your manuscript. Clearly, I didn't come up this list. A client sent the list to me, asking me to check his paper against this list from the journal. Guess what? I do more than what are listed below. 正文内容一致性检查： 1） 所有缩略语第一次出现时是否给出全拼？请严格检查！ ( 摘要里第一次出现须给出全拼，正文中第一次出现也须给出全拼 ) 2） 所有文中的术语和定义是否自始至终有统一的表达？ 3） 每一句话的主谓语是否一致？（单数主语用了复数谓语或相反？） 4） 文章内容叙述的时态全文是否基本一致？（对等的内容应用相同的时态！） 5） 是否尽量用简单句表达？用复合句时，主句和从句各自的主谓语是否找得出来？定语从句修饰的中心词或短语是否找得出来？状语从句补充说明的中心词或短语是否找得出来？ 6） 每个段落是否有一个主题句？ 7） 段落中的每一句话是否支持本段落的主题句？ 8） 是否有很长的段落？段落太长须要再分段！ 9） 正文中的叙述和判断，如果不是本文计算分析得出的，是否引用了相应的参考文献？ 10 ）文字叙述中是否恰当引用了相应的图或表？是否有图或表没有被引到？ 11) 结论中的定量和定性结果是否和正文及摘要中的一致？ 12 ）稿件 引言 和 结论 部分，须用黑体红字说明本工作的创新之处（与以往研究的区别及本工作的意义）
每篇文章必须写到你自己爱不释手的时候才可以丢给别人看。写文章有三个阶段。 第一阶段：提笔，总结，把作好的东西通通搬上纸面。改n遍，n10。这叫搭粗架子。 第二阶段：写累了，改累了，就不要再改了。这时，把所有写好的东西扔掉，重新写。重新搭更美的架子。把食之无味，弃置可惜的东西扔掉。把禁不起推敲的结果扔掉。如此改至少15遍，直到。。。。。 第三阶段：会有一天，你会 突然 特别喜欢你自己写的东西了，这时别人让你停你都舍不得停下来，觉得太美太艺术了，觉得自己是个语言的匠人了。你就象米开朗琪罗完成一个塑像，从雕像上抠下一个小芝麻大小的泥块，又把这个小芝麻分成一半，慢慢加回去，这才满意。 这时您就进入下一个境界 。这以后再改十遍，就可以考虑投出去。如果改到你把昨天改掉的东西今天又改回来了，你的“推敲”功夫就花的差不多了，可以几乎无悔的投稿了。 写论文，就是这么简单的一个过程。科研，就是要作到这个份上才感觉到味道。记住，母语是英语的人一篇文章都要改起码30次，中国的学生改的次数只应该更多。 There are a lot of discussions about writing papers recently. Writing a paper is like giving birth to a baby, or to make an art piece that will be put into the museum. In the not too faraway "old days", journal papers were called " archival papers " - meaning that these papers are for archives, meaning that they will simply be put up there in a library shelf for many future generations to reference. Today, we seem to no longer worry about the name "archival paper" anymore. Cheap .pdf format makes a paper seems like a disposable show 'n' tell. However, let it be known that a paper is always a paper. A paper is not an entry into your SCI Pub column, a way to keep a score. If you write a bad paper once, your colleagues will forever disrespect anything you do thereafter. Many Chinese or anyone in non-English speaking countries are tired of writing. Students get tired with their professors after a few rounds of "torture". Asian country authors put up relatively rushed work frequently. As an editor to a journal, I always tell such authors one simple fact - that native English speakers typically go through 25-30 rounds of revision before they submit a paper . Writing a paper typically takes three phases: In the first phase, you write and you write, starting to fill in more facts, adjusting the structure; At one point, you say "I am so tired of this", and you delete ALL THE CONTENTS, and you write from a blank scratch. You decide to tell your story in the right way . This time, your paper takes a gigantic leap of quality. After this point, you edit your paper 10-15 times, each time wishing you could be done soon. At SOME POINT, you began to think differently. Your paper is such an art piece - it flows well, it read pleasantly, and draws the audience into it. In one word, it starts to feel nice to you. YOU ACTUALLY DON'T WANT TO LET IT GO! You start to like your own work! you want to work on it forever. You work on it for 10 more rounds, each time ADMIRING your own work. You enter into a mood, like an artist drawing on a canvas or a sculptor making silk dress out of stone. NOW, this is the time you can, and must let your paper go! Many discussions on this sciencenet talks about a student getting SO TIRED of his/her professor after the first two rounds in the FIRST PHASE of paper writing. This is simply ridiculous. No self-respecting writer from a native English speaking country would even do this. (By the way, writing a paper without your advisor's consent is a series offense. It is like if you work in a bank as an intern and you give a customer a loan without your bank manager's approval. You will be fired if that is the case, correct? ) 以下是摘抄 一段百度百科的文章 ，读下很有隐喻的指导性： 东风夜放花千树，更吹落星如雨。宝马雕车香满路，凤箫声动，玉壶光转，一夜鱼龙舞。 蛾儿雪柳黄金缕，笑语盈盈暗香去。众里寻他千百度，蓦然回首，那人却在，灯火阑珊处。 东风仿佛吹开了盛开鲜花的千棵树，又如将空中的繁星吹落，象阵阵星雨。华丽的香车宝马在路上来来往往，各式各样的醉人香气弥漫着大街。悦耳的音乐之声四处回荡，职如风萧和玉壶在空中流光飞舞，热闹的夜晚鱼龙形的彩灯在翻腾。美人的头上都戴着亮丽的饰物，晶莹多彩的装扮在人群中晃动。她们面容微笑，带着淡淡的香气从人面前经过。我寻找她千百次，都见不到，不经意间一回头，却看见了她立在灯火深处。 "作为一首婉约词，这首《青玉案》与北宋婉约派大家晏殊和柳永相比，在艺术成就上毫不逊色。词作从极力渲染元宵节绚丽多彩的热闹场面入手，反衬出一个孤高淡泊、超群拔俗、不同于金翠脂粉的女性形象，寄托着作者政治失意后，不愿与世俗同流合污的孤高品格。词从开头起“东风夜放花千树”，就极力渲染元宵佳节的热闹景象：满城灯火，满街游人，火树银花，通宵歌舞。然而作者的意图不在写景，而是为了反衬“灯火阑珊处”的那个人的与众不同。本词描绘出无宵佳节通宵灯火的热闹场景，梁启超谓“自怜幽独，伤心人别有怀抱。”认为本词有寄托，可谓知音。 上片与元夕之夜灯火辉煌，游人如云的热闹场面，下片写不幕荣华，甘守寂寞的一位美人形象。美人形象便是寄托着作者理想人格的化身。 王国维把这种境界称之为成大事业者，大学问者的第三种境界，确是大学问者的真知灼见。
