Writing in a Technological World explores how to think rhetorically, act multimodally, and be sensitive to diverse audiences while writing in technological contexts such as social media, websites, podcasts, and mobile technologies. Claire Lutkewitte includes a wealth of assignments, activities, and discussion questions to apply theory to practice in the development of writing skills. Featuring real-world examples from professionals who write using a wide range of technologies, each chapter provides practical suggestions for writing for a variety of purposes and a variety of audiences. By looking at technologies of the past to discover how meanings have evolved over time and applying the present technology to current working contexts, readers will be prepared to meet the writing and technological challenges of the future. This is the ideal text for undergraduate and graduate courses in composition, writing with technologies, and professional/business writing. A supplementary guide for instructors is available at www.routledge.com/9781138580985

'An idea is a feat of association, and the height of it is a good metaphor' - Robert Frost. 'It is metaphor above all else that gives clearness, charm and distinction to the style' - Aristotle. Throughout history, great minds have demonstrated a special ability to ingeniously and creatively find a relationship between things that initially seem quite alien to each other. This talent was recognised as early as 2500 years ago by Aristotle. Metaphors may be the most versatile tool in the toolbox of a person who is trying to express a powerful idea. In this book, linguistic specialist Grothe discusses the use of metaphor in a wide variety of life settings. He presents metaphors in life altering situations; about the human condition; in wit and humor; insults and criticism; relationships; love; marriage; sex; stages and ages of life; stage and screen; politics; sports; and, the literary life.

Donna Elizabeth Boetig is a freelance writer specializing in women's stories. Her articles appear regularly in major publications such as Reader's Digest, McCall's, Woman's Day, Family Circle and The Saturday Evening Post. She is a contributor to several books on writing. A former newspaper reporter, Boetig earned her graduate degree in writing from John Hopkins University. She teaches writing workshops throughout the United States and Canada.

This unusual screenwriting book takes up where William Froug's earlier books left off. It offers the reader a tapestry of short essays and in-depth interviews with top screenwriters. Froug's essays cover such topics as avoiding the obvious, the birth of ideas, the process of rewriting, dealing with writer's block, creativity and spontaneity, handling rejection, breaking the screenwriting "rules, " and episodic forms. The interview subjects are: Frank Darabont (The Shawshank Redemption), Callie Khourie (Thelma & Louise), Eric Roth (Forrest Gump), Ruth Prawer Jhabvala (A Room with a View), David Peoples (The Unforgiven), Janet People (12 Monkeys), Bo Goldman (One Flew Over the Cuckoo's Nest), Laurence Dworet (Outbreak), Stuart Kaminsky (Once Upon a Time in America), Larry Gelbart (Tootsie). Zen and the Art of Screenwriting is a fresh, insightful, informative and entertaining read for both novice and veteran screenwriters. William Froug is an Emmy-winning writer-producer whose television credits include "Playhouse 90" and "The Twilight Zone" He was named Producer of the Year in 1956 by the Producers Guild of America and received the Writers Guild of America's Valentine Davies Award in 1987. He is a professor emeritus at UCLA, where he founded the present Film and Television Writing Program.

The volume assembles papers delivered at the ninth international symposium of the German Studies Work Group on the Scholarly Editing of Texts, which took place in conjunction with the Work Group on Philosophical Editions and the Group of Independent Research Institutes within the German Musicological Society at the Technical University in Aachen from 20 to 23 February 2002. Three categories and concepts central to editing work - author, authorization, authenticity - are explored for the significance they have for different editorial procedures and their mutual relations to one another. The exploration encompasses theoretical and methodological papers concerned with the superordinate connections obtaining within this conceptual field, papers discussing individual aspects of the conceptual field, and case studies pertaining to individual texts or authors.

Negating the notion that there is no such thing as "bad" writing, this book guides first-year students through the dos and don'ts of composition, from such basic questions as "Can I use 'I' in a college essay?" to more advanced points about structure and style. Emphasizing the importance of writing in all majors, the author encourages students to find their own voice and to express themselves without jargon or "academese." Tips are provided on concision, supporting claims, marshaling arguments, researching topics, documenting sources, and revision.

