Grounded in current theory and research, yet practical and teachable.
Widely praised for its groundbreaking integration of composition research and a rhetorical perspective, The Allyn & Bacon Guide to Writing with MyWritingLab has set the standard for first-year composition courses in writing, reading, critical thinking, and inquiry.
Teachers and students value its clear and coherent explanations, engaging classroom activities, and flexible sequence of aims-based writing assignments that help writers produce effective, idea-rich essays in academic and civic genres. Numerous examples of student and professional writing accompany this thorough guide to the concepts and skills needed for writing, researching, and editing in college and beyond.
Grounded in current theory and research, yet practical and teachable.
Widely praised for its groundbreaking integration of composition research and a rhetorical perspective, The Allyn & Bacon Guide to Writing with MyWritingLab has set the standard for first-year composition courses in writing, reading, critical thinking, and inquiry.
Teachers and students value its clear and coherent explanations, engaging classroom activities, and flexible sequence of aims-based writing assignments that help writers produce effective, idea-rich essays in academic and civic genres. Numerous examples of student and professional writing accompany this thorough guide to the concepts and skills needed for writing, researching, and editing in college and beyond.
The Allyn & Bacon Guide to Writing
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The Allyn & Bacon Guide to Writing
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Overview
Grounded in current theory and research, yet practical and teachable.
Widely praised for its groundbreaking integration of composition research and a rhetorical perspective, The Allyn & Bacon Guide to Writing with MyWritingLab has set the standard for first-year composition courses in writing, reading, critical thinking, and inquiry.
Teachers and students value its clear and coherent explanations, engaging classroom activities, and flexible sequence of aims-based writing assignments that help writers produce effective, idea-rich essays in academic and civic genres. Numerous examples of student and professional writing accompany this thorough guide to the concepts and skills needed for writing, researching, and editing in college and beyond.
Product Details
| ISBN-13: | 9780205721481 |
|---|---|
| Publisher: | Longman |
| Publication date: | 01/14/2011 |
| Series: | MyCompLab Series |
| Edition description: | Older Edition |
| Pages: | 784 |
| Product dimensions: | 7.50(w) x 9.20(h) x 1.20(d) |
About the Author
John Ramage received his BA in philosophy from Whitman College and his Ph.D. in English from Washington State University. He served for over thirty years on the faculties of Montana State University and Arizona State University. In addition to his teaching duties, which included both graduate and undergraduate courses in writing and rhetoric, literary theory and modern literature, Dr. Ramage served as a writing program administrator overseeing writing across the curriculum and composition programs and writing centers. At Arizona State university, he was the founding executive director of the university's Division of Undergraduate Academic Services, responsible for academic support services campus-wide.
In addition to The Allyn & Bacon Guide to Writing, Dr. Ramage was the co-author of the textbooks Form and Surprise in Composition, and Writing Arguments, currently in its 9th edition. He was also the lead author for Argument in Composition, and the sole author of Rhetoric: A User's Guide, and Twentieth Century American Success Rhetoric: How to Construct a Suitable Self. He is currently writing a book about political rhetoric.
John C. Bean is an emeritus professor of English at Seattle University, where he held the title of “Consulting Professor of Writing and Assessment.” He has an undergraduate degree from Stanford (1965) and a Ph.D. from the University of Washington (1972). He is the author of an internationally used book on writing across the curriculum--Engaging Ideas: The Professor’s Guide to Writing, Critical Thinking, and Active Learning in the Classroom, 2nd edition (Jossey-Bass, 2011). He is also the co-author of The Allyn and Bacon Guide to Writing as well as two other influential composition textbooks–Writing Arguments and Reading Rhetorically. He has published numerous articles on writing and writing-across-the-curriculum as well as on literary subjects including Shakespeare and Spenser. His current research interests focus on pedagogical strategies for teaching undergraduate research including quantitative literacy, disciplinary methods of inquiry and argument, and the problem of “transfer of learning” as students move through and across a curriculum. A concomitant research interest is the development of institutional assessment strategies that promote productive faculty conversations about teaching and learning. In 2001, he presented a keynote address at the first annual conference of the European Association of Teachers of Academic Writing at the University of Groningen. He has delivered lectures and conducted workshops on writing-across-the-curriculum throughout the United States and Canada as well as for universities in Germany, Bangladesh, Ghana, and Zambia. In 2010 his article “Messy Problems and Lay Audiences: Teaching Critical Thinking within the Finance Curriculum” (co-authored with colleagues from finance and economics) won the 2009 McGraw-Hill — Magna Publications Award for the year’s best “scholarly work on teaching and learning.”
