategy. This episode of Monday Mentor will provide you with the tools and techniques you need to streamline your literature review process and find the most relevant, high-quality studies to inform your work. Listen in to gain: Best practices for efficiently searching databases like PubMed Steps to find the most relevant and high-quality sources. Tools and resources to stay organized and produce a rigorous literature review Tune in now to discover how you can elevate your literature review skills and deliver stronger, more valuable work to your clients and audiences! Takeaways 1. Defining your research question or objectives is crucial for guiding your search strategy and ensuring a focused, efficient literature review process. Before diving into your literature search, take the time to clearly articulate your research question or objectives using frameworks like PICO, SPIDER, or PEO. 2. Using a combination of keyword searches, subject heading/index term searches (like MeSH terms), and database filters can help you capture a wide range of potentially relevant sources while narrowing down your results. Familiarize yourself with the search functionalities and controlled vocabularies of databases like PubMed, and experiment with different combinations of keywords, subject headings, and filters to optimize your search results. 3. Leveraging citation management tools, note-taking techniques, and reporting guidelines can help you stay organized, maintain transparency, and produce a rigorous literature review. Explore and implement tools like EndNote, Zotero, or Mendeley for citation management, and develop a structured note-taking system (e.g., literature matrices or apps like Notion or Roam Research) to synthesize and report your findings effectively. Resources NYU Libraries Literature Search Template Literature Review Typologies  Timestamps 00:00 Introduction 01:47 Defining the research question 03:43 Establishing search terms 06:17 Exploring various databases 10:30 Grey literature sources 13:32 Additional search techniques 15:07 Tools and resources that can help you 20:28 The power of literature reviews Subscribe to the Write Medicine podcast! Subscribe to the Write Medicine podcast for more valuable insights on continuing medical education content for health professionals. Click the Follow button and subscribe on your favorite platform.

Complete our form for the official Lost in Roshar Way of Kings Awards here: https://forms.gle/HrJk8WVp8YMPdaDL6 Tune in to this episode of 'Lost in Roshar' as we theorise about Taln and Hoid, complete the arcs of our favourite characters and finally complete The Way of Kings! Join us and discover the wonders that await within the pages of Brandon Sanderson's epic fantasy saga, The Stormlight Archive. Timestamps 0:00 Jimmy Stormblessed returns 3:11 Our Way of Kings Awards Survey! 5:45 SA will be timeless + Podcast update 9:09 Getting guests for Lost in Roshar 10:58 Wind and Truth vs Winds of Winter 14:51 Chapter 73 summary 16:11 Dalinar moon theory 21:45 More Chapter 73 curiosities 27:51 Chapter 74 summary 29:01 The mystery of the Ghostbloods 35:04 Chapter 75 summary 36:19 The Night of Sorrows theorising 44:47 The true nature of this vision 48:00 Champion foreshadowing and Shards dying 52:25 Epilogue summary 52:57 Theorising about Taln and Hoid 1:01:31 Discussing the Endnote