Argumentative Writing in a Second Language is a collection on teaching argumentative writing, offering multiple vantage points drawn from the contributors' own experiences. The value of argumentative writing cannot be overstated and yet, very little attention is spent on training teachers how to teach it. Additionally, the term argumentative is often confused with "persuasive" and other terms that add to students' confusion as to what type of writing they are supposed to do. The volume distinguishes between "learning to argue" and "arguing to learn" theories and practices. Part I of the volume is discussion-oriented while Part II shares classroom-based research on practices that account for L2 writers' characteristics and specific needs. Included are chapters on online teacher resources, assessment of argumentative writing, specific challenges for Chinese writers, source-based writing, and approaches for learner autonomy.

Now that you are approaching the final stages of your degree, have you ever wondered how you're going to cope with writing your dissertation? Apart from the practicalities of suddenly having to think and work in a completely different, and more in-depth, way trom before, how are you going to fit it in with the rest of your work and also have a social life? Your Student Research Project will show you how. This book gives you practical advice on how to cope with your project and make a success of your studies. It: c is written in clear, accessible language c provides a clear outline of practical guidance on how to run your project, from thinking about what topic to cover to the most effective way of presenting it c explains how to work with your supervisor and the other important people around you c shows you how to squeeze the maximum value from the effort you put in c enables you to recognize how you have changed in the process and c encourages you to exploit the skills and experiences you have gained in the world beyond your degree. It takes a different approach from other books on research methods because it considers the project as only one part of your existence. It concentrates on advice, ideas and examples while still giving thought to how you will manage your work within a crowded and exciting life. Above all, Your Student Research Project helps you to keep track of where you are heading and to make the right preparations for the future.

What do you do if you find yourself weeping in the stalls? How should you react to Jude Law's trousers or David Tennant's hair? Are you prepared to receive toilet paper in the post? What if the show you just damned turns out to be a classic? If you gave it a five-star rave will anyone believe you? Drawing on his long years of experience as a national newspaper critic, Mark Fisher answers such questions with candour, wit and insight. Learning lessons from history's leading critics and taking examples from around the world, he gives practical advice about how to celebrate, analyse and discuss this most ephemeral of art forms - and how to make your writing come alive as you do so. Today, more people than ever are writing about theatre, but whether you're blogging, tweeting or writing an academic essay, your challenges as a critic remain the same: how to capture a performance in words, how to express your opinions and how to keep the reader entertained. This inspirational book shows you the way to do it. Foreword by Chris Jones, Chief theater critic, Chicago Tribune

Writing Your First Play provides the beginning playwright with the tools and motivation to tell a story through dramatic form. Based in a series of exercises which gradually grow more complex, the books helps the reader to understand the basic elements of drama, conflict, and action. The exercises help the reader to become increasingly sophisticated in the use of dramatic formats, turning simple ideas into a viable play. Topics include: the role of action in drama; developing action and conflict to reveal character; writing powerful and persuasive dialog; writing from personal experience:pros and cons; how to begin the story and develop the storyline. This new edition is thoroughly updated and contains new examples based on contemporary plays. The author has added additional writing exercises and a new student-written one act play. It also contains a new chapter on how to sell your play once it is written. With examples based on student work, this text both inspires and educates the student and fledgling playwright, providing solid tools and techniques for the craft of writing a drama. Roger A. Hall, a professor of theatre at James Madison University, had taught playwriting for nearly 20 years. Many of his students have gone on to write for theatre, television, and the screen. He has written numerous plays and articles and has acted and directed extensively in the theatre.

For more than a decade, "Clear and Simple as the Truth" has guided readers to consider style not as an elegant accessory of effective prose but as its very heart. Francis-Noel Thomas and Mark Turner present writing as an intellectual activity, not a passive application of verbal skills. In classic style, the motive is truth, the purpose is presentation, the reader and writer are intellectual equals, and the occasion is informal. This general style of presentation is at home everywhere, from business memos to personal letters and from magazine articles to student essays. Everyone talks about style, but no one explains it. The authors of this book do; and in doing so, they provoke the reader to consider style, not as an elegant accessory of effective prose, but as its very heart.