June Johnson is an associate professor of English, Director of Writing Studies, and Writing Consultant to the University Core at Seattle University. She has a B.A. in English and an M.A. in Education from Stanford and an M.A. in English from Mills College. After chairing the English department of a preparatory school in Los Angeles and working as a development editor in educational publishing, she earned her Ph.D. from the University of Washington. At Seattle University, she supervises the teaching of first-year academic writing seminars as well as teaches these courses and advanced argument and composition theory in the Writing Studies minor. Her research areas include global studies, reflective writing, first-year composition, writing transfer, argumentation, and Rogerian communication–subjects on which she conducts workshops at Seattle University and at institutions around the country. She has published articles in American Studies on women’s writing about the West in the nineteenth century. She is the co-author (with John Bean) of The Allyn and Bacon Guide to Writing, a text known for its foundation in writing-across-the-curriculum pedagogy and its useful introduction to academic writing and co-author (also with John Bean) of Writing Arguments, and she authored Global Issues, Local Arguments, 3rd edition (Pearson, 2014), an argument reader and rhetoric with a civic literacy focus that provides a cross-curricular introduction to global problems.
Table of Contents
Preface.
I. A RHETORIC FOR COLLEGE WRITERS.
1. Posing Problems: The Demands of College Writing.
Why Take a Writing Course?
Subject-Matter Problems: The Starting Point of Writing.
Shared Problems Unite Writers and Readers.
The Writer as Problematizer.
Posing a Problem: A Case Study of a Beginning.
College Writer.
Posing Your Own Subject-Matter Questions.
Characteristics of Good Subject-Matter Questions.
Rhetorical Problems: Reaching Readers Effectively.
An Example of a Rhetorical Problem: When to Choose Closed Versus.
Open Forms.
Readings.
David Rockwood, “A Letter to the Editor”.
Thomas Merton, “A Festival of Rain”.
Distinctions between Closed and Open Forms of Writing.
Where to Place Your Writing along the Continuum.
Chapter Summary.
Brief Writing Project.
Readings.
Noel Gaudette (student), “Questions about Genetically Modified Foods?”.
Brittany Tinker (student), “Will the Development of Third World Countries Destroy Our Environment?”.
Showing Why Your Question Is Problematic and Significant (for Option 2).
Showing Why Your Question Is Significant.
Planning Your Essay.
2. Exploring Problems, Making Claims.
What Does a Professor Want?
Learning to Wallow in Complexity.
Seeing Each Academic Discipline as a Field of Inquiry and Argument .
Posing an Engaging Question.
How a Prototypical Introduction Poses a Question and Proposes an Answer.
Seeking a Surprising Thesis.
Try to Change Your Reader’s Views of Your Subject.
Give Your Thesis Tension.
Supporting Your Thesis with Points and Particulars.
How Points Convert Information to Meaning.
How Removing Particulars Creates a Summary.
How to Use Points and Particulars When You Revise.
Chapter Summary.
Brief Writing Project.
Playing the Believing and Doubting Game.
Reading.
Anonymous (student), “Believing and Doubting Paul Theroux’s Negative View of Sports”.
3. Thinking Rhetorically about Purpose, Audience, and Genre.
How Writers Think about Purpose .
Purpose as Rhetorical Aim n Purpose as a Response to a Motivating Occasion.
Purpose as a Desire to Change Your Readers’ View.
How Writers Think about Audience.