Kaum hat man das erste Lehrjahr hinter sich gebracht, man auch schon die Abschlussprüfung Teil 1 vor der Brust. Diese fließt zumindest mit 30 % in die Endnote ein und sollte daher nicht auf die leichte Schulter genommen werden. Aber was genau erwartet einen in der Theorie- und Praxis? Welche Inhalte des 1. und 2. Ausbildungsjahres werden denn nun vorwiegend abgefragt?In dieser Podcastfolge stehen die Elektroniker für Betriebstechnik im Mittelpunkt. Und als gelernter Betriebstechniker teilt Giancarlo the Teacher wertvolle Einblicke in die Inhalte der AP1 und gibt praktische Tipps, wie angehende Elektroniker sich optimal darauf vorbereiten können. Von grundlegenden Schaltungen, bis hin zu fortgeschritteneren Konzepten erklärt er die Schlüsselelemente, die Prüflinge beherrschen sollten. Dabei wird ein besonderer Wert auf praxisnahe Beispiele gelegt, um das Verständnis zu vertiefen.https://www.paypal.com/donate/?hosted_button_id=9UW85PQWLBWZSSupport this podcast at — https://redcircle.com/elektrotechnik-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Larry Harcourt is Harlan Guthrie.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Larry Harcourt is Harlan Guthrie.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Welcome to this Teach Me Something Tuesday episode of the Healthcare Education Transformation Podcast! Dr. F. Scott Feil is here to wrap up our exciting series on plagiarism. Today, it's all about the magic of citations and how to dodge the plagiarism pitfall. Learn the secrets of correct formatting, choosing the right style, and using nifty tools like Zotero and EndNote. Plus, discover how Grammarly can be your trusty sidekick in this writing adventure. Don't miss out on these invaluable tips to become a top-notch writer and scholar!Key Takeaways:Use Citations Wisely: A references page is like a treasure map for your sources! Know Your Style: Different journals have different rules. Always follow them to stay on track!Cite, Cite, Cite: When in doubt, always give credit to the source of your information. Double-Check with Tools: Tools like Grammarly can help you spot plagiarism and improve your writing. Avoid Self-Plagiarism: Did you know you can plagiarize yourself? Always give credit, even to your past self! Special thanks to both our sponsors, The NPTE Final Frontier, and Varela Financial! If you are taking the NPTE or are teaching those about to take the NPTE, visit the NPTE FInal Frontier at www.NPTEFF.com and use code "HET" for 10% off all purchases at the website...and BREAKING NEWS!!!! They now have an OCS review option as well... You're welcome! You can also reach out to them on Instagram @npteff If you're a PT and you have student loan debt, you gotta talk to these guys. What makes them unique is that they view financial planning as like running hurdles on a track. And for PTs, the first hurdle many of us run into is student loan debt. Varela Financial will help you get over that hurdle. They not only take the time to explain to you which plans you individually qualify for and how those plans work, but they ALSO take the time to show you what YOUR individual case looks like mapped out within each option. So if you're looking for help on your student loan debt, or any area of your personal finances, we highly recommend working with them. You can check out Varela Financial out at varelafinancial.com. Feel free to reach out to us at: http://healthcareeducationtransformationpodcast.com/ https://www.facebook.com/HETPodcast https://twitter.com/HETpodcast Instagram: @hetpodcast @dawnbrown_pt @pteducator @dawnmagnusson31 @farleyschweighart @mail.in.stew.art @ujima_institute For more information on how we can optimize and standardize healthcare education and delivery, subscribe to the Healthcare Education Transformation Podcast on Apple Podcasts or wherever you listen to podcasts.

The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Larry Harcourt is Harlan Guthrie.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Larry Harcourt is Harlan Guthrie.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Larry Harcourt is Harlan Guthrie.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Icy strings, harp and choir for a gloomy and ethereal fantasy world” by Gerardo. Under a Creative Commons License.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.A transcript of this episode can be found here.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The voice of Larry Harcourt is Harlan GuthrieThe voice of Professor Harcourt is Harlan GuthrieThe theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.A transcript of this episode can be found here.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The voice of Professor Harcourt is Harlan GuthrieThe theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.A transcript of this episode can be found here.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The voice of Professor Harcourt is Harlan GuthrieThe theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.A transcript of this episode can be found here.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

You've downloaded a citation management software, but do you actually use it? This week the HSC Office of Educational and Professional Development talks about citation managers like EndNote, which faculty can use to organize their citations, journal articles, and other scholarly works. We discuss how this software automates citations to save time when writing manuscripts or grant proposals. If you're new to the citation feature that will create and automatically reformat a reference section, this will change your life! After listening to this episode, our “One Thing” call to action is for listeners to do something new with your citation manager. Faculty at UofL have access to download EndNote for free and can learn more about EndNote training classes through our library. See the EndNote website for additional resources and best practices for using your citation manager. Do you have comments or questions about Faculty Feed? Contact us at FacFeed@louisville.edu. We look forward to hearing from you.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.A transcript of this episode can be found here.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Okay, let's get back to the Ostium Sagas shall we and see what Steve gets up to next.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Larry Harcourt is Harlan Guthrie.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Okay, let's get back to the Ostium Sagas shall we and see what Steve gets up to next.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Okay, let's get back to the Ostium Sagas shall we and see what Steve gets up to next.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Okay, let's get back to the Ostium Sagas shall we and see what Steve gets up to next.The Ostium Sagas is created, written and produced by Alex C. Telander.A transcript for this episode can be found here.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Ohm” by Michele Nobler. Under a Creative Commons License.Sound effects are courtesy of Soundly.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