Here introduces some information about "creative nonfiction writing". The following passage written by the Godfather of the creative nonfiction writing: Lee Grutkind. http://www.creativenonfiction.org/thejournal/whatiscnf.htm WHAT IS CREATIVE NONFICTION? This may come as a surprise, but I don’t know who actually coined the term creative nonfiction. As far as I know, nobody knows, exactly. I have been using it since the 1970s, although if we were to pinpoint a time when the term became “official,” it would be 1983, at a meeting convened by the National Endowment for the Arts to deal with the question of what, exactly, to call the genre as a category for the NEA’s creative writing fellowships. Initially, the fellowships bestowed grant money ($7,500 at the time; today, $20,000) to poets and fiction writers only, although the NEA had long recognized the “art” of nonfiction and been trying to find a way to describe the category so writers would understand what kind of work to submit for consideration. “Essay” is the term used to describe this “artful” nonfiction, but it didn’t really capture the essence of the genre for the NEA or lots of other folks experimenting in the field. Technically, scholars, critics, and academics of all sorts, as well as newspaper op-ed reporters, were writing “essays,” although that was not the kind of work the NEA had in mind. “Journalism” didn’t fit the category, either, although the anchoring element of the best creative nonfiction requires an aspect of reportage. For a while the NEA experimented with “belles-lettres,” a misunderstood term that favors style over substance and did not capture the personal essence and foundation of the literature they were seeking. Eventually one of the NEA members in the meeting that day pointed out that a rebel in his English department was campaigning for the term “creative nonfiction.” That rebel was me. Although it sounds a bit affected and presumptuous, “creative nonfiction” precisely describes what the form is all about. The word “creative” refers simply to the use of literary craft in presenting nonfiction—that is, factually accurate prose about real people and events—in a compelling, vivid manner. To put it another way, creative nonfiction writers do not make things up; they make ideas and information that already exist more interesting and, often, more accessible. This general meaning of the term is basically acknowledged and accepted in the literary world; poets, fiction writers—the creative writing community in general—understand and accept the elements of creative nonfiction, although their individual interpretation of the genre’s boundaries may differ. The essential point to acknowledge here is that there are lines—real demarcation points between fiction, which is or can be mostly imagination; traditional nonfiction (journalism and scholarship), which is mostly information; and creative nonfiction, which presents or treats information using the tools of the fiction writer while maintaining allegiance to fact. There is, it is true, controversy over the legitimacy of creative nonfiction, both as a term and as a genre; it flares up regularly, perhaps even annually, every time a book like James Frey’s A Million Little Pieces, which purported to be a memoir but contained fictionalized events, is unmasked. Such scandals seem to inspire frenzies among literary and cultural critics, an excuse for predictable (but nevertheless often satisfying) expressions of schadenfreude and sanctimonious pronouncements about Truth in Art. Ultimately, this controversy over the form or the word is not only rather silly but moot; the genre itself, the practice of writing nonfiction in a dramatic and imaginative way, has been an anchoring element of the literary world for many years. George Orwell’s Down and Out in Paris and London, James Baldwin’s Notes of a Native Son Ernest Hemingway’s Death in the Afternoon, and Tom Wolfe’s The Right Stuff are classic creative nonfiction efforts—books that communicate information (reportage) in a scenic, dramatic fashion. These four books represent the full spectrum of creative nonfiction: Baldwin’s work is memoir and therefore more personal or inward, dealing with the dynamics of his relationship with his father and the burden of race in America; Wolfe’s work is more journalistic or outward, capturing the lives of the early astronauts. Death in the Afternoon and Down and Out in Paris and London fall somewhere in between—personal, like memoir, but filled with information about bullfighting and poverty, respectively. I often refer to this combination as the parallel narratives of creative nonfiction: There is almost always a “public” and a “private” story. At one point in history, this kind of writing gained popularity as the “New Journalism,” due in large part to Wolfe, who published a book of that title in 1973. In it, he declared that the New Journalism “would wipe out the novel as literature’s main event.” Gay Talese, in the introduction to Fame and Obscurity, his landmark collection of profiles of public figures including