Writing about the prospectus/writing the prospectus

Research on writing has suggested that writing about writing helps students with their writing. That is, to write about one’s writing (the product) provides a great deal of insight for the writer (and reader), which in turn helps the writer understand and conceptualize the writing product more clearly. I promise all that stuff is true, I just don’t feel like looking up links to support the information…

So bear with me as I (continue to) publicly write about my prospectus. As I attempt to move closer to a completed draft (let’s call this version the Less Rough and Complete But Still Pretty Rough Draft), I’ve spent some time looking at a few examples (from kind and gracious doctor or almost doctor types). Each of these examples is remarkably different, yet quite the same, as each reflects the project, advisor, academic institution, and author, while also proposing a dissertation project by outlining the project and proposing how that project shall (possibly) be accomplished.

I have compiled (or cobbled together, as it were) the introduction material, description of the project, background information, and the lit review (although some of the lit review will likely be poached for other sections, mostly for footnotes, I imagine). What I’m currently missing (and am pretty sure I need, and/or have been told that I need) are the following sections: objectives, methodology, theoretical framework, projection of chapters. To date, I have written or drafted a little bit of all of these missing sections, either in grant proposals or in things I have sent to Advisor.

I have what I think the bulk of my methodology shall be (for now) in bullet points, and bits and pieces and quotes and blurbs and bullet points (oh my!) for the theoretical framework. I find the thought of chapter projections a bit laughable at this point, and will likely add/make up something for that at a very late hour tonight. As for the objectives? Well, I want to write about Bloodshot Records. And right now, the objectives sections says just that.

Some thoughts that might keep that one sentence company… I think they’re a unique case study to understand issues of community and local music practice; record labels in general are an under-explored aspect of alt.country and genre formation; no one has really researched the role of a record label in shaping taste within a musical community and/or musical scene (well, one book has, but it’s not quite the same). I’m also interested in the label’s ideological stance both as a part of alt.country, but also as oppositional to both alt.country and mainstream country. And considering they’re still around, I imagine there’s something else going on now, in terms of label identity…

I wonder if I could just copy and paste that paragraph into my Less Rough and Complete But Still Pretty Rough Draft…


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