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We also found a huge of commitments, which is exactly what audits are good for: identify who’s doing well, and who’s doing badly, so that everyone can learn from the best players. Lastly, as we went along we collected some fascinating examples of problematic policies, ambuous language, inconsistent commitments, odd exclusions, and so on. Overall this audit was a huge project, and we hope it will be widely used. You can see which companies are the best, and the worst. If you’re a researcher trying to get information on a trial from a company, you can of institutions, rather than their promises: the proportion of their completed trials for which they have shared results. Meanwhile, you can read more about the battle for unreported clinical trials at By now I hope you all know about the ongoing global scandal of clinical trial results being left unpublished, and of course our All Trials campan. Doctors, researchers, and patients cannot make truly informed choices about which treatments work best if they don’t have access to all the trial results. Earlier this year, I helped out with a World Health Organisation project to get non-industry clinical trial funders sned up to making better policies on transparency. This BMJ editorial (sorry, I’m late posting it, published last month! ) describes the new commitments, and why this commitment is more convincing than previous vaguer statements. Read the rest of this entry » We’ve found 12,000 switches hidden around the house. Some of them turn this lhtbulb on, some of them don’t; some of them only work sometimes; and some of them work sometimes, but twenty years after you flick them. Some of the switches only work, sometimes, twenty years later, if one of the other switches is flicked too (and at the rht time). In any case the wiring’s rusty, everything’s completely different in the house next door, and by the way there are lots of people selling spare bulbs who tell lies about houses, switches, and fingers. We can change the lhtbulb, but I’m not sure that’ll stop you dying from cancer in this metaphor. People often talk about “trials transparency” as if this means “all trials must be published in an academic journal”. In reality, true transparency goes much further than this. We need Clinical Study Reports, and individual patient data, of course. But we also need the consent forms, so we can see what patients were told. We need the analytic code, so we can see exactly how the data were analysed. We need access to post-publication peer review, so we can see what desn flaws others have identified. And we don’t just need these things to be publicly available, in some form or another: we ideally need them to be available as open data, freely shareable and re-usable, which is a very different kettle of ballpark. And then, of course, we need this data to be used, which means we need to think about building tools that make it useful. Finally, we can’t just whine about the world not being as we would wish it to be, or write academic papers describing the problem: we need a practical theory of change, and a set of clear strategies that will deliver greater transparency. This is my talk at the International Journal of Epidemiology Conference, 2016. It takes 29 minutes of your life, at speed: I hope you find it useful. The International Journal of Epidemiology used to be a typical hotchpotch of isolated papers on worthy subjects. Occasionally, some were interesting, or related to your field. Under Shah Ebrahim and George Davey-Smith it became like nothing else: an epidemiology journal you’d happily subscribe to with your own money, and read in the bath. Read the rest of this entry » The Conversation is a great media outlet, because it’s run by academic nerds, but made for everyone. I had a nice time chatting with them last week: we discussed transparency, data sharing, statins, research integrity, risk communication, culture shift, academic activism, and why we should kick through the walls of the ivory tower. theconversation.com/speaking-with-bad-pharma-author-ben-goldacre-about-how-bad-research-hurts-us-all-65800 The Duchenne’s treatment made by Sarepta (eteplirsen) has been in the news this week, as a troubling example of the FDA lowering its bar for approval of new medicines. The FDA expert advisory panel decided not to approve this treatment, because the evidence for any benefit is weak; but there was extensive lobbying from well-organised patients and, eventually, the FDA overturned the opinion of its own panel. There have been s for paper retractions, and so on. This is not the first time we’ve seen peculiar activity around the treatment. Read the rest of this entry » There are recurring howls in my work. One of them is this: in general, if you don’t know which intervention works best, then you should randomise everyone, everywhere. This is for good reason: uncertainty costs lives, through sub-optimal treatment. Wherever randomised trials are the rht approach, you should embed them in routine clinical care. This is an argument I’ve made, with colleagues, in endless different places. New diabetes drugs are approved with woeful data, small numbers of patients in trials that only measure blood tests, rather than real-world outcomes such as heart attack, renal failure, or death: so let’s roll out new diabetes treatments in the NHS through randomised trials. We rely on observational studies to establish whether Tamiflu reduces complications of pneumonia: that’s silly, we can do trials, and we should. Statin treatment regimes in widespread use have never been compared head-to-head, using real-world outcomes such as heart attack, stroke, and death: so let’s embed randomised trials as cheaply as possible in routine clinical care (we’ve done two pilots, to document the barriers). This week a dozen colleagues and I published yet another application of this basic, simple principle, as an editorial in the BMJ. The Cancer Drugs Fund is being marketed as a way to generate new knowledge: but in reality, the data that will be collected is weak, Read the rest of this entry » Here’s a useful paper we’ve just published in the BMJ, documenting problems in transparency around approval processes for randomised trials. There’s a basic rule in clinical research: you’re only supposed to do a trial comparing two treatments when you really don’t know which one is best, otherwise you’d be knowingly randomising half your participants to an inferior treatment. Despite this, it’s already known that trials are sometimes conducted where one get a substandard treatment. We wanted to find out how ethics committees come to approve such trials. Read the rest of this entry » Hi there, I’m doing a few events in Australia and NZ this week: in Sydney, Melbourne, Auckland (only 25 tickets left), and Brisbane. 