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Acknowledgments
Text acknowledgments and copyrights appear at the back of the book on pages A-1–A-4, which constitute an extension of the copyright page. Art acknowledgments and copyrights appear on the same page as the art selections they cover.
Preface
A textbook called How to Write Anything needs to deliver on an ambitious title. Its first edition was built upon the premise that introducing college students to the powerful concept of genres would give them control over a wide range of writing projects: Two subsequent editions refined this approach and responded to instructors’ requests for coverage of more specialized academic assignments, including annotated bibliographies, synthesis papers, and portfolios.
But writers matter every bit as much as the theories that guide their writing, especially when these writers come from ever more varied backgrounds and with more diverse ambitions. So this fourth edition has been purposefully designed to give more attention to the students who will use it their goals, expectations, and anxieties, as they begin a composition class.
Most noticeably, How to Write Anything, Fourth Edition, opens with a new section entitled “Strategies for College Writing.” Its seven brief chapters on foundational topics such as “Defining Genres and Purpose” and “Organizing Ideas” offer practical advice for students wanting to succeed in college writing courses. Then the book follows up with materials refined for greater clarity and impact, especially in the “Key Academic Genres” (Part 2) and “Special College Assignments” chapters (Part 3). There are more summary boxes and helpful lists too, and readings have been chosen to represent a
broader range of student interests and concerns. Even the grammar, mechanics, and usage sections have been restructured to make them more thorough and yet easier to navigate. And, in a nod to its audience, some of the best writing in How to Write Anything, Fourth Edition, comes from students who have used earlier editions.
Like those earlier editions, the fourth edition doesn’t define a single course structure or imagine that all students using it will have the same skills or academic ambitions. Instead, a modular chapter organization and an innovative system of cross-references enables writers to find exactly the information they want at the level of specificity they need. Thus in retaining its familiar guide/reference structure, How to Write Anything marries the resources of a full rhetoric to the efficiency of a compact handbook.
A Guide and a Reference
Parts 1, 2, and 3 of How to Write Anything make up the Guide. An entirely new opening chapter in Part 1, “Academic Goals and Expectations,” outlines what students should expect in composition courses and encourages them to take advantage of writing centers and faculty office hours. To prompt them to think of themselves as writers, Chapter 1 concludes with a literacy narrative assignment, supported by a model. Six subsequent chapters then briefly outline the specific rhetorical choices they’ll explore within each of the genre chapters in Part 2: Defining Genres and Purpose; Claiming Topics; Imagining Audiences; Gathering Materials; Organizing Ideas; and Choosing Style and Design.
In effect, Part 1 is the overture to the book, explaining how genres define expectations for writers to consider whenever they compose.
For each of the genres in Parts 2 and 3, writers are offered a framework presented as a flexible series of the rhetorical choices first introduced in Part 1. The explanations here are direct, practical, and economical, encouraging students to explore a range of options within genres. If writers do need more help with a particular topic, targeted cross-references make it easy to find in the Reference section. Part 2, “Key Academic Genres,” explores eight essential types of writing in depth, breaking each into its significant subgenres and then walking writers through the process of composing them. Each chapter opens with an annotated example of its genre and closes with
additional models and carefully coordinated assignments. Part 3, “Special College Assignments,” covers nine essential subgenres of writing (and, in some cases, speaking) in the academic and professional world. Each of these chapters is newly introduced with an “At a Glance” overview.
The Reference section (Parts 4 through 8) covers key aspects of the writing process. Writers might turn to these sections to find techniques for generating arguments, improving their sentences, or overcoming writer’s block. The organization of How to Write Anything lets students find preceisely what they need without getting bogged down in other material.
Materials in the Reference section have been reorganized as well, to make better sense to college writers. Part 4, “A Writer’s Routines,” now examines eight essential elements of the writing process. Taken together, the chapters imply a sequence, but they don’t have to be approached that way. Part 5 on “Style” offers strategies for writers to use when composing effective sentences, paragraphs, and more even titles. It leads logically to Part 6 on “Design and Digital Media,” its three chapters presenting options for enhancing the look and power of documents, especially those in electronic environments. The ten chapters in Part 7, “Academic Research and Sources,” provide detailed guidance for students new to college research and a refresher for those who’ve written term papers or research reports before. Finally, a substantially augmented Part 8, reimagined as a “Handbook,” offers separate chapters on MLA documentation, APA
documentation, grammar, mechanics, sentence structure, and troublesome pairs. Those final four chapters are selective, but address matters that bedevil writers throughout their careers. Most students will find these chapters are just about what they need for college projects.
