Indonesian Grammar in Context provides beginning, intermediate, and advanced learners with an introduction to the basic grammatical structures of Indonesian in three richly illustrated volumes. Although numerous varieties of Indonesian exist throughout the archipelago, the authors use a relaxed, conversational style of Indonesian acceptable for interethnic communication among educated native speakers and commonly used in the media. Students engage in task-based activities set in real-life situations as they speak and write in Indonesian, thus acquiring grammatical accuracy while immersing themselves in the cultural context. Each lesson revolves around a grammatical construction presented in a conversation, narrative, or letter. Online recordings are available, allowing students to reinforce the learning of the grammatical forms. Lessons first offer the student the opportunity to see and hear the grammar in use, then to practice the grammatical form, and finally to read an explanation of the grammatical rule in English. Numerous illustrations and photographs aid in learning the language and culture without excessive use of translation. In addition, cultural notes at the end of each lesson allow students to explore the relationship between language use and socio-cultural values and customs. Audio files for this volume may be downloaded in MP3 format at www.indonesiantextbooks.wisc.edu

There are more outlets than ever for writers to spread their messages and share their work, more opportunities to speak out and be seen. Writers expose themselves freely and willingly in a way that would have been unfathomable fifty years ago, and more people than ever are writing and publishing. Men and women are writing with equal fervor and commitment to their message and craft. As a result, it’s easy to assume, or hope, that the gendered playing field is a thing of the past, too. Unfortunately for women writers, it’s not. Knowing what we’re up against and how to fight back is the heart and soul of Write On, Sisters! Inside these pages, Brooke Warner draws upon research, anecdotes, and her personal experiences from twenty years in the book publishing industry to show how women’s writing is discounted or less valued than men’s writing, then provides support to overcome these challenges. This book also shines light on how women writers face not only ever-present historical and social challenges but also their own self-limiting beliefs. Write On, Sisters! is for every woman writer ready to be done with all that, and who’s ready for the next revolution.

During an era of extreme Sinophobia, the Eurasian Sui Sin Far (1865-1914) courageously wrote of the Chinese in North America as humorous, tragic, charming, and loving-in short, as human. Her stories sympathetically portrayed a group caught between worlds, inheritors of traditional Chinese values who found themselves thrust into booming mercantile and extremely race-conscious cities like San Francisco, Seattle, New York, and Montreal at the turn of the last century. Amy Ling and Annette White-Parks select from Mrs. Spring Fragrance (1914) two dozen of the author's finest stories, including "In the Land of the Free," "The Story of One White Woman Who Married a Chinese," "Her Chinese Husband," and "The Wisdom of the New." They also delve into Children's stories like "The Story of a Little Chinese Seabird" and "What about the Cat?" A second section offers previously uncollected writings, including journalism and fiction that appeared in the Montreal Daily Witness, Los Angeles Express, New York Independent, The Westerner, and New England Magazine. The final piece, "Sui Sin Far, the Half Chinese Writer, Tells of Her Career," was printed in the Boston Globein 1912, two years before her death.

Write It Up is for anyone writing an empirical article in APA Style®, from beginners facing their first article to old dogs looking for new writing strategies. Your academic writing will be more influential if you approach it reflectively and strategically. Based on his experience as an author, journal editor, and peer reviewer, Paul J. Silvia offers sage and witty advice on problems like picking journals; cultivating the right tone and style for your article; managing collaborative projects and coauthors; crafting effective Introduction, Method, Results, and Discussion sections; and submitting and resubmitting papers to journals. Write It Up features: • readable and amusing, the book shows, step-by-step, how to plan and organize your academic writing; and • uses real-world examples to illustrate how to improve writing style and write better articles.

For centuries writers have used participatory experience as a lens through which to better see the world at large and as a means of exploring the self. Considering various types of participatory writing as different strains of one style--immersion writing--Robin Hemley offers new perspectives and practical advice for writers of this nonfiction genre.
Immersion writing can be broken down into the broad categories of travel writing, immersion memoir, and immersion journalism. Using the work of such authors as Barbara Ehrenreich, Hunter S. Thompson, Ted Conover, A. J. Jacobs, Nellie Bly, Julio Cortazar, and James Agee, Hemley examines these three major types of immersion writing and further identifies the subcategories of the quest, the experiment, the investigation, the infiltration, and the reenactment. Included in the book are helpful exercises, models for immersion writing, and a chapter on one of the most fraught subjects for nonfiction writers--the ethics and legalities of writing about other people.
"A Field Guide for Immersion Writing" recalibrates and redefines the way writers approach their relationship to their subjects. Suitable for beginners and advanced writers, the book provides an enlightening, provocative, and often amusing look at the ways in which nonfiction writers engage with the world around them.
A Friends Fund Publication.