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James Patterson - the best seller who doesn't write his own Lately, I’ve been getting a lot of questions about how to edit a book. “I have a 60,000 word manuscript,” people tell me, “but I don’t know how to know if it’s ready to publish.” Some of these writers want to finish up the manuscripts they began during Na No Wri Mo. Others are in the middle of their first draft and are enthusiastiy thinking ahead to their next steps. Don’t read your draft though, because as soon as you do, the awful reality of just how bad your book is will almost certainly dampen your mood. However, they’re all asking the same question: How do you know when your book is finished? I love this quote from Michael Crichton: Your book isn’t finished until you revise it from beginning to end at least once (and almost always more than once). Once you finish that last page, you will probably experience more pride than you ever have in your entire life, second only to giving birth. I could share a hundred quotes from celebrated writers that sound exactly like the one above, but instead, just trust me. When you finish your first draft, you have so much more work to do. The editing process looks different for every writer, a few things seem to work well for everyone. The best book I’ve ever read about the revision process is Stephen Koch’s . If you want to learn more about this subject, I hy recommend picking up a copy. The purpose of this step is not to revise but to get a fresh perspective on the book and see what holes need filling. Here are four suggestions on how to edit your book: After you finish your first draft, read your manuscript once by yourself. While I wouldn’t suggest doing any heavy duty editing, you’re welcome to take notes or jot down any ideas you have for the next step. This trick is especially great for fiction writers. In my college art class, our first assnment was to draw a quick sketch of a tea cup 100 times. Yes, I was very familiar with that tea cup by the end of the assnment. The hard part was that each drawing had to be different. After I drew the teacup from a few normal perspectives, I was forced to get creative. I started drawing levitating tea cups, tea cups that were sawn in half, cubist tea cups, and even tea cup wallpaper. They’re quick summaries of your entire book in just a few thousand words. By telling a summarized version of your story ten different ways, you get new ideas about your book’s core essentials, who the main important characters are, which ideas are most central, and how to structure your book in the most interesting way possible. Scenarios shouldn’t take longer than a day to write, and can be as short as 2,000 to 3,000 words for a book and 300 to 500 words for a short story. While most professional writers write three drafts or more, there are quite a few single-drafters out there. However, single-drafters usually spend much longer on their first drafts than most writers, so that by the end, they probably rewrite than multi-drafters. After your first draft, your second draft is meant for major structural fixes. If you found any major holes in the reading stage, your second draft is a great time to write or rewrite chapters and scenes. After the discoveries you make in your scenarios, you may even decide to rewrite the whole book from the beginning. I wouldn’t do much polishing until your third draft. That would be like sanding down the foundation of your house. Your final touches don’t come until your third draft. First drafts are for dging the book’s foundation, second drafts for framing the house, and third drafts for finish work. Leonard da Vinci once said, “Art is never finished, only abandoned.” However, there is a trick to knowing when to “abandon” your book and send it out into the world. Whenever I finish any draft except for the first—which is for my eyes only—I send my manuscript to a of up to 30 friends to give me feedback. Through these beta readers I’m able to get a sense of what my book it is. When you edit your book, you get too close to the work to have any rational perspective. Beta readers bring fresh eyes, and by listening to them as they talk about your book, you’ll be able to see whether it’s ready for the world. Self-published books have a bad rap for poor editing. If you buy a first printing of a traditionally published book, you will likely find two or three typos. You can have a team of 20 people looking for errors in your book and still, when it’s finally published, your second cousin will you to tell you there’s a typo on page 276. By the time the publisher is in their second printing, these have all been fixed. That being said, if you want to self-publish, please hire a professional editor. Not only will you have a better book because of it, good editing is the best way to learn the writing craft. If you can afford it, I recommend hiring an editor to critique your book after your second draft, giving a hh level overview of your major problems. After your third draft, it’s essential that you hire a line editor or copy editor to go through your prose with a fine-tooth comb. Give yourself the gift of the best book you could have written. The authors I work with are always so much happier after editing than before. I'm a positive writer and when that doesn't work, I eat chocolate. In my free time, I love visiting castles with my wife, Joan. And the thing about books is you get to meet so many different kinds of. He sees their work every couple of weeks, sending it back with notes to speed it. Millions of us take his novels on holiday but James Patterson admits he has more than one helping hand to make him the world's most popular read.

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