Assessing Your Audience.
How Writers Think about Genre.
Rhetorical Context and Your Choices about Structure.
Rhetorical Context and Your Choices about Style.
Factors That Affect Style.
Recognizing Different Styles and Voices.
Rhetorical Context and Your Choices along the Scale of Abstraction.
Rhetorical Context and Your Choices about Document Design.
Key Components of Document Design.
Examples of Different Document Designs.
A Generic Rhetorical Context for College Writing.
What Do We Mean by a “Default” or “Generic” Rhetorical Context?
Assignments That Specify Different Rhetorical Contexts.
Chapter Summary.
Brief Writing Project.
4. Thinking Rhetorically about How Messages Persuade.
A Brief Introduction to Rhetorical Theory.
Rhetoric and Symbolic Action.
Inducing Cooperation: Rhetoric as Inquiry and Persuasion.
Persuasion and Power.
The Appeals to Logos, Ethos, and Pathos.
Angle of Vision.
Recognizing the Angle of Vision in a Text.
Analyzing Angle of Vision.
Thinking Rhetorically about Any Cultural “Text”.
Visual Rhetoric.
The Rhetoric of Clothing, Cars, and Other Cultural Texts.
Chapter Summary.
BRIEF WRITING PROJECT.
II. WRITING PROJECTS.
WRITING TO LEARN.
5. Seeing Rhetorically: The Writer as Observer.
About Seeing Rhetorically.
Exploring Rhetorical Observation.
Exhibit 1: Photograph from a Pro-Environment Newspaper Editorial.
Exhibit 2: Web Page of the Arctic Power Advocacy Group.
Exhibit 3: Photograph Juxtaposing Alaskan Wildlife and Industry.
Exhibit 4: Excerpt from a Newspaper Feature Article.
Exhibit 5: Photograph and Description of the Arctic Power Web Site.
Exhibit 6: Jimmy Carter’s Description of the ANWR.
Exhibit 7: Governor of Alaska’s Description of the ANWR.
Analyzing the Exhibits.
WRITING PROJECT.
Understanding Observational Writing.
Considering the Factors That Shape Perception.
Conducting a Simple Rhetorical Analysis.
READINGS.
Clash on the Congo: Two Eyewitness Accounts.
Thinking Critically about the Two Accounts.
Composing Your Essay.
Exploring Rationales and Details for Your Two Descriptions.
Generating Details.
Shaping and Drafting Your Two Descriptions.
Using Show Words Rather Than Tell Words.
Revising Your Two Descriptions.
Generating and Exploring Ideas for Your Rhetorical Analysis and Reflection.
Guidelines for Peer Reviews.
6. Reading Rhetorically: The Writer as Strong Reader.
About Reading Rhetorically.
Exploring Rhetorical Reading.
READING.
Andrés Martin, M.D., “On Teenagers and Tattoos”.
WRITING PROJECT.
Understanding Rhetorical Reading.
What Makes College-Level Reading Difficult?
Using the Reading Strategies of Experts.
Reading with the Grain and against the Grain.
Understanding Summary Writing.
Reading for Structure and Content.
Understanding Strong Response Writing.
Kinds of Strong Responses.
Student Example of a Summary/Strong Response Essay: Sean Barry, “Why Do Teenagers Get Tattoos? A Response to Andrés Martin”.
Questions for Analyzing and Critiquing a Text.
Questions for Analyzing and Critiquing a Visual-Verbal Text.
Questions for Developing Your Own Views about the Text’s Subject Matter.
Rereading Strategies to Stimulate Thinking for a Strong Response.
READINGS.
Florence King, “I’d Rather Smoke than Kiss”.
Lyndon Haviland, “A Silence that Kills”.
Gasp Consultancy, “Steps to Stopping Smoking”.
Adbusters.org, “Welcome to Malboro Country”.
Edward Abbey, “The Damnation of a Canyon”.
Friends of Lake Powell, Home Page and Mission Statement.
Composing Your Summary/Strong Response Essay.
