From first steps to final submission, this accessible guide takes students through each stage of the assignment-writing process and equips them with the skills they need to construct and develop convincing academic arguments. Concise and compact, it offers practical advice on forming ideas, structuring arguments and finding your academic voice. The authors, both of whom are experienced in working directly with students, also provide valuable guidance on a number of important subtleties in academic writing, including expressing reservations or enthusiasm in academic writing and using evidence to convey different viewpoints. The second edition contains new material on synthesizing ideas from different sources, as well as more varied examples of what 'finding your academic voice means' in the context of different assignments, including blogs and observations. Applicable to different types of assignment, this is an essential resource for all undergraduates and postgraduates who are looking to communicate their arguments effectively and improve the quality of their academic 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.

"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.

Authoring a Ph.D. Thesis involves having creative ideas, working out how to organize them, writing up from plans, upgrading text, and finishing it speedily and to a good standard. It also involves being examined and getting work published. This book provides a huge range of ideas and suggestions to help PhD candidates cope with both the intellectual issues involved and the practical difficulties of organizing their work effectively.

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.

Introducing the Uktub al-'arabiya series with the Advanced level volume, the authors of this new textbook aim to develop the writing skills of students learning Modern Standard Arabic, enabling them to move from forming correct words, phrases, sentences, and simple texts, to writing simple paragraphs and ultimately producing texts with the competency of a native speaker. These books, with the beginner and intermediate level volumes forthcoming, can accompnay any other Arabic textbooks. The Advanced level volume introduces students to authentic Arabic written texts; strengthens and enhances their grammar; includes more sophisticated key words, collocations, expressions, and idioms; reinforces linguistic accuracy; and trains them to use handwriting script. Practical skills such as how to write letters are included.
Developed and piloted in the classrooms of the Arabic Language Institute at the American University in Cairo, this series has benefited from the expertise and knowledge of leading teachers of Arabic.

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.

A completely new guide to writing Latin from scratch, this user-friendly book includes key features such as: broad coverage - all the major grammatical constructions of the Latin language are covered, reinforcing what students have learnt from reading Latin; thorough accessible explanations - no previous experience of writing in Latin assumed; hundreds of examples - clear accurate illustrations of the constructions described, all with full translations; over six hundred practice sentences - graduated exercises leading students through three levels of difficulty from elementary to advanced level; introduction to Latin word order - a brief guide to some of the most important principles; and, longer passages for practising continuous prose composition - more challenging passages to stretch the most able students.It also includes features such as: commentaries on examples of Latin prose style - passages from great Latin prose writers focus attention on imitating real Latin usage; and, complete list of vocabulary - all the words needed for the exercises and a valuable reference for English-Latin work in general.

This Character Writing Workbook, which accompanies Student Book 1 of the Encounters program, is designed to help students learn the Chinese characters found in each unit of the Student Book. The Character Writing Workbook not only provides opportunities for writing practice but also supplies considerable information about each character, such as correct stroke order, pronunciation and tone, and related words, phrases, and sentences. Also included are the radical (or "meaning key"), phonetic clues, and the evolution of the character from its ancient form, all of which provide valuable memory aids. Where applicable, both traditional and simplified forms of the character are presented so that students may choose to learn one or the other, or both, depending on their preference. THE ENCOUNTERS PROGRAM INCLUDES: * Full-color Student Books for introductory Chinese study * Annotated Instructor's Editions with answer keys and suggested class activities * Character Writing Workbooks linked directly to the Student Books * Ten hours of video materials, comprising dramatic episodes, cultural segments, and animations, all integrated with the Student Books * A total of 200 minutes of audio material, linked to the Student Books, for listening and speaking practice * A website, www.EncountersChinese.com, providing a year's free access to all audiovisual material of the program upon adoption

Wie schreiben professionelle Schreiber*innen? Wie passen sie ihre Strategien, Routinen und sprachlichen Ressourcen situativ an? In 17 Fallstudien wird Mustern und Zusammenhangen in Schreibprozessverlaufen mehrsprachiger Schreiber*innen nachgegangen: 13 Studierende und 4 Wissenschaftler*innen haben Schreibsessions im Real life writing mit Screen-Capturing-Software aufgezeichnet und in Interviews uber ihre Sprach(en)- und Schreibbiographien Auskunft gegeben. Auf der Cross-Case-Analyse dieser 17 Fallstudien basiert das PROSIMS-Schreibprozessmodell, das die spezifischen Einflussfaktoren und dynamischen Wechselbeziehungen in Schreibsituationen konzipiert und visualisiert. Es wird durch eine umfassende interdisziplinare Diskussion einschlagiger Fachdiskurslinien kontextualisiert.

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

This book contains 30 activities at elementary level, complete with ideas for boardwork and pictures teachers can copy. All the activities are simple and adaptable. They are particularly well-suited to classrooms where there are few resources apart from a board, paper, and pens - and of course the teacher and the learners themselves.

Plagiarism and intellectual property law are two issues that affect every student and every teacher throughout the world. Both concepts are concerned with how we use texts - print, digital, visual, and aural - in the creation of new texts. And both have been viewed in strongly moral terms, often as acts of 'theft'. However, they also reflect the contradictory views behind norms and values and therefore are essential to understand when using all forms of texts both inside and outside the classroom. This book discusses the current and historical relationship between these concepts and how they can be explicitly taught in an academic writing classroom.

Most writing books dwell on common issues of style and grammar. Yet most writers also confront complex problems of story design. This fifty-rule guide by Francis Flaherty, a New York Times editor, offers much-needed solutions and sage advice to address these concerns.

"Sometimes, say things sideways," Flaherty writes. "The reader will be grateful." "White is whitest on black," he observes. "Let contrast work for you." Through such hard-won, story-level insights, sprinkled with examples from real stories and leavened with a good dose of newsroom memoir, The Elements of Story merits a spot on every writer's shelf.