Frank Sinatra, Joe DiMaggio, and Peter O’Toole, described the New Journalism thus: “Though often reading like fiction, is not fiction. It is, or should be, as reliable as the most reliable reportage, although it seeks a larger truth than is possible through the mere compilation of verifiable facts, the use of direct quotations, and adherence to the rigid organizational style of the older form.” This is perhaps creative nonfiction’s greatest asset: It offers flexibility and freedom while adhering to the basic tenets of reportage. In creative nonfiction, writers can be poetic and journalistic simultaneously. Creative nonfiction writers are encouraged to utilize literary and even cinematic techniques, from scene to dialogue to description to point of view, to write about themselves and others, capturing real people and real life in ways that can and have changed the world. What is most important and enjoyable about creative nonfiction is that it not only allows but also encourages the writer to become a part of the story or essay being written. The personal involvement creates a special magic that alleviates the suffering and anxiety of the writing experience; it provides many outlets for satisfaction and self-discovery, flexibility and freedom. --Lee Gutkind
This evening, I took part in an English lecture made by Prof. DAI FAN from Sun Yat-sen University, China. She shared the experience in teaching the course named 'Creative Nonfiction Writing' with us and impressed me deeply. It encouraged me greatly. I think I can improve myself with the unique methods. Here enclosed the information for this kind of course(such as thetheme, criteria for the essays)from the internet, and it may offersome suggestion tous teacher in themainland China. http://www2.hawaii.edu/~dennisk/eng_206/eng206syllabus.html Course Theme : Who am I? Who or What has Shaped me? What do I believe in? Where do I fit in? These are some questions at the heart of creative nonfiction, a literary genre which allows writers to explore questions about themselves and the world, from a personal perspective, as well as to create an identity and a map of the world centered around some meaningful and significant place, person, event, activity, or community. The writing is creative in part because it is unique, different from anyone else's. The theme of this course in creative nonfiction is "Situating Identity in our Global and Multicultural Age." ("Site/Situating," Place/Placing," "Home" "Map," and so on, may be both real and imaginary, literal and metaphorical.) In your writing for this class, you will reflect on how you conceive of yourself, how important you find various traditional elements of identity, such as place, ethnicity, ancestry, family, gender, class, culture, language, and/or religion. You will reflect on the movements of your ancestors, family, and yourself; consider historical processes that have affected these movements. Through reading and research, recollection and reflection, you will explore in writing who you have become, are becoming, or might become and what you find important in the world. You will share your research and discoveries in writing with each other. We will read creative nonfiction by some well known and accomplished writers to give us some perspectives on what others have written in this genre, what others have experienced. By comparing and contrasting a multitude of perspectives on identity, you will hopefully discover ways in which we are both alike and unlike each other, and come to appreciate differences as well as look for common ground. The focus of the readings will be on the Pacific, with Asia on its western boundary, America on its eastern boundary, and Hawai'i and Pacific Islands at its center, simply because the course is being offered here, in this place between Lae'ahi and Pu'u o Kaimuki, at a college named for a Hawaiian Queen; and because the students sitting in the classrom have some roots in or connection to Hawai'i, the Pacific and Asia. (The course is designated H-focus, which means it has a Hawaiian, Asian and Pacific focus and fosters "multi-cultural respect and understanding.") Writing Topic: Places: Home and Away Biography: People Who Have Shaped Who We Are Autobiography : Finding a Way Cultural Tradition: What We Value, What We Believe, What We Pass On Community: Where We Belong, Where We Fit At least three of these writings will include with outside sources: such as an interview or two and library or internet research. This requirement is designed to get you to include more than your own perspective in your writing, to create layers of complexity, to go beyond the monovocal. The writing for this class will be done in perhaps a different way from your writing in other classes. We