Hey everyone, Alex C. Telander here. Are you ready for another Ostium Sagas? If you're wondering what I'm talking about, it's a strange book from the eighteenth century Steve finds in a basement at the Ostium Network and he's recording what he's reading and what he thinks about what he's reading. Strange stories about time travelers stuck in the past. You want to make sure you start at the first episode and just to let you know, this isn't the first episode, so double check if you need to.And if you enjoy this Ostium Sagas episode and want more right away, you can do that very easily by heading over to our Patreon and supporting us at any level. You'll instantly get access to the next fifteen episodes, plus a bunch of other bonus material.Okay, let's get back to the Ostium Sagas shall we and see what Steve gets up to next.A transcript for this episode can be found here.The Ostium Sagas is created, written and produced by Alex C. Telander.The voice of Steve is Alex C. Telander.The theme song is “Synthwave Car” by Gushito.The music featured in this episode is “Icy strings, harp and choir for a gloomy and ethereal fantasy world” by Gerardo. Under a Creative Commons License.Support this show http://supporter.acast.com/ostium. Hosted on Acast. See acast.com/privacy for more information.

The end of Season 1 is here. Lawrence gives Matthew a break and reads the endnote to Saturday Afternoon Fever that was included in reprints. The much-loved book about growing up in the Suburbs, Saturday Afternoon Fever is now  a smash hit podcast. Join comedian Matthew Hardy, the author of Saturday Afternoon Fever, as he reads from his best-selling book about a footy fan who's dreams are denied,  with legendary Australian stand up comic Lawrence Mooney (Mooney's on tour, you can buy tix here). As they read Saturday Afternoon Fever, Matthew and Lawrence constantly digress into the wonderful, hilarious, nostalgic worlds of their childhoods, teenage years and into their idiotic young adulthoods. As contemporary men they discuss relationships, the modern world, ethics, history and philosophy.  The big question - Will they ever finish the book? Buy your copy of Saturday Afternoon Fever by Matthew Hardy  Love the show? Join the Saturday Afternoon Fever Facebook community! Listen on Spotify Listen on Apple Podcasts  Listen on Google Podcasts  For Sponsorship enquiries email hearhere@ampel.com.auSee omnystudio.com/listener for privacy information.

Chad talks about his recent discovery of solving the Acrobat error that pops up when you have an Lbl (Label) as a footnote tag without an accompanying L (List) tag structure. We also review what the ISO standard has to say about it and why. Stick around to listen to us review the three most common problems people run into when trying to test documents with a screen reader. I am betting you are doing at least one of them.  

The third season of Endnote begins on Friday, August 12th! Here's a preview of what's in store.