Key Features
A Flexible Writing Process and Design that Works
How to Write Anything works hard to make its materials accessible and attractive to writers accustomed to intuitive design. For instance, “How to Start” questions at the opening of each chapter in Parts 2 and 3 anticipate where writers get stuck and direct them to exactly what they need: One writer might seek advice about finding a topic for a report, while another with a topic already in hand wants prompts for developing that idea.
Similarly, frequent cross-references between the Guide and Reference sections call attention to topics that students are likely to want to know more about. The simple language and unobtrusive design of the cross-references make it easy for students to stay focused on their own writing while finding where related material is located no explanations necessary and minimal clutter on the page. Readings and images throughout the book are similarly highlighted and variously annotated so that writers, once again, find information they need precisely when they require it.
Media savvy students know that learning occurs in more than just words, so this edition preserves one of the favorite design features of How To Write Anything: its context-rich “How To” visual tutorials. Through drawings, photographs, and screenshots, these items offer step-by-step instructions for topics, such as “How to Use the Writing
Center” and “How to Browse for Ideas.” In this fourth edition, the Writing Center graphic has been moved into Chapter 1 where it will get immediate attention. Other tutorials focus on how to revise texts and how to cite selected materials in both MLA and APA formats.
Writing Worth Reading From Professionals and Students
How to Write Anything contains an ample selection of readings, more than twenty in the Guide chapters alone, representing a wide range of genres. Selections illustrate key principles and show how genres change in response to different contexts, audiences, and increasingly important media. Every chapter in Parts 2 and 3 includes complete examples of the genres under discussion, most of these texts annotated to show how they meet criteria set down in How to Write Anything. The assignments at the end of these chapters are closely tied to the chapter readings, so students can use the sample texts both as models and as springboards for discussion and exploration.
Just as important, the models in How to Write Anything are approachable. The readings—some by published professionals and others by students reveal the diversity of contemporary writing being done in various genres. The student samples are especially inventive chosen to motivate undergraduates to take comparable risks with their own writing. Together, the readings and exercises suggest to writers the creative possibilities within a wide range of genres and sub-genres.
New to This Edition
How to Write Anything was designed from the outset to be a practical, highly readable guide to writing for a generation used to exploring texts actively. The fourth edition adds many new features that enhance its practicality and accessibility:
A new opening part on “Strategies for College Writing.” Seven lean and carefully cross-referenced chapters describe what goes on in college writing courses with appealing frankness. The tips and advice, including don’t make writing harder than it is; take advantage of office hours; and use the writing center, provide an encouraging roadmap to the writing process for writers. A sample literacy narrative in Chapter 1 introduces students to a common first assignment.
A stand-alone chapter on genres. Genres and subgenres are now explained in a chapter of their own. Chapter 2, “Defining Genres and Purpose,” explains why learning about genres really does make composing easier. It’s not just theory.
Brainstorming is now explained upfront. Because writers need advice about finding and developing ideas right away, techniques of invention are now explored in Chapter 3, “Claiming Topics.” It includes a visual tutorial.
Organization is now explained upfront. College writers struggling to organize papers too often fall back on the fiveparagraph essay learned in middle school. Chapter 6, “Organizing Ideas,” explains why that’s not the best strategy even
before students compose their first papers and then offers alternatives.
Part 2, “Key Academic Genres,” has been refined. The section now begins with “Reports” instead of narratives because instructors preferred an initial assignment more typical of college work. The former chapter on “Causal Analyses” has been renamed “Explanations” to broaden the kinds of writing that it might cover or encourage.
A new chapter on “Essays.” Replacing “Narratives” in the previous editions is a more sophisticated and intriguing chapter on “Essays,” informed by the genre Michel de Montaigne created in the sixteenth century and updated by writers ever since. Students can still compose narratives, but now with more focus on exploring ideas and issues. The new chapter is introduced by selections from Paul Graham’s “The Age of the Essay” and concludes, fittingly, with two vastly different personal essays by college undergraduates.
Lively new readings or visual texts in every “Key Academic Genres” chapter. The new selections, more than a dozen, include intriguing and surprising pieces such as “Grocery Store Economics: Why Are Rotisserie Chickens So Cheap? (report); “We’re the Only Animals With Chins, and No One Knows Why” (explanation); “Serena Williams Is Not the Best Tennis Player” (evaluation); and “Join the Revolution: Eat More Bugs” (proposal).