won't be working on one essay at a time, but all five at once, but in different stages. On the first day or two we will generate ideas for all the topics. You will start writing on the first topic, but at the same time begin collecting ideas for the other four. I find that writing grows in complexity when you think about it over a long period of time...weeks, months, even years. You will discover things in your daily living that can be included in an essay --if the topic is important to you; that is, you are thinking about these things as part of your life. Criteria for Grading Writing Content : Does the writing have a clear focus or theme? Do you provide sufficient descriptive details, information, explanations, or evidence to give the reader a clear idea and understanding of what you are trying to convey? In general, an "A" paper will contain elements of surprise, urgency and complexity. Form : Is your writing focused and structured? Grammar, Style, Spelling and Mechanics : Are your sentences clear, concise, and consistent in form and point of view? Is your style appropriate to your purpose, subject, and audience? Does your grammar and punctuation make clear your intended meaning? Do your spelling and mechanics meet the standards of edited publishable English? Diction : Are your word choices precise? Is your figurative language (metaphors, similes, etc.) fresh and effective?
题目一：scientific writing basics 题目二： how to write like a pro 报告人：Dr. Zuojun Yu （ Honolulu-based freelance English editor ） 时间：2011年12月8日（周四） 下午3:00—5:00 地点：东南楼350报告厅 欢迎老师同学踊跃参加！
Zuojun Yu, a Honolulu-based freelance English editor, will give two one-hour-long lectures on scientific writing in English. Lecture 1: scientific writing basics Lecture 2: how to write like a pro Preferred audience: young scientists and Ph.D. candidates in the field of environmental sciences. Date: Dec. 8th and 9th, 2011 Locations and time: to be announced
Zuojun Yu, a Honolulu-based freelance English editor, would like to give two one-hour-long lectures on scientific writing in English. Lecture 1: scientific writing basics Lecture 2: how to write like a pro Preferred audience: young scientists and Ph.D. candidates in the field of environmental sciences. Date: Dec. 6th or 7th, 2011
Good evening, I'm writing to tell you that all US troops will return home from Iraq by the end of December. After nearly nine years, the American war in Iraq will end. Our servicemen and women will be with their families for the holidays. The war in Iraq came with tremendous cost. More than a million Americans served in Iraq, and nearly 4,500 gave their lives in service to the rest of us. Today, as always, we honor these patriots. When I came into office, I pledged to bring the war in Iraq to a responsible end. As Commander in Chief, I ended our combat mission last year and pledged to keep our commitment to remove all our troops by the end of 2011. To date, we’ve removed more than 100,000 troops from Iraq. This is a significant moment in our history. For more information, including video, please visit WhiteHouse.gov/BringingTroopsHome . The end of the war in Iraq reflects a larger trend. The wars of the past decade are drawing to a close. As we have removed troops from Iraq, we have refocused our fight against al Qaeda and secured major victories in taking out its leadership–including Osama bin Laden. And we’ve begun a transition in Afghanistan. On the first day of my Administration,roughly 180,000 troops were deployed in Iraq and Afghanistan. By the end of this year that number will be cut in half, and we’ll continue to draw it down. As we welcome home our newest veterans, we’ll enlist their talents in meeting our greatest challenges as a nation—restoring our economic strength at home. Because after a decade of war, the nation that we need to build is our own. Today the United States moves forward, from a position of strength. Thank you, President Barack Obama
I have to say that Chinese are really smart, or at least Chinese students are really quick at learning English writing. A week ago, I started to edit a manuscript written by a beginner. Half way through, I could not take it any more. Why? I was doing less than English editing, because of various "small errors" here and there, involving spacing, punctuation, etc. So, I sent the manuscript back, with instructions for revision. I also wrote a few Blog on how to fix these problems. (See my Blog in the past few days on English writing.) Today, the revised manuscript came back. I was a bit nervous, because I was not sure how much improved it would be. To my surprise, it was so much better! I am so pleased with this graduate student that I suggest that he give a seminar to his fellow students on English writing.