Friends, lend me your ears. No really… I need your ears! Would you be willing to be an Audiobook Beta Listener?My Rethinking Rest book is scheduled for release on Jan 19, 2023, and I've decided to record the audiobook myself! Needless to say… I've never done this before. But I've started the process and I'm needing some feedback. That's where you can help!I've uploaded this excerpt from the first chapter of the Rethinking Rest audiobook. I'd love it if you would be willing to give it a listen.While listening: you can access the Electronic Endnotes for reference:“Electronic Endnotes” LinkAfter you listen: I'd appreciate just 5 more minutes of your time to fill out the feedback form at the bottom of this page:https://rethinkingrest.com/audio-beta/The whole process shouldn't take more than half an hour.I'm also testing out another innovation, Interactive Electronic Endnotes. Have you ever listened to an audiobook that you know has extensive footnotes… but they don't reference them in the audio version of the book? Yeah… that bugs me too. So here's what I've done. I've uploaded all the endnotes (those are just footnotes put all at the end of the book) to a webpage and as you'll hear, I reference them within the audio version. So when you hear me say, Endnote 16, for instance, you have the ability to pull up the endnote and read it… just like someone who bought the print version. Oh, and did I mention the Electronic Endnotes are interactive? I've gone through the first chapter and linked parts of the notes to further information that's available free of charge on the world wide web. I'm telling you… you can get lost in these endnotes. There's even some funny little easter eggs I've put in there for those that care to hunt around a little. There's a link in the show notes to the Electronic Endnotes as well.In the feedback form there's place to let me know if you'd like to be notified when I've got another excerpt to listen to.Lastly, If all that wasn't a good enough reason to become a Audio Beta Listener… for every verifiable “Beta Listener Feedback Form” I receive, I'll be donating $10 to StopSoldierSuicide.org. I'm taking part in their 25-mile Swim Challenge this month (June of  2022) as a part of my Homes and Help Initiative that I introduced in episode 45. So spread the word! Let's get as many Beta Listeners as possible! Your feedback is valuable to me… and it will also benefit many soldiers who need our support.

Twitter @PanfiloDr ¿A quien está dirigido?No te voy a garantizar que vayas a tener la mejor tesis, la mas bonita, seguramente no vas a ganar premios ni será perfectaEs un abordaje  practico pragmático para terminar tu tesis Es para poder enfocarte en tu tema más claramente que si lo quisieras hacer todo tu solo sin una guía Es poco probable que alguien escriba una tesis de principio a fin  en 3 semanas, pero no imposible, realmente estoy dirigiendo este episodio a alguien que haya estado escribiendo sobre la marcha y que tenga ya algo de material escrito como punto de partida. ¿Por que es tan difícil empezar a escribir tu tesis?Escribir es una actividad demandante difícil, compleja Tienes que estar siempre pensando en la gramática, ortografía, puntuación , escoger las palabras correctas, mayúsculas, vocabulario, uniformidad entre los párrafos, formato correcto, títulos, subtítulos,  índices figuras, tablas etc.Escribir tus ideas pareciera ser algo fácil hasta que intentas plasmarlas frente a una página en blanco  Abrumador Miedo, estres ansiedad de llegar a la fecha limites y parecer que no has avanzado nadaNadie nos enseña como escribir una tesis links:los operadores booleanosPaginas: medline, pubmed, google shcholar, mendeley, Wolframalpha,  Programas de citas EndNote, Mendeley, zoteroAdjetivos, y oraciones para iniciar parrafos,  verbos para escribir tesis Twitter @PanfiloDr Support the show

Die juristische Ausbildung ist auch für viele Jura-Studenten ein Mythos. Im Gespräch mit Fr. Dr. Schobel gehen wir auf Ihre Karriere beim Staat, die Aufgaben des Landesjustizprüfungsamtes und viele spannenden Themen ein.   Heute haben wir eine Inhaltsliste für dich:    1:16: Warum hat Fr. Schobel Jura studiert? Werdegang von Fr. Schobel   2:58: Wie lange war Fr. Schobel als Richterin tätig?   05:30 Welche Tätigkeit hat Fr. Schobel in Ihrer Laufbahn am Besten gefallen?   07:25 : Hintergrund zur Regelungen der Hilfsmitteln für das Jura Studium   12:10 Warum nehmen die Examina den absolut größten Schwerpunkt ein? Warum werden Klausuren, die während des Studiums geschrieben werden, nicht in die Endnote einbezogen?   16:20 Wie wird sich das Jurastudium durch die digitale Variante verändern? Wird es Hybrid-Modelle geben?   20:50 Warum wird das Examen noch per Hand geschrieben und nicht digital?   26:30 Wird der geschriebene Lebenslauf, der beim LJP abgegeben wird, überhaupt gelesen?   28:00 Wie werden Klausuren für das Examen ausgewählt?   32:10 Ist ihnen ein Fall bekannt, in dem in einer Examens-Klausur ein Fehler war?   34:30 Entscheidung über Maskenpflicht bei der Prüfung   45:20 Persönliche Reformwünsche an das Jurastudium   Hier findest du unsere Jura-Street-Wear Kollektion. Nur für kurze Zeit: https://thelawyalone.de/collections/j... Instagram: @notyourtypicallawstudent @thelawyalone   Unsere Empfehlung: Schönfelder Taschen von The Lawyal One https://thelawyalone.de​   Schmuck für Juristinnen von "Lawellery" & Woman-Empowerment findest du hier: https://thelawyalone.de/collections/lawellery-collection   Instagram: @lawellery Unser Ziel ist es, dich auf deinem juristischen Weg zu begleiten, sei es das Jura-Studium, das Referendariat oder nach dem Examen mit Tipps für deine mündliche Prüfung.  