New graphics to highlight writing processes. In Chapter 20, a
PowerPoint presentation is used to show how to handle an oral report; in Chapter 41, an infographic explains how to make an infographic.
Helpful summary charts. Writers will find thoughtful new charts throughout the Reference sections (Parts 4–8): key terms in essay examination questions (Chapter 16); data required in bibliographic citations (Chapter 17); guidelines for formal outlines (Chapter 29); items to proofread carefully in college papers (Chapter 30); items to consider when evaluating sources (Chapter 46); style guides used in academic disciplines (Chapter 52).
Refreshed and updated chapter on professional correspondence. Chapter 21 merges formerly separate coverage of business letters and email into an up-to-date discussion of how to communicate clearly in both academic and business situations. It still explains how to format that rare, but sometimes essential, paper letter.
Dynamic new material on Outlining. Chapter 29 better illustrates how outlines can actually generate ideas and help writers discover new perspectives on topics, and continues to provide examples of scratch, informal, and formal outlines.
Expanded and thoroughly revised take on grammar, mechanics, and usage. Eleven chapters on “Common Errors” in the previous edition provide the core for four more carefully structured chapters in this latest version. The new and muchenlarged chapters make up a new “Handbook” section and do
much more than correct errors. They set questions about grammar, mechanics, and sentence rhetoric in fuller contexts than before, with many more topics addressed. There’s even a brief chapter on “troublesome pairs” explaining the differences between words often confused, such as its and it’s, affect and effect, and rein and reign.
A new Student’s Companion for How to Write Anything, authored by Elizabeth Catanese (Community College of Philadelphia), offers thorough support for students in ALP/corequisite courses. The text includes coverage of college success strategies; activities to help students develop thoughtful, college-level essays; and additional practice in correcting writing problems, from revising topic sentences and developing paragraphs to correcting fragments. This handy resource is available at a significant discount when packaged with the book, and it can be found in the book’s LaunchPad.
Acknowledgments
The following reviewers were very helpful through several drafts of this book:
Lisa Arnold, North Dakota State University; Deborah Bertsch, Columbus State Community College; Patricia Bostian, Central
Piedmont Community College; Erin Breaux, South Louisiana
Community College; Daniel Compton, Midlands Technical College
Beltline; Natasha David-Walker, Columbus State University; Melanie Dusseau, Northwest State Community College; Amy Eggert, Bradley University; Bart Ganzert, Forsyth Technical Community College; Courtney George, Columbus State University; Priscilla Glanville, State College of Florida; Maura Grady, Ashland University; Lauren Hahn, DePaul University; Jo Hallawell, Ivy Tech Community College; Anne Helms, Alamance Community College; Judy Hevener, Blue Ridge Community College and Stuarts Draft High School; Peggy Karsten, Ridgewater College; Wolfgang Lepschy, Tallahassee Community College; Maryann Lesert, Grand Rapids Community College; Darby Lewes, Lycoming College; Trina Litteral, Ashland Community and Technical College; Rachel Lutwick-Deaner, Grand Rapids Community College; Bonni Miller, University of Massachusetts - Boston; Melissa Mohlere, Central Piedmont Community College; Lisa Muir, Wilkes
Community College; Amy Nawrocki, University of Bridgeport; Marguerite Newcomb, Wayland Baptist University; Nichole Peacock, Marion Military Institute; Deidre Price, Northwest Florida State College; Michelle Pultorak, Tarrant County College District; Paula
Rash, Caldwell Community College & Technical Institute; Brian Reeves, Lone Star College-University Park; Arleen Reinhardt, John Tyler Community College; Alison Reynolds, University of Florida; Karin Rhodes, Salem State University; Courtney Schoolmaster, South Louisiana Community College; Marilyn Senter, Johnson County Community College; Patrick Shaw, University of South; Guy Shebat, Youngstown State University; Hailey Sheets, Southwestern Michigan College; Joyce Staples, Patrick Henry Community College; Alabama; Jennifer Steigerwalt, University of Pikeville; Joel Thomas, Ancilla Domini College; Shelley Tuttle, Lakeview Christian Academy; Mari-jo Ulbricht, University of Maryland - Eastern Shore; Stephanie Williams, University of Arkansas at Little Rock; and Marilyn Yamin, Pellissippi State Community College.
