'A definitive guide, in here you'll find everything you need' S. J. Watson With over 4,000 industry contacts and over eighty articles from a wide range of leading authors and publishing industry professionals, the latest edition of this bestselling Yearbook is packed with all of the practical information, inspiration and guidance you need at every stage of your writing and publishing journey. Designed for authors and illustrators across all genres and markets, it is relevant for those looking for a traditional, hybrid or self-publishing route to publication; writers of fiction and non-fiction, poets and playwrights, writers for TV, radio and videogames. If you want to find a literary or illustration agent or publisher, would like to self-publish or crowdfund your creative idea then this Yearbook will help you. As well as sections on publishers and agents, newspapers and magazines, illustration and photography, theatre and screen, there is a wealth of detail on the legal and financial aspects of being a writer or illustrator. Includes advice from writers such as Peter James, Cathy Rentzenbrink, S.J. Watson, Kerry Hudson, and Samantha Shannon. Additional articles, free advice, events information and editorial services at www.writersandartists.co.uk

Speak Cantonese, Book One, is tone of a series of books that teaches the modern spoken language of Cantonese, one of the major "dialects" of Chinese. As appropriate for a test of its kind, it is entirely in romanization. In response to many requests for a character version of the romanized text, the present volume has been printed. It is a word by word, faithful transcription of the entire content of the "parent" volume in traditional characters. No romanization is used in this text.

Beginner-level students wishing to read Japanese need to learn hiragana, the most basic of three Japanese scripts, used for writing words of native origin. Kodansha's Hiragana Workbook is an all-new, streamlined workbook designed precisely for such students. It introduces all aspects of the script-reading, writing, and pronunciation--in a fun, accessible format, packed with illustrations and exercises.
One page each is devoted to the 46 basic characters. These include instructions for character formation and space to practice writing, as well as a selection of vocabulary for further reading and writing. The vocabulary are all commonly used words that students can put to immediate use in conversation; and their readings--pronounced by a professional voice actor--are available as free downloads from the Net. Frequent review pages allow students to test their understanding of the hiragana at various stages.
The appendixes offer additional practice exercises, as well as grids for playing hiragana Battleship and Bingo. There are also 120 pull-out flashcards for playing Memory, Scrabble, and other games.

Revised and updated throughout, this 10th-anniversary edition of Can Creative Writing Really Be Taught? is a significantly expanded guide to key issues and practices in creative writing teaching today. Challenging the myths of creative writing teaching, experienced and up-and-coming teachers explore what works in the classroom and workshop and what does not. Now brought up-to-date with new issues that have emerged with the explosion of creative writing courses in higher education, the new edition includes: * Guides to and case studies of workshop practice * Discussions on grading and the myth of "the easy A" * Explorations of the relationship between reading and writing * A new chapter on creative writing research * A new chapter on games, fan-fiction and genre writing * New chapters on identity and activism

Enjoy Esperanto introduces you to the more advanced points of Esperanto grammar and develops your vocabulary through a variety of engaging and contemporary themes, giving you the skills you need to respond to a wide range of authentic texts and conversations. What will I achieve by the end of the course? By the end of Enjoy Esperanto you will have increased your capacity to understand the spoken and written language, and furthered your ability to communicate with Esperanto speakers, orally and in writing. This course aims to take you from a good intermediate level (B1/B2 on the Common European Framework of Reference for languages / Advanced Low of the ACTFL) and help you progress up to a C1 / Advanced High level. Is this course for me? If you already know some Esperanto and want to take it further, this is the course for you. It's perfect for the self-study learner, with a one-to-one tutor, or for the post-beginner classroom. What do I get? A coursebook with over two hours of audio online that features: - Ten units that cover more complex situations than your basic tourist scenarios - Carefully levelled and sequenced material - a solid path to build up your knowledge - Insight into Esperanto culture - Authentic texts, such as newspaper articles, blogs, poems, songs, excerpts and conversations to present the language - Learn through the Discovery Method which helps you notice patterns and retain the language you learn - Learn to learn - tips and advice on becoming a better language learner - Easy to use workbook format. What else can I use to learn Esperanto? If you want a comprehensive beginner to intermediate course, you should try our Complete Esperanto. Rely on Teach Yourself, trusted by language learners for over 80 years.