Endnote Season Two is premiering on Friday, August 13th! Here's a quick overview of what's in store.

[ ] Record Welcome to PICU Doc On Call, a podcast dedicated to current and aspiring intensivists. My name is Pradip Kamat My name is Rahul Damania, a current 2nd year pediatric critical care fellow. We come to you from Children's Healthcare of Atlanta and the Emory University School of Medicine Atlanta, GA Today's episode is dedicated to How to Read And Critically Review a Paper not only for the Journal club presentation at the fellows conferences but also for use in your clinical practice as a pediatric intensivist. We are delighted to be joined by Jocelyn Grunwell, MD, PhD. Dr. Grunwell is an Assistant Professor of Pediatrics-Pediatric Critical Critical Care at Emory University School of Medicine in Atlanta, GA. She is a K-scholar with research interests in mitochondrial dysfunction in critical illness, the airway immune response in pediatric acute respiratory distress syndrome, and near-fatal asthma. She is on twitter @GrunwellJocelyn. Rahul: Dr Grunwell welcome to picu doc on call. We are delighted to have you on our podcast today to discuss how to read & critically review a manuscript. Grunwell: Thank you Rahul and Pradip for having me on PICU DOC on Call. I have no conflicts of interest or financial disclosures. Q1. Rahul: Dr Grunwell: Why should a pediatric intensivist (whether in training or as a faculty) read journal articles? Grunwell: There are several reasons you might want to read journal articles, and your reading should be tailored to your goals. For example, first, you may want to learn more about a clinical topic to understand how to diagnose, treat or manage a disease. 2nd you may want to find the best evidence for how to treat a patient. 3rd, you may want to learn about the basic biology or mechanisms of a disease. Finally, you may want to identify gaps in a particular field of research to develop a research plan and write a proposal to explore a new research area. Q2: Dr Grunwell: Where do you find manuscripts relevant to intensivists? First, I would like to suggest that the learners and faculty in pediatric critical care make a habit of reading at the very least the abstracts in various pediatric journals even if they don't have the time to read an entire article. I generally go to Pediatric Critical Care Medicine, Critical Care Medicine, Critical Care Explorations, Pediatrics, Journal of Pediatrics, NEJM, JAMA Pediatrics, and the family of American Thoracic Society journals on a weekly basis. You can set-up your account so that the table of contents of these journals will be emailed to you. There are apps available, such as ReadQxMD, where you can be alerted to new content of interest to you. You can sign up and follow the accounts of several journals of interest to you on Twitter. There is also a useful, free website sponsored by Dr. Hari Krishnan called http://picujournalwatch.com/ (picujournalwatch.com) in which Dr Krishnan has journal articles well-organized. The website is constantly updated to show the latest manuscripts relevant to our field. You can keep your articles organized by topic in software such as EndNote. Also doing a search on PubMed, OVID etc. can also be helpful to find latest information on a topic. Talking to a medical library scientists is very useful to structure a systematic search for articles or to get a article from a journal that is not available at your institution. Q3: Dr Grunwell can you define the term level of evidence? Grunwell: the term level of evidence - or traditional hierarchy of evidence - refers to what degree that information can be trusted based on the study design. The most common question is related to therapy or an intervention. Levels of therapy are typically represented as a pyramid with systematic reviews or meta-analyses positioned at the top of the pyramid followed by well-designed randomized control trials, and then observational studies. Observational studies include cohort studies or case-control studies. Case studies,...