Generating and Exploring Ideas for Your Summary.
Shaping, Drafting, and Revising Your Summary.
Generating and Exploring Ideas for Your Strong Response.
Writing a Thesis for a Strong Response Essay.
Revising Your Strong Response.
Guidelines for Peer Reviews.
WRITING TO EXPRESS.7. Writing an Autobiographical Narrative.
About Autobiographical Narrative.
Exploring Autobiographical Narrative.
Writing Project.
Understanding Autobiographical Writing.
Autobiographical Tension: The Opposition of Contraries.
Using the Elements of Literary Narrative to Generate Ideas.
Readings.
Kris Saknussemm, “Phantom Limb Pain”.
Patrick José (student), “No Cats in America?”.
Anonymous (student), “Masks”.
Sheila Madden, “Letting Go of Bart”.
Composing Your Essay.
Generating and Exploring Ideas.
Shaping and Drafting.
Revising.
Guidelines for Peer Reviews.
WRITING TO EXPLORE.
8. Writing an Exploratory Essay.
About Exploratory Writing.
Exploring Exploratory Writing.
Writing Project.
Understanding Exploratory Writing.
The Essence of Exploratory Prose: Considering Multiple Solutions.
Readings.
Christopher Leigh (student), “An Exploration of How to Prevent Violence in Schools”.
Dylan Fujitani (student), “Hired Guns: Uncovering the Nature of Private Militaries in the Iraq War”.
Composing Your Exploratory Essay.
Generating and Exploring Ideas.
Continuing with Research and Dialectic Thinking.
Shaping and Drafting.
Revising.
Guidelines for Peer Reviews.
WRITING TO INFORM.
9. Writing an Informative (and Surprising) Essay.
About Informative (and Surprising) Writing.
Informative Writing and the Audience’s Reasons for Reading.
The Rhetorical Power of “Suprising Reversal”.
Exploring Informative (and Surprising) Writing.
Readings.
EnchantedLearning.com, “Tarantulas”.
Rod Crawford, “Myths about ‘Dangerous’ Spiders”.
Writing Project.
Understanding Informative (and Surprising) Writing.
Need-to-Know Informative Prose.
Informative Reports.
Thesis-Based Informative Writing Using Surprising Reversal.
Readings.
Kerry Norton, “Winery Yeast Preparation Instructions”.
Kerri Ann Matsumoto (student), “How Much Does It Cost to Go Organic?”.
Cheryl Carp (student), “Behind Stone Walls”.
Shannon King (student), “Will the Hydrygen Economy Solve the Energy Crisis and Protect Our Environment?”.
Jonathan Rauch, “Coming to America”.
Composing Your Essay–Option A, Informative Report.
Generating and Exploring Ideas.
Shaping and Drafting.
Revising.
Composing Your Essay–Option B, Thesis-Based Informative Writing Using Surprising Reversal.
Generating and Exploring Ideas.
Shaping and Drafting.
Revising.
Guidelines for Peer Reviews.
WRITING TO ANALYZE AND SYNTHESIZE.
10. Analyzing Field Research Data from Questionnaires, Interviews, or Observations.
About Analyzing Field Research Data.
Exploring the Analysis of Field Research Data.
WRITING PROJECT.
Understanding the Analysis of Field Research Data.
The Structure of an Empirical Research Report.
How Readers Typically Read a Research Report.
Posing Your Research Question.
Collecting Data through Observation, Interviews, or Questionnaires.
Reporting Your Results Using Tables and Graphs.
Analyzing Your Results.
Following Ethical Standards .
READINGS.
Sharon H. Thompson and Sohailla Digsby, “A Preliminary Survey of Dieting, Body Dissatisfaction, and Eating Problems among High School Cheerleaders”.
Brittany Tinker, Trevor Tsuchikawa, and Tatiana Whizar (students), “Energy Literacy: A Comparative Study of Seattle University Students Against a National Sample” (APA Style Research Paper) .
Composing Your Research Report .
Writing in Teams.
Checklist for Composing and Revising Your Research Report.