Provides immediate help for anyone preparing a biomedical paper by givin specific advice on organizing the components of the paper, effective writing techniques, writing an effective results sections, documentation issues, sentence structure and much more. The new edition includes new examples from the current literature including many involving molecular biology, expanded exercises at the end of the book, revised explanations on linking key terms, transition clauses, uses of subheads, and emphases. If you plan to do any medical writing, read this book first and get an immediate advantage.

Writers write--but what do they do for money?
In a widely read essay entitled "MFA vs NYC," bestselling novelist Chad Harbach ("The Art of Fielding") argued that the American literary scene has split into two cultures: New York publishing versus university MFA programs. This book brings together established writers, MFA professors and students, and New York editors, publicists, and agents to talk about these overlapping worlds, and the ways writers make (or fail to make) a living within them. Should you seek an advanced degree, or will workshops smother your style? Do you need to move to New York, or will the high cost of living undo you? What's worse--having a day job or not having health insurance? How do agents decide what to represent? Will Big Publishing survive? How has the rise of MFA programs affected American fiction? The expert contributors, including George Saunders, Elif Batuman, and Fredric Jameson, consider all these questions and more, with humor and rigor. "MFA vs NYC "is a must-read for aspiring writers, and for anyone interested in the present and future of American letters.

From the invention of the alphabet to the explosion of the internet, Dominic Wyse takes us on a unique journey into the process of writing. Starting with seven extraordinary examples that serve as a backdrop to the themes explored, it pays particular attention to key developments in the history of language, including Aristotle's grammar through socio-cultural multimodality, to pragmatist philosophy of communication. Analogies with music are used as a comparator throughout the book, yielding radically new insights into composition processes. The book presents the first comprehensive analysis of the Paris Review interviews with the world's greatest writers such as Louise Erdrich, Gabriel Garcia Marquez, Ted Hughes, and Marilynne Robinson. It critically reviews the most influential guides to styles and standards of language, and presents new research on young people's creativity and writing. Drawing on over twenty years of findings, Wyse presents research-informed innovative practices to demonstrate powerfully how writing can be learned and taught.

This book provides students of all levels with essential and easy-to-follow guidance on how to plan, research, and write essays, dissertations, and exams. Taking you step by step through the process, from understanding a title or choosing your own, planning what to say and how to say it, right through to writing a strong conclusion, this book breaks down the process of essay writing and makes it manageable for everyone. It displays information clearly and features charts, diagrams, examples, handy hints, pitfalls to avoid, and separate 'in-depth' chapters specifically for anyone wanting to develop their essay writing skills even further. It also includes advice on setting out footnotes, references, and bibliographies, printing and editing the final draft, presentation, deadlines, time management, and good exam practice. This new edition has been thoroughly revised and updated to explain how digital resources can be used to improve your essay technique e.g. how to research efficiently using the internet, how to use your library's electronic catalogue, and how to use electronic referencing systems. The structure of this new edition has been overhauled to make it even easier to find the information you are looking for, as the two parts have been integrated and now include helpful end of chapter summaries to recap the key points. New to this edition is a list of essay 'FAQs', submitted by real students, with answers directing you straight to the sections you need. Practical, accessible, and written by an author with extensive teaching experience, this book is a cure for essay panic and essential for students wanting to write a successful essay, whether at school or university.

Some teachers love grammar and some hate it, but nearly all struggle to find ways of making the mechanics of English meaningful to kids. As a middle school teacher, Jeff Anderson also discovered that his students were not grasping the basics, and that it was preventing them from reaching their potential as writers. Jeff readily admits, "I am not a grammarian, nor am I punctilious about anything," so he began researching and testing the ideas of scores of grammar experts in his classroom, gradually finding successful ways of integrating grammar instruction into writer's workshop.