In this episode, I delve into the nitty gritty of medical manuscript writing. If you are an experienced medical writer, you probably know most of this, but I hope it serves to reinforce your knowledge.  -Get up to speed in the subject area. -Work from a detailed outline that has been approved by the “author(s).” -Establish the format up front—download author guidelines. Clarify the word count.  -Understand why the paper is being written. -Use the basic of clear writing—topic sentences, signpost words. Lead your reader through the piece in a logical order: from the already known to the new information.  -Be clear about your medical writing role (no analysis, no statistics, no graphics). -Make sure any data is from the primary source. -For annotations, it’s best practice to annotate within the article, not the abstract. -Make sure the wording is not too similar to the original reference, but also similar enough that it will appear to be accurate to a fact checker.  -Use sources that are high up in the impact factor and reputable. Limit your use of promotional materials, such as paid review articles, CME programs, press releases, informational products behind a pay wall. -Check data is complete (ie, don’t leave out a side effect by accident), and make sure your piece is fair balanced. Must include all agents within a class. Must include the positive and any negatives.  -Make sure comparisons are appropriate (head-to-head trials are to compare but generally you cannot compare different trials). -Make sure if you are referencing a conference presentation or poster that there isn’t in fact now a published paper on the study. -Write slowly with complete accuracy because you may not catch it upon review. -Reference and annotate as you go using the split screen function in word. Or if you are an Endnote power user, go for it.  -Even healthcare professionals don’t want to wade through a hotchpotch of unrelated study descriptions. If reading your own manuscript makes your eyes glaze over, there’s a problem. Try to tell a story.   Check out the 6-Week Course, everything you need to know to start your freelance medical writing business, at 6weekcourse.com, where you can access free content on medical writing.  Also go to learnamastyle.com if you're interested in medical editing. The course is currently available and the next group will start May 29th, 2021.

Episode transcript available here.It can be difficult to connect with reading for pleasure when you are a student. This week we are joined in The West Meeting Room by Alexander Lynch, the host of Endnote - a podcast produced by the Hart House Literary and Library Committee, or "Lit and Lib" for short. Alexander shares a bit about what Lit and Lib offers as a community space within Hart House and offers some insights into connecting or re-connecting with your literary curiosities.For more episodes of the Endnote Podcast you can visit their website or subscribe wherever you listen to podcasts:And you can follow @hhlitandlib on Instagram to connect with the Hart House Literary and Library Committee

Aaron Freiwald, Managing Partner of Freiwald Law and host of the weekly podcast, Good Law | Bad Law, is joined by bestselling author, Emanuel (Manu) Rosen, to discuss his new book, If Anyone Calls, Tell Them I Died: A Memoir.   The Holocaust and its aftermath were not often discussed in families of second-generation survivors; in Tel Aviv in the 1960s, Emanuel Rosen grew up hearing the keys of his mother’s typewriter but had no idea about the battle she was fighting. In his latest book, If Anyone Calls, Tell Them I Died, Emanuel tells the story of his mother’s struggle but it’s a story that spans three generations. Emanuel tells the true story of grandparents, daughter, and grandson, and today, shares details of his family’s life journey with Aaron, a story filled with loss, guilt, lengthy court proceedings, secret letters, and love, while explaining the broader contexts of his book and how this incredible story is one that should serve as a stark reminder.   Emanuel is a bestselling author whose books have been translated into thirteen languages. He was born in Israel where he went to school, served in the army, and was an award-wining copywriter. After his graduate school education in the United States and a successful career as an executive in Silicon Valley, Emanuel turned to writing. His first book, The Anatomy of Buzz, was a national bestseller and his third book, Absolute Value (with Stanford professor Itamar Simsonson ), won the 2016 American Marketing Association Best Book Award.   Emanuel was previously vice president of marketing at Niles Software, where he launched the company’s flagship product, EndNote. His work has been featured in the Harvard Business Review, Time, Advertising Age, and many other media. If Anyone Calls, Tell Them I Died is his fourth book.   Listen now!   To check out Emanuel’s new book, If Anyone Calls, Tell Them I Died: A Memoir, please click here. To learn more about Emanuel, please check out his website here.   Host: Aaron Freiwald Guest: Emanuel (Manu) Rosen     Follow Good Law | Bad Law: YouTube: Good Law | Bad Law Facebook: @GOODLAWBADLAW Instagram: @GoodLawBadLaw Website: https://www.law-podcast.com

