Questions Are Not The Enemy

They’re not being asked to find your weak spot or the flaw in your thesis. They’re not to be dodged or to guard against. You can’t write yourself away from questions with your thesis.

Questions are there to examine you, shed light on your work and explore what you’ve done.

Don’t dread them. Don’t put up a wall. Don’t just hope that they’ll be OK.

Find opportunities to practise, so you can realise that they’re not to be feared. In the viva, pause, breathe, think and answer.

I Can’t Answer

A recent workshop question about viva questions stood out to me:

“What if my examiners ask me something I can’t answer?”

This is distinct from thinking I don’t know or going blank. If you can’t answer then there is an underlying aspect of the question that means an answer can’t be given. There could be many possible reasons:

  • You might not be able to answer because you don’t have all of the information – so tell your examiners that.
  • You might not be able to answer because the question is not something you have investigated – so tell your examiners that.
  • You might not be able to answer because you decided that question was not worth following – so tell your examiners that – and tell them why.
  • You might not be able to answer their question fully or definitively, because it’s the sort of question to which one can only give an opinion, backed up with an argument and reasons – so do that.

The motivating question for this post is hypothetical. It may never come up in your viva. It’s probably better to invest time in things that you can control or influence. If a question does come up and you can’t answer: tell your examiners. Tell them why. Ask them questions.

Continue being part of the conversation.

The Viva Train

The viva is, in some ways, a bit like a train journey…

You have your ticket (thesis), you know your destination (graduation) but it’s right that the conductors (examiners) check you’re supposed to be there.

There’s clear norms about what’s involved. It takes time. It’s rare for something to go seriously wrong. If sometimes it might take a little longer than expected it can be coped with. Even if it was cancelled, there would be another at some point.

Thankfully, unlike a lot of trains, the viva is not too crowded and you have space to stretch out a little and think.

You should probably still keep your feet off the seat.

 

Certain

At the start of my workshops I always share that my viva was four hours long. I’d be asked at some point anyway, and once it’s out there we can talk about expectations. My viva was longer than most, but not the longest I’ve heard of. It was challenging, but not bad. It was tiring, but that was mostly due to insomnia the night before.

By sharing my story I can talk more generally about the stories I’ve heard and what realistic expectations are for the viva.

But mentioning the length of my viva raises a worrying series of questions for some people: “What if I have a four-hour viva? What if I lose my focus? What if it’s all too much and I can’t concentrate? What then?”

Well, what if you’re fine? What if nothing bad happens?

What if you invest time and energy and stress now on things that might never happen, when you could invest them in something better?

You can’t be certain in advance of the viva of how long it will be, of what award you will get, of what your examiners will think or what questions will come up. You can have reasonable expectations about all of them maybe, but you can’t have certainty about them.

You can be certain of what you know and what you can do. You did the work. You’re talented. You can be prepared for the discussion that comes up in your viva.

Don’t focus on “what ifs” and maybes. Focus on your certainties.

A Close Comparison

I think the TV show Inside The Actors Studio is a pretty similar format to the viva. An experienced and interested host asks questions. Their interviewee has done a lot of hard work over a long period of time. Questions can be deep; few can be answered with soundbites. There’s time to think and offer thoughts. The purpose of the discussion is to illuminate and reveal. While there are many questions that can’t be anticipated, there are some which the guest could prepare for, in the form of host James Lipton’s “Pivot Questionnaire”.

Of course, the viva in the UK is unlike Inside the Actors Studio in many, many ways: it’s not televised or before a large audience; you have more than one examiner; it’s typically about a smaller body of work and, most obviously, it’s about research and not the path of an acting career.

But given that there are so many bad, untrue, unhelpful stories and formats that people compare the viva to, isn’t time that we had one that was positive? The comparisons in the earlier paragraph are fairly accurate. In your viva your examiners are interested, you know a lot of what will be talked about even if you don’t know the questions exactly, and the format is something you can know about in advance.

The more good stories and useful comparisons we can share about the viva, the more we’ll change the collective picture for it for the better.

Targeting The Viva

Nervousness about the viva sometimes comes from feeling unprepared or unsure about the quality of research, but often it comes from just not knowing enough about the viva itself. This is understandable: you need to see a target to aim for it. Without something tangible to aim for you can’t easily reach success.

The viva is made out to be a big unknown, but in reality there are lots of place to find out more information:

  • Your institution’s guidelines;
  • Your supervisor(s);
  • Recent graduates from your department;
  • People from your wider network;
  • Even random blog-people and Twitter-folk!

There’s no reason for the viva to be a mystery. Think about what you do and don’t know about it, then find ways to fill in the blanks. Learn about expectations, norms and what to do.

Then you can hit the target.

The Knack

My dad passed away quite suddenly when I was 17. Today would have been his 70th birthday, and he’s been on my mind a lot lately.

When I was little my dad was often self-employed. He had been made redundant from his job when I and my sisters were quite small. For most of our childhood he had a stall at markets around the North West and in Scotland. I remember bagging biscuits at our dining table from huge boxes. I remember bundling tea towels and dusters, taking five and folding them a certain way, throwing a rubber band around them to hold bundles together. Seriously, I remember those afternoons quite fondly.

In the summer holidays my dad would let me help with various games he ran at fairs and carnivals. My favourite game was one where you had to throw a small wooden ball into a metal bucket. The bucket was inside a wooden frame, painted to look like a clown’s mouth; you just stood at a distance and tried to throw the ball in. This was the 1980s, so it was only 20p for three balls, and the spectacular prize was a coconut!

I remember the call still, “Ball in the bucket to win, just a ball in the bucket to win!

It was not easy. For a start, the bucket was pitched at an angle that encouraged the ball to rebound. The balls were ping-pong sized and dense: if you threw too hard they would bounce right back out. If you threw too soft, you might not get the ball in the target at all. Overarm shots always span out.

Ball in the bucket to win, just a ball in the bucket to win!” he would call out and throw the ball and DING! there it would land. Most people paying their 20p had never tried it before, never thought of playing anything like this. It was just something fun to spend 20p on.

There was no great trick, there was no con involved: it was just really hard. My dad had the knack though. He’d mastered this really hard skill. He’d found a challenge he knew was tricky, but spent a lot of time practising. He could throw the ball just so and have it land in the bucket every time. He made it look effortless, but that’s because the effort had been put in over years.

I tried and tried, failing many times, but still remember the first time I got my own DING! I kept going, and while I wasn’t as precise as my dad, I started to reach a point where I could get the ball in the bucket consistently. Practice, experience, nothing more.

Back to the present: your PhD is hard, but there are aspects of it you make seem effortless to others. That’s not to say it’s not still hard to you, but you can do it. You’re practised, you’re experienced. At the viva you can answer a question and engage with a discussion nearly every time because you’ve done so much during your PhD.

After all this time you have the knack.

After Your Viva…

…take ten minutes and talk to some future candidates in your department or network. Tell them about your viva experience. Set your focus on sharing what happened and what it felt like.

Share what sorts of questions you got. Share what surprised you. Share anything you can about the flow and format.

Your story is unique, but if more viva stories are shared perhaps the overall perception of the viva will shift a little. It will be less of an unknown. More people will have a sense of what it’s all about.

Share your viva story when you’re done.

1 95 96 97 98 99 104