At a time when writing skills have virtually disappeared, what can be done? If only people learned the principles of verbal correctness, the essential rules, wouldn't good prose simply fall into place? Thomas and Turner say no. Attending to rules of grammar, sense, and sentence structure will no more lead to effective prose than knowing the mechanics of a golf swing will lead to a hole-in-one. Furthermore, ten-step programs to better writing exacerbate the problem by failing to recognize, as Thomas and Turner point out, that there are many styles with different standards.

The book is divided into four parts. The first, "Principles of Classic Style," defines the style and contrasts it with a number of others. "The Museum" is a guided tour through examples of writing, both exquisite and execrable. "The Studio," new to this edition, presents a series of structured exercises. Finally, "Further Readings in Classic Prose" offers a list of additional examples drawn from a range of times, places, and subjects. A companion website, classicprose.com, offers supplementary examples, exhibits, and commentary, and features a selection of pieces written by students in courses that used "Clear and Simple as the Truth" as a textbook."

We all know the basic structure of a sentence: a subject and verb pair expressing a complete thought and ending with proper punctuation. But that classroom definition doesn't begin to describe the ways in which these elements can combine to resonate with us as we read, to make us stop and think, laugh or cry. In 25 Great Sentences and How They Got That Way, master teacher Geraldine Woods unpacks powerful examples of what she instead prefers to define as "the smallest element differentiating one writer's style from another's, a literary universe in a grain of sand". And that universe is very large: the hundreds of memorable sentences gathered here come from sources as wide-ranging as Edith Wharton and Yogi Berra, Toni Morrison and Yoda, T. S. Eliot and Groucho Marx. Culled from fiction, nonfiction, drama, poetry, song lyrics, speeches and even ads, these exemplary sentences are celebrated for the distinctive features-whether of structure, diction, connection/comparison, sound or extremes-that underlie their beauty, resonance and creativity. With dry humour and an infectious enjoyment that makes her own sentences a pleasure to read, Woods shows us the craft that goes into the construction of a memorable sentence. Each chapter finishes with an enticing array of exercises for those who want to test their skill at a particular one of the featured twenty-five techniques, such as onomatopoeia or parallelism. This is a book that will be treasured by language enthusiasts everywhere.

Engage Your Readers with Emotion While writers might disagree over showing versus telling or plotting versus pantsing, none would argue this: If you want to write strong fiction, you must make your readers feel. The reader's experience must be an emotional journey of its own, one as involving as your characters' struggles, discoveries, and triumphs are for you. That's where The Emotional Craft of Fiction comes in. Veteran literary agent and expert fiction instructor Donald Maass shows you how to use story to provoke a visceral and emotional experience in readers. Topics covered include: emotional modes of writing beyond showing versus telling your story's emotional world moral stakes connecting the inner and outer journeys plot as emotional opportunities invoking higher emotions, symbols, and emotional language cascading change story as emotional mirror positive spirit and magnanimous writing the hidden current that makes stories move Readers can simply read a novel...or they can experience it. The Emotional Craft of Fiction shows you how to make that happen.

Make an Impact with your Written English deals with the English business writing you need to take you a step further in your executive career. The book also helps organizations stand apart by getting noticed for the right reasons, whatever the target audience. It focuses on writing English as a key business tool and how clear, concise messages are a must in international business today. Yet the fewer words you use, the more important it is to get them right. So the book focuses on word power: to promote and sell your messages - as well as 'brand you' and your organizational brand. An essential read, full of invaluable advice and checklists for native and non-native English writers who need to brush up their skills in writing English for sales, PR, presentations, reports, minutes, manuals and the web etc.

From one of America's great professors, author of Why Teach? and Why Read?--an inspiring exploration of the importance of writing well, for creators, educators, students, and anyone who writes. Why write? Why write when it sometimes feels that so few people really read--read as if their lives might be changed by what they're reading? Why write, when the world wants to be informed, not enlightened; to be entertained, not inspired? Writing is backbreaking, mindbreaking, lonely work. So why? Because writing, as celebrated professor Mark Edmundson explains, is one of the greatest human goods. Real writing can do what critic R. P. Blackmur said it could: add to the stock of available reality. Writing teaches us to think; it can bring our minds to birth. And once we're at home with words, there are few more pleasurable human activities than writing. Because this is something he believes everyone ought to know, Edmundson offers us Why Write?, essential reading--both practical and inspiring--for anyone who yearns to be a writer, anyone who simply needs to know how to get an idea across, and anyone in between--in short, everyone.