In today's episode, we look at how we read research articles for the literature review of your PhD thesis as well as in the later career stages.  Listen to today's episode to learn more about how to read broadly and deeply, how often to read, how to take notes of what you read, and how to digitize the articles you read and your associated notes.Software we mentioned:Reference management tools:EndnoteMendeleyZoteroNote-keeping tools:EvernoteCheck out this resource on how to find the citation to export into your reference management tool (Endnote specific, but you can find similar tutorials for the software of your choice)Books we talked about:Under the volcano by Malcolm LowryKani on shear in reinforced concreteWebsites we mentioned:SSRNEpisode we referenced:Ep. 10 - Interview with Michelle Crowther

Konu Bulmak - Bazı Araştırma Yöntem ve Araçları - İçindekiler Oluşturmak İlerde daha detaylı ve pratik yöntemler için ek kayıtlar yapacağım. Türk hukuk dergilerinin linkleri ile birlikte listesi için: https://www.notion.so/T-rk-Hukuk-Dergileri-9a4039d43d0a48f5952830634630f8a3 Endnote / Mendeley / Zotero : Bu üçü dışında da aynı işini gören birçok program mevcut. Hepsinin işlevi hemen hemen aynı, Endnote ücretli bir program, eğer okulunuz, kurumunuz anlaşmalı ise ücretsiz de edinebilirsiniz. Mendeley ücretsiz, fakat depoloma alana Endnote'a göre daha sınırlı. Zotero da ücretsiz bir alternatif fakat her işletim sistemi için uygun değil. Bunların detaylı kullanımına ilişkin videolara youtube'dan ve çeşitli bloglardan erişebilirsiniz. Mendeley için: - https://youtu.be/82CoEX6i4as - https://library.bilgi.edu.tr/tr/mendeley-kullanim-kilavuzu/ Endnote için: - https://www.alperdemirdogen.com/yeni-baslayanlar-icin-endnote Zotero için: https://kutuphane.sakarya.edu.tr/sites/kutuphane.sakarya.edu.tr/file/zotero2015.pdf İletişim: Mail: hkcanan@gmail.com Twitter: https://twitter.com/hkcanan --------------- Townie Loop Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Känner du igen dig? Att hantera referenser är en evig plåga, som lärare dessutom älskar att tvinga dig att göra. Man kan tycka att man ägnar halva tiden åt att fixa och trixa med referenserna - tid som kunde användas till annat. Här är goda nyheter: Du kan få det att bli perfekt och helt korrekt automatiskt med hjälp av Endnote eller Mendeley. Lyssna så får du veta mer. Glöm inte tumma upp podden om du gillar den. Nämnt i podden: Endnote Mendeley Bonusmaterial för patrons Bli patreon: https://www.patreon.com/studieteknikheltenkelt Länkar Boken: Studieteknik - så lyckas du med dina studier Hemsida och kontakt: Studieteknik helt enkelt Facebook: Studieteknik helt enkelt Instagram: @Studieteknikheltenkelt Twitter: @SEnkelt  

In this episode ,you will hear me talking about the moments felt with gratitude and love.