Guidelines for Peer Reviews.
11. Analyzing Images.
About Analyzing Images.
Exploring Image Analysis.
WRITING PROJECT.
Understanding Image Analysis.
How Images Create a Rhetorical Effect.
How to Analyze an Advertisement.
How Advertisers Target Specific Audiences.
Sample Analysis of an Advertisement.
Cultural Perspectives on Advertisements.
READINGS.
Paul Messaris, From Visual Persuasion: The Role of Images in Advertising.
Stephen Bean (student), “How Cigarette Advertisers Address the Stigma Against Smoking: A Tale of Two Ads”.
Composing Your Essay.
Generating and Exploring Ideas.
Shaping and Drafting.
Revising.
Guidelines for Peer Reviews.
12. Analyzing a Short Story.
About Literary Analysis.
Exploring Literary Analysis.
Reading.
Evelyn Dahl Reed, “The Medicine Man”.
Writing Project.
Essay Assignment.
Reading Log Assignment.
Understanding Literary Analysis.
The Truth of Literary Events.
Reading the Story.
Writing (about) Literature.
Readings 285.
Alice Walker, “Everyday Use (for Your Grandmama)”.
David Updike, “Summer”.
Betsy Weiler (student), “Who Do You Want to Be? Finding Heritage in Walker’s ‘Everyday Use’”.
Composing Your Essay.
Generating and Exploring Ideas.
Shaping and Drafting.
Revising.
Guidelines for Peer Reviews.
13. Analyzing and Synthesizing Ideas.
About the Analysis and Synthesis of Ideas.
Exploring the Analysis and Synthesis of Ideas.
READINGS.
John Gallagher, “Young Entrepreneurs’ Disdain for Time Off”.
Keith Goetzman, “The Late, Great Outdoors”.
WRITING PROJECT.
Essay Assignment.
Learning Log Assignments.
Suggested Ideas for Synthesis Questions and Readings.
An Explanation of the Student Examples in This Chapter.
Understanding Analysis and Synthesis.
The Challenge of Synthesizing Ideas.
Understanding Your Texts Through Summary Writing.
Examining the Rhetorical Strategies Used in Your Texts.
Identifying Main Themes and Examining Similarities and Differences in the Ideas in Your Texts.
Moving Toward Your Own.
Views.
Taking Your Position in the Conversation: Your Synthesis.
Student Example of a Synthesis Essay: Kate MacAulay, “Technology’s Peril and Potential”.
READINGS.
Ellen Goodman, “The Big Fat Case Against Big Macs”.
Dale Buss, “Is the Food Industry the Problem or the Solution?”.
Marilyn Larkin, “Can Cities Be Designed to Fight Obesity?”.
Sharon M. Nickols-Richardson, “Family Physical Wellness: The Link to Success” .
Gail Feenstra, “Sustainable Ag” .
Composing Your Synthesis Essay.
Generating and Exploring Ideas.
Shaping and Drafting.
Writing a Thesis for a Synthesis Essay.
Possible Organizations for Synthesis Essays.
Revising.
Guidelines for Peer Reviews.
WRITING TO PERSUADE.
14. Writing a Classical Argument.
About Classical Argument.
Exploring Classical Argument.
Writing Project.
Understanding Classical Argument.
Stages of Development: Your Growth as an Arguer.
Creating an Argument Frame: A Claim with Reasons.
Articulating Reasons.
Articulating Unstated Assumptions.
Using Evidence Effectively.
Addressing Objections and Counterarguments.
Responding to Objections, Counterarguments, and Alternative Views Through Refutation or Concession.
Appealing to Ethos and Pathos.
Some Advanced Considerations.
Readings.
Ross Taylor (student), “Paintball: Promoter of Violence of Healthy Fun?”.
Clay Bennett, “Patriots” Political Cartoon.
John Ashcroft, “Prepared Remarks of Attorney General Ashcroft at the Federalist Society National Convention” .
James Bovard, “Surveillance State” .