All textbooks are collaborations, but I have never before worked on a project that more creatively drew upon the resources of an editorial team and publisher. How to Write Anything began with the confidence of Joan Feinberg, co-founder of Bedford/St. Martin’s, that we could develop a groundbreaking brief rhetoric. She had the patience to allow the idea to develop at its own pace and then assembled an incredible team to support it. I am grateful for the contributions of Edwin Hill, Vice President of Editorial for the Humanities; Leasa Burton, Executive Program Director for Bedford/St. Martin's English; and Laura Arcari, Senior Program Manager. I am also indebted to Kerri Cardone, Senior Content Project Manager. For her marketing efforts, I am grateful for the guidance offered by Vivian Garcia and, of course, for the efforts of the
incomparable Bedford/St. Martin’s sales team. For her contributions to the fourth edition, I thank Christina Gerogiannis, Executive Development Editor. Christina has given thoughtful attention to every corner of the book, helping to ensure that this edition is tight, lively, and imaginative. It has been a pleasure to work with her, as well as with Molly Parke, Jill Gallagher, Stephanie Thomas, Stephanie Cohen, Suzanne Chouljian, and Annie Campbell.
Finally, I am extraordinarily grateful to my former students whose papers or paragraphs appear in How to Write Anything. Their writing speaks for itself, but I have been inspired, too, by their personal dedication and character. These are the sort of students who motivate teachers, and so I am very proud to see their work published in How to Write Anything: Ellen Airhart, Alysha Behn, Marissa Dahlstrom, Manasi Deshpande, Micah T. Eades, Laura Grisham, Wade Lamb, Desiree Lopez, Cheryl Lovelady, Soup Martinez, Matthew Nance, Lily Parish, Heidi Rogers, Kanaka Sathasivan, Leah Vann, Scott L. Walker, Susan Wilcox, and Ryan Young.
John J. Ruszkiewicz
We’re all in. As always.
Bedford/St. Martin’s is as passionately committed to the discipline of English as ever, working hard to provide support and services that make it easier for you to teach your course your way.
Find community support at the Bedford/St. Martin’s English Community (community.macmillan.com), where you can follow our Bits blog for new teaching ideas, download titles from our professional resource series, and review projects in the pipeline.
Choose curriculum solutions that offer flexible custom options, combining our carefully developed print and digital resources, acclaimed works from Macmillan’s trade imprints, and your own course or program materials to provide the exact resources your students need. Our approach to customization makes it possible to create a customized project uniquely suited for your students, and based on your enrollment size, return money to your department and raise your institutional profile with a high-impact author visit through the Macmillan Author Program (“MAP”).
Rely on outstanding service from your Bedford/St. Martin’s sales representative and editorial team. Contact us or visit macmillanlearning.com to learn more about any of the options below.
LaunchPad for How to Write Anything: Where Students Learn
LaunchPad provides engaging content and new ways to get the most out of your book. Get an interactive e-book combined with assessment tools in a fully customizable course space; then assign and mix our resources with yours.
Diagnostics provide opportunities to assess areas for improvement and assign additional exercises based on students’ needs. Visual reports show performance by topic, class, and student as well as improvement over time.
Pre-built units including readings, videos, quizzes, and more are easy to adapt and assign by adding your own materials and mixing them with our high-quality multimedia content and ready-made assessment options, such as LearningCurve adaptive quizzing and Exercise Central.
A Student’s Companion for How to Write Anything helps students build a strong foundation, particularly in ALP/corequisite courses.
Use LaunchPad on its own or integrate it with your school’s learning management system so that your class is always on the same page.
LaunchPad for How to Write Anything can be purchased on its own or packaged with the print book at a significant discount. An activation code is required. To order LaunchPad for How to Write Anything with the print book, use ISBN 978-1-319-22188-1. For more information, go to launchpadworks.com
Choose from Alternative Formats of How to Write Anything
Bedford/St. Martin’s offers a range of formats. Choose what works best for you and your students:
Paperback To order the paperback edition, use ISBN 978-1-31905853-1 Popular e-book formats For details of our e-book partners, visit macmillanlearning.com/ebooks.
Version with readings To order the version without readings, use ISBN 978-1-319-10397-2.
To package with A Student’s Companion to How for Write Anything, our new ALP supplement, use ISBN 978-1-319-22810-1.
To package with LaunchPad for How to Write Anything, use ISBN 978-1-319-22188-1.