Welcome to the DNP Project Podcast where we share tips, inspiration, and more!It's time to get back to school. Our goal is to offer some quick tips for DNP Students. Today's Tip: APA 7th Edition UpdateThe American Psychological Association (APA) released an updated Publication Manual in October of 2019, which likely you will hear called “APA 7th edition.” The reason we have to use standardized formatting for papers is so that we have a common language of communication. If you are a DNP student who was using the 6th edition, make sure you talk to your faculty about the plan for transitioning. In this episode, we have put together some quick updates to share with you. As an overview, you will be pleased to know that some of the biggest changes were really needed when you think that we were operating on a 6th edition from 2009. Some changes have to do with biased free language, better examples of how to cite social media, and a student-specific paper format. What I am the most excited about is the visual appeal of the book, the spiral binding (there are options, but I would recommend to get the spiral bound if possible), and it is flat out easier to read and find what you are looking for. The publisher location is no longer included in the citation of a book.Section 9.29, p 295Citing webpages has changed - no more “Retrieved from:”Section 9.16, p 290Biased free language, Ex: “They” is considered singular, not pleuralSection 5, p 140More fonts to choose from:Times New Roman (12 pt) Arial (11pt) Georgia (11pt)  Calibri (11pt) Lucida Sans Unicode (10pt)Section 2.19, p 44In-text citations are shorter (author list - et al.,) but reference page author list is longerSection 8.17, p 266 (in-text citations)Section 9.8, p 286 (reference page authors)If you are a new DNP student, I can't emphasize enough the importance of learning citation management, particularly with software like Zotero, EndNote, or RefWorks. These softwares allow you to switch between different styles of citation. Very important if you are publishing in a format you are not familiar with. So, if you have to learn a new APA, consider also learning a software to go with it. Last, but never least, get the cover page right! As a faculty member, when I have to grade multiple papers, having an incorrect cover page automatically puts me in a bad mood. First impressions count, even in written work. So, just a tip, get that part right!Dr. Molly BradshawRemember to “Subscribe,” hit “Like,” and “Write a Review” so that we can help others. Find us on YouTube, Apple Podcasts, Google Play, Spotify, and other platforms.To get your copy of The DNP Project Workbook, go to: Springer: https://www.springerpub.com/the-dnp-project-workbook-9780826174321.html*** Always follow the guidelines from YOUR DNP Program

This week on the Story Works Round Table, Alida, Kathryn, & Robert discuss the almighty endnote. What is it and why is it so important? Getting a handle on the final moment of your novel early on will help you shape your character's journey through the plot, theme, and character arc. Kathryn gets inspired! Show notes and links at www.StoryWorksPodcast.com.

Happy Labor Day from The Beaker Report. Steve spent his weekend moving into a new house. The guys start by talking about living with someone after having lived on their own and how having your own space is essential. After recapping their Labor Day activities they discuss their first week of fall semester. They talk about what it is like to teach labs and some of the differences in teaching Bio majors vs non-majors. Next, they give some advise on how to keep track of references when writing research papers. Sometimes it can be a challenge to keep it all organized and a reference manager program like Endnote or Zotero can be really helpful. They also talk about how important math in biology can be. If you are interested in research, do yourself a favor and keep taking math courses beyond Calculus I. Finally, the guys get into some travel stories. Steve bashes on United Airlines and Caleb retells some stories of his military experiences. Website Facebook Instagram Twitter

Jeg kan jo godt lide systemer, struktur og overblik - og jeg har i mange år været på jagt efter værktøjer, der kan hjælpe, uden dog nogensinde at finde det helt rigtige. De primære behov er noget med at kunne samle links, artikler og pdf’er, organisere og strukturere samlingen, lave highlights og noter i dem, og så også gerne kunne dele eller eksportere de highlights til de apps, jeg så skriver i. I denne sommer har jeg taget endnu en tur, og set på adskillige håndfulde tjenester og apps, uden dog at være blevet helt tilfreds. Det fortæller jeg om i denne lidt specielle episode, hvor jeg selv er gæst… Og husk - har du tips om apps jeg ikke har nævnt (eller hvis du har fundet features, jeg åbenbart har overset), så sig endelig til! Det samme gælder naturligvis, hvis du mener du rent faktisk kan lave præcis det værktøj, jeg har behov for