Background: John is a student (or a junior scientist), whose manuscript was sent to me for English editing by his "boss." As usual, I threw in free comments and suggestions. In this case, I suggested him to split the paper into two. End of my Round 1 of editing. After some consideration, John agreed with me and sent me a shortened version. I edited it again, after having gotten the "go ahead" from his "boss." Again, I made suggestions for him to revise. A day later, John asked me for "help," again... Dear John, To revise a paper takes time. I am a good writer, but I need a lot of time to write and even more time to revise a manuscript. The key to good writing is revision, revision, and revision. Please ask yourself these questions: 1) What is new about this paper? (So, you need to know what has been published on this topic.) 2) Are the results important/useful enough to be publish in a journal? 3) Have I told a good story? (Note: A story has a story line and follows a logic; so is a scientific paper.) I want you to work hard on the paper yourself. Then, ask (your boss) to read it, and let him decide if I should do Round 3 of editing. Zuojun
I told the journal editor "such a poorly written paper should have never been sent out for review, not to mention the second time." Below is part of my review. Reject. The paper is very poorly written, from violating plain English language rules to bad organization. Most importantly, I don’t think the authors demonstrated xxx is the cause. They can (do the following test to sort things out). … Some examples of bad English: 1) The authors don’t punctuate correctly. For example, “The Indian Ocean, unlike other oceans is strongly …” (Line 38). A comma is needed after “unlike other oceans.” 2) Randomly place citation(s). For example, “during southwest (xxx et al., 199x) monsoon…” (Line 58; Lines 237-238). 3) Even at the beginning of a sentence, the authors use “Fig x” (Line 218; 247), or “Figures 3 to 5) (Line 273) without any consistency. In Line 302, it was a lower case “figure x.” 4) “To understand and comprehend…” (Line 340). Redundant. ps. May be some students put this poor guy there as the first author.
Three magazine professionals explain what authors should and shouldn't do to establish a mutually beneficial relationship with a magazine's editors. http://www.physicstoday.org/daily_edition/points_of_view/we_love_you_you_re_perfect_now_edit?type=PTPICKS
简单的语言 在本贴中，我将介绍简单的语言对于学术文章的重要性。科学是复杂的，因此语言需简练。复杂的语言会让读者难以理解你想表达的学术内容。最好使用简单、清楚、简洁的语言让读者易于理解。我在后面还会提供一个图表帮助作者来简化文章中的语言。 Simple is best The nature of reality and science are complicated enough without English getting in the way "Easy writing's curse is hard reading." --Richard Brinsley Sheridan (1751-1816) The origins and evolution of the universe, the Earth and life. The climate system and effects of humans on the environment. Alternative energies and sustainability. The struggle to understand ageing, cancer and neurodegenerative diseases. These are only some of the issues being addressed currently by modern science, and they are all extremely complex. A commonly-used approach in science to manage this complexity is to tackle one small part of the problem at a time, and it is in this incremental approach that the modern scientific endeavor has been so successful in helping us understand our universe. Never the less, the methods, technologies and language of science are also extremely complex. Our disciplines are replete with their own vocabularies of technical jargon, often with their specific “grammars” in which only certain combinations of terms make scientific sense. Given this complexity of nature and our scientific methods and language, clear and concise written scientific English is essential. Unfortunately the English language is not intrinsically concise, although it is becoming more so. Compare, for example, the following lists: a majority of most a number of many, several, some at a rapid rate rapidly as a consequence of because of at this point in time currently based on the fact that because despite the fact that although due to the fact that because in order to to so as to to on the basis of based on On the left are terms that are perfectly correct, but not concise. The concise versions are on the right. The list on the left is a legacy from when English was more formal and “wordy”. These terms are still used frequently in much English writing, but in technical scientific writing they are being discarded increasingly in favor of the terms on the right. Many native English writers believe that using the wordy terms appears more intellectual or clever, and non-native writers have also been taught the same. This is wrong. The use of these wordy terms is fine in creative literature and poetry and in other types of writing where style may be considered as important as substance, but in scientific