Leonard Pitts, Jr., “Spare the Rod, Spoil the Parenting”.
A. J. Chavez (student), “The Case for (Gay) Marriage”.
Composing Your Essay.
Generating and Exploring Ideas.
Shaping and Drafting.
Revising.
Guidelines for Peer Reviews.
15. Making an Evaluation.
About Evaluative Writing.
Exploring Evaluative Writing.
Writing Project.
Understanding Evaluation Arguments.
The Criteria-Match Process of Evaluation Arguments.
The Role of Purpose and Context in Determining Criteria.
Other Considerations in Establishing Criteria.
Using Toulmin’s System to Develop Evaluation Arguments.
Conducting an Evaluation Argument: An Extended Example of Evaluating a Museum.
Readings.
Jackie Wyngaard (student), “EMP: Music History or Music Trivia?”.
Diane Helman and Phyllis Bookspan, “Sesame Street: Brought to You by the Letters M-A-L-E”.
Cecily Ballou (student), “Shanghai Noon Is Not the Same Old West”.
Composing Your Essay.
Generating and Exploring Ideas.
Shaping and Drafting.
Revising.
Guidelines for Peer Reviews.
16. Proposing a Solution.
About Proposal Writing.
Exploring Proposal Writing.
WRITING PROJECT.
Understanding Proposal Writing.
Special Demands of Proposal Arguments.
Developing an Effective Justification Section.
Proposal Arguments as Public Affairs Advocacy Advertisements.
Understanding the Power of Condensed Advocacy Arguments.
Document Design Features of Advocacy Advertisements.
Creating an Advocacy Poster, Flyer, Brochure, One-Page Advertisement, or Web Page.
READINGS.
Rebekah Taylor (student), “A Proposal to Provide Cruelty-Free Products on Campus” 452.
Dylan Fujitani (student), “The Hardest of the Hardcore: Let’s Outlaw Hired Guns in Contemporary American Warfare”.
Jennifer Allen, “The Athlete on the Sidelines”.
Composing Your Essay.
Generating and Exploring Ideas.
Shaping and Drafting.
Revising.
Guidelines for Peer Reviews.
III. A GUIDE TO COMPOSING AND REVISING.
17. Writing as a Problem-Solving Process.
Understanding How Experts Compose and Revise.
A Working Description of the Writing Process.
Improving Your Own Writing Processes.
Explore Ideas through Freewriting, Idea-Mapping, and Good Talking.
Recognize Kinds of Changes Typically Made in Drafts.
Practice the Composing Strategies of Experienced Writers.
Using Peer Reviews to Stimulate Revision.
Becoming a Helpful Reader of Classmates’ Drafts.
Conducting a Peer Review Workshop.
Responding to Peer Reviews.
Chapter Summary.
18. Composing and Revising Closed-Form Prose.
Lesson 1: Understanding Reader Expectations.
Unity and Coherence.
Old Before New.
Forecasting and Fulfillment.
Summary.
Lesson 2: Converting Loose Structures into Thesis/Support Structures.
And Then Writing, or Chronological Structure.
All About Writing, or Encyclopedic Structure.
Engfish Writing, or Structure Without.
Surprise.
Summary.
Lesson 3: Planning and Visualizing Your Structure.
Use Scratch Outlines Early in the Writing Process.
Before Making a Detailed Outline, “Nutshell” Your Argument.
Articulate a Working Thesis and Main Points.
Sketch Your Structure Using an Outline,.
Tree Diagram, or Flowchart.
Let the Structure Evolve.
Summary.
Lesson 4: Writing Effective Titles and Introductions.
What Not to Do: The “Funnel Introduction”.
From Old to New: The General Principle of Closed-Form Introductions.
Typical Elements of a Closed-Form Introduction.
Forecasting the Whole with a Thesis Statement, Purpose Statement, or Blueprint Statement.
Writing Effective Titles.
Summary.
Lesson 5: Placing Points Before Particulars.
Place Topic Sentences at the Beginning of Paragraphs.
Revise Paragraphs for Unity.
