A practical, comprehensive, and multidisciplinary guide that blends an informal, workshop style with solid theory and practice. It is suitable for those conducting case research in business or the social sciences - whether experienced or novice. It also includes skills for writing both teaching cases and research cases.

Filled with helpful checklists, charts, and suggestions for further reading, this practical, comprehensive, and multidisciplinary guide takes readers through the entire case-writing process, including skills for writing both teaching cases and research cases. This edition includes new discussions of students as case writers, and how to interpret and respond to reviews, as well as updated and expanded material on video, multimedia and Internet cases.

Storytelling—how to catch and hold a reader’s interest through artful narration of factual material William E. Blundell, one of the best writers on one of America's best-written papers—The Wall Street Journal—has put his famous Journal Feature-Writing Seminars into this step-by-step guide for turning out great articles. Filled with expert instruction on a complex art, it provides beginners with a systematic approach to feature writing and deftly teaches old pros some new tricks about: · How and where to get ideas · What readers like and don’t like · Adding energy and interest to tired topics · Getting from first ideas to finish article · The rules of organization · How—and whom—to quote and paraphrase · Wordcraft, leads, and narrative flow · Self-editing and notes on style … plus many sample feature articles.

Essays from twenty-seven leading book editors: “Honest and unflinching accounts from publishing insiders . . . a valuable primer on the field.” —Publishers Weekly Editing is an invisible art in which the very best work goes undetected. Editors strive to create books that are enlightening, seamless, and pleasurable to read, all while giving credit to the author. This makes it all the more difficult to truly understand the range of roles they inhabit while shepherding a project from concept to publication. What Editors Do gathers essays from twenty-seven leading figures in book publishing about their work. Representing both large houses and small, and encompassing trade, textbook, academic, and children’s publishing, the contributors make the case for why editing remains a vital function to writers—and readers—everywhere. Ironically for an industry built on words, there has been a scarcity of written guidance on how to approach the work of editing. Serving as a compendium of professional advice and a portrait of what goes on behind the scenes, this book sheds light on how editors acquire books, what constitutes a strong author-editor relationship, and the editor’s vital role at each stage of the publishing process—a role that extends far beyond marking up the author’s text. This collection treats editing as both art and craft, and also as a career. It explores how editors balance passion against the economic realities of publishing—and shows why, in the face of a rapidly changing publishing landscape, editors are more important than ever. “Authoritative, entertaining, and informative.” —Copyediting

How can every management class be a dynamic, unforgettable experience? This much-needed book distils over half a century of the authors' combined experience as university professors, consultants, and advisors to corporate training departments. In a lively, hands-on fashion, it describes the fundamental elements in every learning situation, allowing readers to adapt the suggestions to their particular teaching context. It sparks reflection on what we do in the classroom, why we do it, and how it might be done more effectively. The chapters are broadly organized according to things you do before class, things you do during class, and things you do in between and after class, so that every instructor, whether newly-minted PhDs facing their first classroom experience, experienced faculty looking to polish their teaching techniques, consultants who want to have more impact, or corporate trainers wishing to develop in-house teaching skills, can benefit from the invaluable advice given.

Case method teaching immerses students in realistic business situations--which include incomplete information, time constraints, and conflicting goals. The class discussion inherent in case teaching is well known for stimulating the development of students' critical thinking skills, yet instructors often need guidance on managing that class discussion to maximize learning. Teaching with Cases focuses on practical advice for instructors that can be easily implemented. It covers how to plan a course, how to teach it, and how to evaluate it. The book is organized by the three elements required for a great case-based course: 1) advance planning by the instructor, including implementation of a student contract; 2) how to make leading a vibrant case discussion easier and more systematic; and 3) planning for student evaluation after the course is complete. Teaching with Cases is ideal for anyone interested in case teaching, whether basing an entire course on cases, using cases as a supplement, or simply using discussion facilitation techniques. To learn more about the book, and to see resources available, visit teachingwithcases.hbsp.harvard.edu.

Today when we hear the word “craft,” a whole host of things come immediately to mind: microbreweries, artisanal cheeses, and an array of handmade objects. Craft has become so overused, that it can grate on our ears as pretentious and strain our credulity. But its overuse also reveals just how compelling craft has become in modern life. In The Shape of Craft, Ezra Shales explores some of the key questions of craft: who makes it, what do we mean when we think about a crafted object, where and when crafted objects are made, and what this all means to our understanding of craft. He argues that, beyond the clichés, craft still adds texture to sterile modern homes and it provides many people with a livelihood, not just a hobby. Along the way, Shales upends our definition of what is handcrafted or authentic, revealing the contradictions in our expectations of craft. Craft is—and isn’t—what we think.