Instructor Resources
You have a lot to do in your course. We want to make it easy for you to find the support you need and to get it quickly.
Resources for Teaching How to Write Anything is available as a PDF that can be downloaded from macmillanlearning.com. Visit the instructor resources tab for How to Write Anything. In addition to chapter overviews and teaching tips, the instructor’s manual includes sample syllabi and classroom activities.
Correlation to the Council of Writing Program Administrators’ (WPA)
Outcomes Statement
How to Write Anything helps students build proficiency in the five categories of learning that writing programs across the country use to assess their work: rhetorical knowledge; critical thinking, reading, and writing; writing processes; knowledge of conventions; and composing in electronic environments. A detailed correlation follows.
Features of How to Write Anything: A Guide and Reference with Readings, Fourth Edition, Correlated to the WPA Outcomes Statement
Note: This chart aligns with the latest WPA Outcomes Statement, ratified in July 2014.
WPA Outcomes
Learn and use key rhetorical concepts through analyzing and composing a variety of texts
Gain experience reading and composing in several genres to understand how genre conventions shape and are shaped by readers’ and writers’ practices and purposes
Relevant Features of How to Write Anything
Rhetorical Knowledge
Each assignment chapter in the Guide includes three texts in a wide variety of genres. Questions, headnotes, and “Reading the Genre” prompts encourage students to examine and understand the key rhetorical concepts behind each genre of writing Writing activities and prompts guide students through composing a range of texts. In addition, the Reader includes more than 40 more texts for student analysis.
The Introduction provides a foundation for thinking about genre, while each assignment chapter in the Guide offers a thorough look at each genre’s conventions and how those conventions have developed and changed, as well as how to apply them to students’ own writing situations.
Each chapter in the Reader includes a “Genre Moves” feature, which analyzes a classic model to highlight a specific genre convention and suggest ways students might make use of it
Develop facility in
Each assignment chapter in the Guide offers detailed
responding to a variety of situations and contexts, calling for purposeful shifts in voice, tone, level of formality, design, medium, and/or structure.
advice on responding to a particular rhetorical situation, from arguing a claim and proposing a solution to writing an e-mail or a résumé.
See “Choosing a Style and Design” sections in Part 1 chapters, and the “Getting the Details Right” sections in Part 2 chapters for advice on situation-specific style and design.
Part 5 features chapters on “Levels of Style” (33); “Inclusive Writing” (35); and “Clear and Vigorous Writing” (34).
Understand and use a variety of technologies to address a range of audiences
Chapter 40 covers digital media, including blogs, social networks, Web sites, wikis, podcasts, maps, and videos. Chapter 41 covers creating and using visuals to present data and ideas
Each assignment chapter includes at least one visual example of the genre that the chapter focuses on, and several of the reference chapters include Visual Tutorials featuring photographs and illustrations that provide students with step-by-step instructions for challenging topics, such as using the Web to browse for ideas This emphasis on visuals, media, and design helps students develop visual and technological literacy they can use in their own work.
Chapter 21 covers e-mail; Chapters 24 and 20 address portfolio and presentation software; and Chapters 45 and 46 cover finding, evaluating, and using print and electronic resources for research.
Match the capacities of different environments (e.g., print and electronic)
The text and LaunchPad include a wide range of print and multimodal genres from essays and scholarly articles to photographs, infographics, Web sites, and
to varying rhetorical situations
audio and video presentations. Rhetorical choices that students make in each genre are covered in the Guide chapters and appear in discussions of the writing context and in abundant models in the book.
Critical Thinking, Reading, and Composing
Use composing and reading for inquiry, learning, thinking, and communicating in various rhetorical contexts
The assignment chapters in the Guide emphasize the connection between reading and writing a particular genre: Each chapter includes model readings with annotations that address the key features of the genre. Each Part 1 chapter shows students the rhetorical choices they need to consider when writing their own papers in these genres and offers assignments to actively engage them in these choices.
Chapter 26, “Critical Thinking,” explains rhetorical appeals and logical fallacies.
Reference chapters in Parts 4 through 8 cover invention, reading, writing, research, and design strategies that work across all genres.
Read a diverse range of texts, attending especially to relationships between assertion and evidence, to patterns of organization, to interplay between verbal and nonverbal elements, and how these features function for different audiences and situations.
Each assignment chapter in the Guide includes three texts in a wide variety of genres. In addition, the Reader includes more than 40 more texts for student analysis.