"Mechanically Inclined" is the culmination of years of experimentation that merges the best of writer's workshop elements with relevant theory about how and why skills should be taught. It connects theory about using grammar in context with practical instructional strategies, explains why kids often don't understand or apply grammar and mechanics correctly, focuses on attending to the "high payoff," or most common errors in student writing, and shows how to carefully construct a workshop environment that can best support grammar and mechanics concepts. Jeff emphasizes four key elements in his teaching: short daily instruction in grammar and mechanics within writer's workshop;using high-quality mentor texts to teach grammar and mechanics in context;visual scaffolds, including wall charts, and visual cues that can be pasted into writer's notebooks;regular, short routines, like "express-lane edits," that help students spot and correct errors automatically.

Comprising an overview of the research-based context for grammar instruction, a series of over thirty detailed lessons, and an appendix of helpful forms and instructional tools, "Mechanically Inclined" is a boon to teachers regardless of their level of grammar-phobia. It shifts the negative, rule-plagued emphasis of much grammar instruction into one which celebrates the power and beauty these tools have in shaping all forms of writing.

Effective grant proposals are not so much written as they are extensively researched, developed, and positioned. The actual writing, obviously an essential component, is nevertheless only the tip of the iceberg. Grant seekers must possess the necessary skills to correctly identify potential funders, craft a proposal that meets a specific funder’s needs, and follow that funder’s directions to the letter. Cheryl New and James Quick take grant seekers step-by-step through the entire development and drafting process in How to Write a Grant Proposal.

The authors concentrate on all the behind-the-scenes, pre-writing work that makes the difference between successful grant proposals and those that potential funders discard as "nonresponsive." New and Quick concentrate on crafting specific proposals that prove a perfect match between a funder and a solicitor’s needs. Funders and the nonprofit organizations they support are both in the business of solving problems; the key is creating a project that addresses a problem that both parties are interested in solving. How to Write a Grant Proposal provides targeted guidance for a variety of kinds of organizations, including:

K—12 private and public educational organizations

Government agencies

For-profit businesses

Health care organizations

Traditional nonprofits

Higher education universities and centers

A companion CD-ROM contains guidesheets and templates that can be easily downloaded, customized, and printed. The authors provide examples of completed proposals and numerous case studies to demonstrate how the grant-seeking process typically works.

How to Write a Grant Proposal proves a one-stop resource on how to interpret a funder’s guidelines to create a successful grant proposal.

This companion volume teaches the basics of katakana, the script for writing loanwords borrowed from English and other languages. The book introduces the characters not in the traditional a-i-u-e-o order, but in a radical new one that allows students to sound out words from the very first page.
As in the Hiragana Workbook, one page each is devoted to the 46 basic characters, which are then used to form actual, everyday words, enabling the student to build his or her vocabulary from the very beginning. The Katakana Workbook also features exercises, flashcards, games and free audio downloads.

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 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 pack includes one print Student Book and one online Course Book. The 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.

"Composition in the University" examines the required introductory course in composition within American colleges and universities. Crowley argues that due to its association with literary studies in English departments, composition instruction has been inappropriately influenced by humanist pedagogy and that modern humanism is not a satisfactory rationale for the study of writing. Crowley envisions possible nonhumanist rationales that could be developed for vertical curricula in writing instruction, were the universal requirement not in place.

"Composition in the University" examines the required introductory course in composition within American colleges and universities. According to Sharon Crowley, the required composition course has never been conceived in the way that other introductory courses have been--as an introduction to the principles and practices of a field of study. Rather it has been constructed throughout much of its history as a site from which larger educational and ideological agendas could be advanced, and such agendas have not always served the interests of students or teachers, even though they are usually touted as programs of study that students "need."
If there is a master narrative of the history of composition, it is told in the institutional attitude that has governed administration, design, and staffing of the course from its beginnings--the attitude that the universal requirement is in place in order to construct docile academic subjects.