Umberto Eco's wise and witty guide to researching and writing a thesis, published in English for the first time. By the time Umberto Eco published his best-selling novel The Name of the Rose, he was one of Italy's most celebrated intellectuals, a distinguished academic and the author of influential works on semiotics. Some years before that, in 1977, Eco published a little book for his students, How to Write a Thesis, in which he offered useful advice on all the steps involved in researching and writing a thesis-from choosing a topic to organizing a work schedule to writing the final draft. Now in its twenty-third edition in Italy and translated into seventeen languages, How to Write a Thesis has become a classic. Remarkably, this is its first, long overdue publication in English. Eco's approach is anything but dry and academic. He not only offers practical advice but also considers larger questions about the value of the thesis-writing exercise. How to Write a Thesis is unlike any other writing manual. It reads like a novel. It is opinionated. It is frequently irreverent, sometimes polemical, and often hilarious. Eco advises students how to avoid "thesis neurosis" and he answers the important question "Must You Read Books?" He reminds students "You are not Proust" and "Write everything that comes into your head, but only in the first draft." Of course, there was no Internet in 1977, but Eco's index card research system offers important lessons about critical thinking and information curating for students of today who may be burdened by Big Data. How to Write a Thesis belongs on the bookshelves of students, teachers, writers, and Eco fans everywhere. Already a classic, it would fit nicely between two other classics: Strunk and White and The Name of the Rose. Contents The Definition and Purpose of a Thesis * Choosing the Topic * Conducting Research * The Work Plan and the Index Cards * Writing the Thesis * The Final Draft

Writing is not like chemical engineering. The figures of speech should not be learned the same way as the periodic table of elements. This is because figures of speech are not about hypothetical structures in things, but about real potentialities within language and within ourselves. The figurings of speech reveal the apparently limitless plasticity of language itself. We are inescapably confronted with the intoxicating possibility that we can make language do for us almost anything we want. Or at least a Shakespeare can. The figures of speech help to see how he does it, and how we might.
Therefore, in the chapters presented in this volume, the quotations from Shakespeare, the Bible, and other sources are not presented to exemplify the definitions. Rather, the definitions are presented to lead to the quotations. And the quotations are there to show us how to do with language what we have not done before. They are there for imitation.

Equip learners to achieve in the Extended Essay. Matched to the new IB Guide, this essential resource provides learners with a step-by-step pathway to maximize achievement. With complete guidance for every aspect of writing and researching, use this resource to strengthen performance. Equip learners to fully understand and address each requirement, with a fully comprehensive outline of the assessment criteria. Enable effective planning, with step-by-step guidance on independent research techniques. Build the skills central to performance in the Extended Essay, with techniques and strategies that support success. Fully support the new IB guide, first assessed in 2018. This online Course Book will be available on Oxford Education Bookshelf until 2024. Access is facilitated via a unique code, which is sent in the mail. The code must be linked to an email address, creating a user account. Access may be transferred once to a new user, once the initial user no longer requires access. You will need to contact your local Educational Consultant to arrange this.

Can you really write a play that lasts a minute? The one minute play offers a unique challenge to actors, directors and writers: how do you create a whole world, where actors have room to perform and where audiences have a true experience all in 60 seconds? One Minute Plays: A Practical Guide to Tiny Theatre demystifies the super-short-form play, demonstrating that this rich, accessible format offers great energy and variety not only to audiences but to everyone involved in its creation and performance. This handbook includes: An anthology of 200 one-minute plays selected from the annual Gone in 60 Seconds festival. A toolbox of exercises, methodologies and techniques for educators, practitioners and workshop leaders at all levels. Tips and advice on the demands of storytelling, inclusivity and creative challenges. Detailed practical information about creating your own minute festival, including play selection, running order, staging and marketing. Drawing on a wealth of experience, Steve Ansell and Rose Burnett Bonczek present an invaluable guide for anyone intrigued by the art of creating, producing and performing a one minute play.