It may be drama features that win the most awards and kudos from critics, but in the current marketplace you're unlikely to sell a drama screenplay in the way you would a genre script. Breaking down the nuts and bolts of what differentiates drama from genre, Writing and Selling Drama Screenplays will consider questions such as: What is 'emotional truth'? What separates stereotypical and authentic characters? What are the different types of drama feature screenplay? How do we make these films, when there's 'no money'? What are the distribution opportunities for dramas? Exploring the ways in which drama and authenticity work, it will empower screenwriters to make their own story and character choices, so they can write and also help to package, finance and even make their own drama features. Writing and Selling Drama Screenplays includes detailed case studies of produced dramas made on both shoestring and bigger budgets, and industry insights from their writers, directors and producers. It looks in-depth at Scottish BAFTA-winning Night People, the iconic coming out movie Beautiful Thing, the touching New Orleans drama Hours, starring the late Paul Walker, and the ambitious true story of Saving Mr Banks, based on the battle of wills between Mary Poppins author PL Travers and Walt Disney himself. It will also discuss films such as Brokeback Mountain, American Beauty, The King's Speech, Juno, Erin Brockovich, Changeling and Girl, Interrupted.

Authoring a film adaptation of a literary source not only requires a media conversion but also a transformation as a result of the differing dramatic demands of cinema. The most critical central step in this transformation of a literary source to the screen is the writing of the screenplay. The screenplay usually serves to recruit producers, director, and actors; to attract capital investment; and to give focus to the conception and production of the film project. Often undergoing multiple revisions prior to production, the screenplay represents the crucial decisions of writer and director that will determine how and to what end the film will imitate or depart from its original source.

Authorship in Film Adaptation is an accessible, provocative text that opens up new areas of discussion on the central process of adaptation surrounding the screenplay and screenwriter-director collaboration. In contrast to narrow binary comparisons of literary source text and film, the twelve essays in this collection also give attention to the underappreciated role of the screenplay and film pre-production that can signal the primary intention for a film. Divided into four parts, this collection looks first at the role of Hollywood's activist producers and major auteurs such as Hitchcock and Kubrick as they worked with screenwriters to formulate their audio-visual goals. The second part offers case studies of Devil in a Blue Dress and The Sweet Hereafter, for which the directors wrote their own adapted screenplays. Considering the variety of writer-director working relationships that are possible, Part III focuses on adaptations that alter genre, time, and place, and Part IV investigatesadaptations that alter stories of romance, sexuality, and ethnicity.

Each book contains a total of 60 short reading selections (fiction and nonfiction) followed by eight multiple choice questions. Scoring will help estimate your student's reading level, reading comprehension, and test-taking ability. The Instructional Benefits of McCall-Crabbs: Supplement basal reading programs Motivate and challenge even the most reluctant readers Allow for individualization with different grade level books Monitor reading progress over time Provide a graded informal reading inventory Practice test-taking skills Provide “power-work,� progressively timed or untimed Oral reading practice Useful in adult education, ESL, and special education Book A: Grades 2–4 Book B: Grades 3–5 Book C: Grades 4–6 Book D: Grades 5–7 Book E: Grades 6–8 Book F: Grades 7–12 Teachers' Manual/Answer Key is for all books in the series. Student Answer Sheet is available as a free download.

Craft lives inside the artist, and it operates in the mind, not in standards or techniques. Creative writers navigate thresholds in consciousness as they develop their arts practice. Craft Consciousness and Artistic Practice in Creative Writing explores what it is to be an artist as it traces radical, feminist, and culturally embedded traditions in craft. The new term "craft consciousness" identifies the nexus from which writers explore making processes and practitioner knowledge. Writers, as with all artists, create and reimagine themselves anew, and it is in this perpetual state of becoming that they find ways to enlarge their sense of artistry through an exploration of forms, processes, and mediums beyond the written word. For writers, this book initiates a reexamination of the mission of creative writing through disrupting patriarchal, racist, colonialist, ableist, and capitalist associations with dominant craft. Drawing from twenty-five interviews with living artists outside of writing and in a host of fields from conceptual art to leatherwork and dance, the book shines a light on how the processes associated with craft are embodied. Craft is an internalized matrix; it need not be commodified for the marketplace or codified in the standards necessitated by institutions of higher education. By redesigning writing workshops and MFA/PhD programs through craft consciousness, new potentials and collaborations emerge, and it becomes more conceivable to imagine dynamic, inclusive relationships between writers, scientists, and other artists.