Crowley argues that due to its association with literary studies in English departments, composition instruction has been inappropriately influenced by humanist pedagogy and that modern humanism is not a satisfactory rationale for the study of writing. She examines historical attempts to reconfigure the required course in nonhumanist terms, such as the advent of communications studies during the 1940s. Crowley devotes two essays to this phenomenon, concentrating on the furor caused by the adoption of a communications program at the University of Iowa.
"Composition in the University" concludes with a pair of essays that argue against maintenance of the universal requirement. In the last of these, Crowley envisions possible nonhumanist rationales that could be developed for vertical curricula in writing instruction, were the universal requirement not in place.
Crowley presents her findings in a series of essays because she feels the history of the required composition course cannot easily be understood as a coherent narrative since understandings of the purpose of the required course have altered rapidly from decade to decade, sometimes in shockingly sudden and erratic fashion.
The essays in this book are informed by Crowley's long career of teaching composition, administering a composition program, and training teachers of the required introductory course. The book also draw on experience she gained while working with committees formed by the Conference on College Composition and Communication toward implementation of the Wyoming Resolution, an attempt to better the working conditions of post-secondary teachers of writing.

Since the 1970s, writing workshop has been a go-to method for teaching writing. It's helped students of all ages find their voices and stories while developing skills and craft. In The Writing Shop, the author reimagines what writing workshop can be. By studying workshops of different kinds-carpentry, textile, machine-she pushes us to see writing workshop the way other makers see their own shops, as places where creativity is fueled by the sensory experience. When the essential elements of all workshops are adopted in writing workshop, the author argues, writers will flourish. The author builds on writing workshop literature to introduce the model to newcomers, while offering practical advice for those looking to strengthen their writing instruction. The Writing Shop illustrates what happens when writing is taught in an authentic shop: play is prioritized, all types of learners are included, and a host of skills beyond the mechanics of composition are embedded in the process of learning to write. With its stories from diverse workshops and emphasis on exploration and experimentation, The Writing Shop shows us that learning to write can be, above all things, fun.

Lanham's eight simple steps to clearer, more understandable writing will win you praise from bosses, colleagues, and clients. Voice; Business Prose; Professional Prose; Electronic Prose; General Interest; improving your writing.

Second Language Writing Systems looks at how people learn and use a second language writing system, arguing that they are affected by characteristics of the first and second writing systems, to a certain extent independently of the languages involved. This book presents for the first time the effects of writing systems on language reading and writing and on language awareness, and provides a new platform for discussing bilingualism, biliteracy and writing systems. The approach is interdisciplinary, with contributions not only from applied linguists and psychologists but also corpus linguists, educators and phoneticians. A variety of topics are covered, from handwriting to spelling, word recognition to the mental lexicon, and language textbooks to metalinguistic awareness. Though most of the studies concern adult L2 learners and users, other populations covered include minority children, immersion students and bilingual children. While the emphasis is on English as the L2 writing system, many other writing systems are analysed as L1 or L2: Arabic, Chinese, Dutch, Gujarati, Indonesian, Irish, Italian and Japanese. Approaches that are represented include contrastive analysis, transfer, poststructuralism, connectionism and corpus analysis. The readership is SLA and bilingualism researchers, students and teachers around the world; language teachers will also find much food for thought.

The first volume in ""AAHE and Campus Compact's"" series on service-learning in the disciplines, the book discusses the microrevolution in college-level Composition through service-learning. The essays in this volume show why service-learning and communication are a natural pairing and give a background on the relationship between service-learning and communication with maps to suggest where it should go in the future.

Master Urdu script with this straightforward guide from Teach Yourself - the No. 1 brand in language learning. Read and write Urdu script is a clear step-by-step guide to the written language, with plenty of examples from real-life texts to show how it works in context and lots of exercises to reinforce your learning. This new edition has an easy-to-read page design. Now fully updated to make your language learning experience fun and interactive. You can still rely on the benefits of a top language teacher and our years of teaching experience, but now with added learning features within the course. Learn effortlessly with new, easy-to-read page design: AUTHOR INSIGHTS Lots of instant help with common problems and quick tips for success, based on the author's many years of experience. USEFUL VOCABULARY Easy to find and learn, to build a solid foundation for speaking. TEST YOURSELF Tests in the book to keep track of your progress. TRY THIS Innovative exercises illustrate what you've learnt and how to use it.