Each of the Guide chapters also includes sections on understanding audience, creating a structure, finding and developing material (including evidence), and choosing a style and design that best reflect the genre of writing.
Chapter 25, “Smart Reading,” helps students read deeply and “against the grain,” while in Chapter 26, “Critical
Locate and evaluate primary and secondary research materials, including journal articles, essays, books, databases, and informal Internet sources.
Use strategies such as interpretation, synthesis, response, critique, and design/redesign to compose texts that integrate the writer’s ideas with those from appropriate sources
Develop a writing project through multiple drafts
Thinking,” students learn about claims, assumptions, and evidence Chapter 6, “Organizing Ideas” gives advice on devising a structure for a piece of writing.
Part 7 covers research and sources in depth, with chapters on beginning your research, finding print and online sources, doing field research, evaluating and annotating sources, and documenting sources.
Develop flexible strategies for reading, drafting, reviewing, collaboration, revising, rewriting, rereading, and editing.
Chapters 48 (“Annotating Sources”), 50 (“Paraphrasing Sources”), and 51 (“Incorporating Sources into Your Work”) explore a variety of strategies for integrating the writer’s ideas with ideas and information from sources Chapter 18, “Synthesis Papers,” shows students how to summarize, compare, and assess the views offered by different sources.
Processes
Chapter 35, “Revising, Editing and Proofreading” discusses the importance of revising and gives detailed advice on how to approach different types of revision. Targeted cross-references throughout the text help students get the revision help they need when they need it
The Reference’s brief, targeted chapters and crossreferences lend themselves to a flexible approach to writing process, with an array of strategies for students to choose from whether they’re crafting an introduction or preparing to revise a first draft.
Use composing processes and tools as a means to discover and reconsider ideas.
Genre-specific advice in the Guide chapters helps students tailor each step of the writing process to their writing situation, while process-based chapters in the Reference offer guidance that can be applied to any type of writing.
Each Part 1 chapter includes two sections that encourage students to use the composing process as a means of discovery “Deciding to write ” covers the reasons a writer might choose a specific form of writing, while “Exploring purpose and topic” prompts students to challenge their own ideas about a subject and write to discover what they think when they look more deeply at it.
Experience the collaborative and social aspects of writing processes.
Learn to give and act on productive feedback to works in progress
Adapt composing processes for a variety of technologies and modalities.
Several chapters in the Reference send students out into their worlds for advice, information, and feedback
Chapter 44, “Consulting Experts,” talks about the kinds of experts such as librarians, instructors, peers, and writing center tutors that students can call on for help Chapter 47, “Doing Field Research,” discusses the whys and hows of interviewing and observing people as part of the research process. Chapter 31, “Peer Editing,” offers advice for helping peers improve their work
Chapter 31, “Peer Editing,” encourages students to give specific , helpful advice to peers and think about peer editing in the same way they revise their own work
Chapter 40 focuses on digital media, including blogs, Web sites, wikis, podcasts, maps, and videos.
Chapter 21 covers e-mail; Chapters 24 and 20 address portfolio and presentation software; and Chapters 45 and 46 cover finding, evaluating, and using print and electronic resources for research.
Reflect on the development of composing practices and how those practices influence their work.
Develop knowledge of linguistic structures, including grammar, punctuation, and spelling, through practice in composing and revising.
Understand why genre conventions for structure, paragraphing, tone, and mechanics vary.
Gain experience negotiating variations in genre conventions.
Learn common formats and/or design features for different kinds of texts.
The new Introduction invites students to consider their writing practices and how the choices they make during invention, drafting, research, and revision shape their process and their work.
Knowledge of Conventions
Part 8 (Handbook) includes chapters on grammar, punctuation, and mechanics, while Chapter 30 provide editing and proofreading advice Targeted crossreferences throughout the text send students to these chapters as needed.
Explore the concepts of intellectual property
Each Part 2 chapter includes a section on choosing style and design to help students understand how their choice of style, structure, tone, and mechanics is shaped by the genre in which they’re writing.
Models of work from several subgenres within the book’s main genres show students the variations that exist within the confines of a given genre. In addition, “Reading the Genre” prompts help students identify and understand the genre conventions at work in each selection.
Each assignment chapter in the Guide covers a format specific to the genre covered there; see “Choosing a Style and Design” in the Part 1 chapters and “Getting the Details Right” in the Part 2 chapters.
Chapter 52, “Documenting Sources,” helps students understand why documentation is important and what’s