LEGAL ANALYSIS AND WRITING, 4TH EDITION helps you analyze statutes and case law and draft legal memoranda. In addition to the fundamentals of good writing, legal or otherwise, the book illustrates how to analyze and brief cases, identify key facts and legal issues, and apply case law and counteranalysis to legal matters. Going beyond mere explanations, the book shows you how to apply concepts to hypothetical situations, draft legal memoranda and correspondence, and scrutinize legal citations and Web research to develop a thorough understanding of the analytical and writing responsibilities you will undertake as a paralegal. Legal Analysis and Writing, 4th Edition is a robust resource that includes a host of available supplemental tools designed to enhance learning.

Inside Academic Writing is designed to prepare students in any academic discipline for graduate-level writing. The text situates students within their writing communities by prioritising the steps of learning; students are directed to use common threads of academic writing across disciplines. The goal of Inside Academic Writing is to give students the opportunity to write for a variety of audiences and to develop the knowledge necessary to recognise how to write for different audiences and purposes. Inside Academic Writing allows students to examine basic assumptions about writing before they learn specific strategies for targeting the audience or mapping the flow of information. Through the material in this textbook, students will create a portfolio of writings that includes a biographical statement and a research interest essay - important pieces of writing that are rarely taught in courses. Other types of writing featured are a summary, a problem-solution text, a comparative structure paper, and a commentary. Other textbooks prepare students for graduate writing, but Inside Academic Writing was designed to bridge the gap between non-academic writing and the writing required within an academic community, with one's peers, colleagues, and field experts. In addition, Inside Academic Writing offers guidance on writing materials for grants, fellowships, conferences, and publication.

Storying Relationships explores the sexual lives of young British Muslims in their own words and through their own stories. It finds engaging and surprising stories in a variety of settings: when young people are chatting with their friends; conversing more formally within families and communities; scribbling in their diaries; and writing blogs, poems and books to share or publish. These stories challenge stereotypes about Muslims, who are frequently portrayed as unhappy in love and sexually different. The young people who emerge in this book, contradicting racist and Islamophobic stereotypes, are assertive and creative, finding and making their own ways in matters of the body and the heart. Their stories – about single life, meeting and dating, pressure and expectations, sex, love, marriage and dreams – are at once specific to the young British Muslims who tell them, and resonant reflections of human experience.

Growing out of recent pedagogical developments in creative writing studies and perceived barriers to teaching the subject in secondary education schools, this book creates conversations between secondary and post-secondary teachers aimed at introducing and improving creative writing instruction in teaching curricula for young people. Challenging assumptions and lore regarding the teaching of creative writing, this book examines new and engaging techniques for infusing creative writing into all types of language arts instruction, offering inclusive and pedagogically sound alternatives that consider the needs of a diverse range of students. With careful attention given to creative writing within current standards-based educational systems, Imaginative Teaching Through Creative Writing confronts and offers solutions to the perceived difficulty of teaching the subject in such environments. Divided into two sections, section one sees post-secondary instructors address pedagogical techniques and concerns such as workshop, revision, and assessment before section two explores hands-on activities and practical approaches to instruction. Focusing on an invaluable and underrepresented area of creative writing studies, this book begins a much-needed conversation about the future of creative writing instruction at all levels and the benefits of collaboration across the secondary/post-secondary divide.

Authorship’s Wake examines the aftermath of the 1960s critique of the author, epitomized by Roland Barthes’s essay, “The Death of the Author.� This critique has given rise to a body of writing that confounds generic distinctions separating the literary and the theoretical. Its archive consists of texts by writers who either directly participated in this critique, as Barthes did, or whose intellectual formation took place in its immediate aftermath. These writers include some who are known primarily as theorists (Judith Butler), others known primarily as novelists (Zadie Smith, David Foster Wallace), and yet others whose texts are difficult to categorize (the autofiction of Chris Kraus, Sheila Heti, and Ben Lerner; the autotheory of Maggie Nelson). These writers share not only a central motivating question – how to move beyond the critique of the author-subject – but also a way of answering it: by writing texts that merge theoretical concerns with literary discourse. Authorship’s Wake traces the responses their work offers in relation to four themes: communication, intention, agency, and labor.