Add Particulars to Support Points.
Summary.
Lesson 6: Signaling Relationships with Transitions.
Use Common Transition Words to Signal Relationships.
Write Major Transitions Between Parts.
Signal Transitions with Headings and Subheadings.
Summary.
Lesson 7: Binding Sentences Together by Following the Old/New Contract.
An Explanation of the Old/New Contract.
How to Make Links to the “Old”.
Avoid Ambiguous Use of “This” to Fulfill the Old/New.
Contract.
How the Old/New Contract Modifies the Rule “Avoid Weak Repetition”.
How the Old/New Contract Modifies the Rule “Prefer Active Over Passive Voice”.
Summary.
Lesson 8: Using Document Design Effectively.
Match Your Document Design to the Genre Expectations of Your Audience.
Consider Document Design an Important Part of Your Ethos.
Use Document Design Components for Clarity and Emphasis.
Use Design Elements to Highlight and Reinforce–but not Replace–Transitions, Topic Sentences, and Key Explanations in the Text Itself.
Summary.
Lesson 9: Learning Four Expert Moves for Organizing and Developing Ideas.
The For Example Move.
The Summary/However Move.
The Division-into-Parallel-Parts Move.
The Comparison/Contrast Move 539 n Summary.
Lesson 10: Writing Effective Conclusions.
The Simple Summary Conclusion.
The Larger Significance.
Conclusion.
The Proposal Conclusion.
The Scenic or.
Anecdotal Conclusion.
The Hook and Return Conclusion.
The Delayed-Thesis Conclusion.
Summary.
19. Composing and Revising Open-Form Prose.
Lesson 1: Make Your Narrative a Story, Not an And Then Chronology.
READINGS.
Patrick Klein (student), “Berkeley Blues”.
Anonymous (student), “The Stolen Watch”.
Depiction of Events Through Time.
Connectedness.
Tension or Conflict.
Resolution, Recognition, or Retrospective Interpretation.
Summary .
Lesson 2: Write Low on the Ladder of Abstraction.
Concrete Words Evoke Images and Sensations.
Using Revelatory.
Words.
Using Memory-Soaked Words.
Summary .
Lesson 3: Disrupt Your Reader’s Desire for Direction and Clarity.
Disrupting Predictions and Making Odd Juxtapositions.
Leaving Gaps.
Employing Unstable or Ironic Points of View.
Summary .
Lesson 4: Tap the Power of Figurative Language.
Summary.
Lesson 5: Expand Your Repertoire of Styles.
Summary .
Lesson 6: Use Open-Form Elements to Create “Voice” in Closed-Form Prose.
Introducing Some Humor.
Using Techniques from Popular.
Magazines.
Summary.
Chapter Summary.
READING.
Annie Dillard, “Living Like Weasels”.
IV. A RHETORICAL GUIDE TO RESEARCH.
20. An Introduction to Research.
An Overview of Part Four, “A Rhetorical Guide to Research”.
Introduction to Research Writing.
Why Research Writing Poses Difficulties for Novice Writers.
Learning How to Ask Research Questions.
Learning How to Find Sources.
Learning Why to Find Sources.
Learning How to Read Sources Rhetorically.
Learning How to Work Sources into Your Own Writing.
Learning How to Cite and Document Sources.
Seven Essential Skills for Novice Researchers.
21. Finding and Evaluating Sources.
Skill 1: Argue Your Own Thesis.
Formulating a Research Question.
Establishing Your Role as a.
Researcher.
Seeing Your Research Process as Purposeful.
A Case Study: Christopher Leigh’s Research on School Violence.
Skill 2: Understand the Different Kinds of Sources.
Looking at Sources Rhetorically.
Skill 3: Use Purposeful Strategies for Searching Libraries, Databases, and.
Web Sites.
Finding Books: Searching Your Library’s Online Catalog.
Finding Print Articles: Searching a Licensed Database.
Finding Cyberspace Sources: Searching the World Wide Web.
Skill 4: Use Rhetorical Knowledge to Read and Evaluate Sources.