writing we should be aiming for concision. In my time here in China, I’ve twice had Chinese people tell me about their school education in English. A common task would be for the teacher to tell the class to write, for example, 200 words on a particular topic. Frequent use of terms such as “in order to” and “at this point in time” were a good way to reach the word limit, but in scientific writing the objective is usually the opposite: to say as much as you can in as few words as possible. The less you use these wordy terms the more space you have to use the technical and often complex scientific language you should be focusing on. This is especially the case for abstracts, where upper word limits need to be strictly adhered to. Another simple way to improve concision is the use, or rather not using, the word “of”. As you know, this word indicates the possessive of something, for example “the slope of the mountain”. This can be shortened to “the mountain slope”, where the word “mountain” is now used essentially as an adjective to describe the slope. Now take the short sentence “the slope of the mountain that is covered with forest.” This can be shortened to “the forested mountain slope”, where the adjective “forested” means the same as “covered with forest”. The sentence has been reduced from 10 words to four, and means exactly the same thing. This is a very simple and general example of improving concision, but this process constitutes much of the editing I perform on English manuscripts written by non-native English writers. The opening quote of this post – “easy writing's curse is hard reading” – means that writing the first thing that enters your head will usually convey most of what you want to say, but will often contain too many words and too much repetition. This can make it difficult and tiring to read. An initial draft of a piece of English writing can almost always be improved and made more concise. One of the great things about English is that although it has the capacity to be unnecessarily wordy, it is flexible enough to improve concision dramatically, as the above example showed. Unfortunately, this is often not an easy thing to do, especially for non-native speakers and writers. Similar to native speakers, non-native speakers need to spend time both writing and reading in English to develop the writing (and re-writing) skills needed for optimal concision. It is not just in English that this is an issue. The 17th Century French mathematician, physicist and theologian Blaise Pascal (1623-1662) famously said to a correspondent in a letter: “I would have written a shorter letter, but I did not have the time.” He meant that to have improved the concision of his letter would have required much more thought and effort than the initial draft. Pascal wrote this in French, but it still applies equally to making things concise in English. Returning to a theme of an earlier post (Writing and the art of scientific reading), good readers make good writers. The more English text you can read in your scientific field, and the greater familiarity you gain with the scientific vocabulary and grammar of your discipline, the more easily you will be able to use it in your writing. This includes learning the most concise way to write things. The nature of reality and science are complicated enough without wordy English getting in the way. Try your best to write concisely and clearly, and let your English language be an open doorway to the importance of your research, not an unwieldy barrier. Matthew Hughes, PhD Soil Sciences Editor Edanz Group China
Yes, we are still open for business, seven days a week. Please send your abstracts to us for free editing and comments. We may not know your research, but we can always help to improve your writing somewhat. Xiao Zhang, Your English is pretty good. If you want to improve scientific writing , you can start with reading English publications. When you read a paper, ask yourself how easy it is to understand it. A well-written paper should do that for readers, because there should be a good logic flow to guide you through. Please feel free to contact me if you need specific help with writing. I don't know everything, but I am willing to try my best. Aloha, Zuojun
Important points: 1. Highlight the contributions, and focus on the novel work. 2. Write a paper as a presentation. Other points: 1. Full name before any abbreviation. 2. Function Call Graph (FCG), i.e. capitalize the first letter of words which will provide the abbrievated name. 3. "can not" - "cannot" 4. Avoid using "The" in titiles. 5. Avoid using "we", "us", and "our"; use "the proposed" instead. 6. Avoid using "that is" and "it means". 7. Reduce using "()". 8. Either use "energy" or "power", but not both. 9. In reference part, don't use abbrievation of conference name, but the full name.
标签: writing