Reading Your Sources Rhetorically.
Taking Effective Notes 602 n Evaluating Sources.
Skill 5: Understand the Rhetoric of Web Sites.
The Web as a Unique Rhetorical Environment.
Analyzing the Purpose of a Site and Your Own Research Purpose.
An Illustration: Examining the Rhetoric of “Women and Gun Control” Web Sites.
Evaluating a Web Source.
An Example: Applying Evaluation Criteria.
22. Using, Citing, and Documenting Sources.
Skill 6: Use Sources Purposefully Through Clearly Attributed Summary, Paraphrase, or Quotation.
Using Sources for Your Own Purposes.
READING.
Roger D. McGrath, “The Myth of Violence in the Old West”.
Writer 1: Summary for an Analytical Paper on Causes of Violence.
Writer 2: Partial Summary for a Persuasive Paper in Support of Gun Control.
Writer 3: Partial Summary for an Analytical Paper on Shifting Definitions of Crime.
Working Sources into Your Own Prose.
Creating Rhetorically Effective Attributive Tags.
Avoiding.
Plagiarism.
Summary.
Skill 7: Cite and Document Sources Effectively According to Appropriate Conventions.
Understanding the Logic of Parenthetical Citation Systems.
Understanding the MLA Method of In-Text Citation.
Documenting Sources in a “Works Cited” List (MLA).
MLA Citation Models.
Formatting an Academic Paper in MLA Style.
Student Example of an MLA-Style Research Paper .
READING.
Christopher Leigh (student), “The Case Against Metal Detectors in Public Schools” (MLA-Style Research Paper).
n Understanding APA Style and Formatting.
APA Formatting for In-Text Citations.
Documenting Sources in a “References” List (APA).
APA Citation Models.
Student Example of an APA Paper.
V. A GUIDE TO SPECIAL WRITING AND SPEAKING OCCASIONS.
23. Oral Communication: Working in Groups and Giving Speeches.
About Working in Groups.
Basic Principles of Successful Group Interaction.
Avoid Clone-Think and Ego-Think.
Listen Empathically.
Play Assigned Roles.
Be Sensitive to Body Language.
Invest Time in Group Maintenance.
Recognize How Personality and Culture Affect Group Participation.
Manage Conflict by Dealing with an “Impossible Group Member”.
Thinking in Groups.
Seeking Consensus.
Brainstorming.
Oral Rehearsal of Drafts.
About Oral Presentations.
Preparing Formal Speeches.
Speech Outlines as Multipurpose Tools.
Contents and Arrangement.
Using Visual Aids to Support Your Presentation.
Delivering a Formal Speech.
Preparing and Delivering Impromptu Speeches.
Handling Speech Anxiety.
Chapter Summary.
24. Essay Examinations: Writing Well Under Pressure.
How Exams Written Under Pressure Differ from Other Essays.
Preparing for an Exam: Learning and Remembering Subject Matter.
Identifying and Learning Main Ideas.
Applying Your Knowledge.
Making a Study Plan.
Analyzing Exam Questions.
Dealing with Constraints: Taking an Essay Exam.
Guidelines for Producing Successful Responses.
Chapter Summary.
25. Assembling a Portfolio and Writing a Reflective Self-Evaluation.
Understanding Reflective Writing.
What Is Reflective Writing?
Reflective Writing in the Writing Classroom.
Why Is Reflective Writing Important?
Reflective Writing Assignments.
Single Reflection Assignments.
Guidelines for Single Reflection Assignments.
READING.
Jaime Finger (student), “A Single Reflection on an Exploratory Essay”.
Comprehensive Reflection Assignments.
Guidelines for Comprehensive Reflection Assignments.
The Writing Portfolio as an Opportunity for Reflective Self-Evaluation.
Keeping Track of Your Work.
Selecting Work for Your Portfolio.
Writing a Comprehensive Reflective Letter.
READING.
Bruce Urbanik (student), “A Comprehensive Reflective Letter”.
Chapter Summary.