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The Mcgraw Hill Guide Writing For College Writing For Life 4th Edition Ebook PDF
The Mcgraw Hill Guide Writing For College Writing For Life 4th Edition Ebook PDF
Preface xxvii
vii
viii Contents
Rhetorical Knowledge 32
Writing to Understand and Synthesize Texts 32
Writing: Assignment Options 32
Writing Processes 48
Invention: Getting Started 48 • Organizing Your Ideas and
Details 51 • Constructing a Complete Draft 51
• Revising 54
Knowledge of Conventions 56
Eckendorff’s Initial
Thoughts/Questions Editing 56 • Genres, Documentation, and Format 56
50
Tracy Eckendorff’s First
Draft 52 A Writer Achieves Her Goal:
Student Comments on Tracy Eckendorff’s Synthesis 57
Eckendorff’s First Draft
54 TRACY ECKENDORFF, JUST GO (TO COLLEGE)! (Synthesis) 57
Responding to Readers’
Comments 55
Self-Assessment: Reflecting on Your Goals 60
Contents ix
Rhetorical Knowledge 76
Writing to Share Experiences 76
Scenarios for Writing: Assignment Options 77
Writing Processes 95
Invention: Getting Started 95 • Organizing Your Ideas
Jessica Hemauer’s
and Details 97 • Constructing a Complete Draft 98
Listing 97 • Revising 102
Jessica Hemauer’s
Organization 98
Parts of Complete Draft Knowledge of Conventions 103
99
Excerpts from Jessica
Editing 103 • Genres, Documentation, and Format 104
Hemauer’s First Draft
100
A Writer Achieves Her Goal: Jessica Hemauer’s
Student Comments on
Jessica Hemauer’s Final Draft 104
Draft 101
Responding to Readers’
JESSICA HEMAUER, FARM GIRL (Memoir) 104
Comments 103
Elle Caminante’s
Freewriting and Knowledge of Conventions 146
Clustering 134
Elle Caminante’s
Editing 146 • Genres, Documentation, and Format 147
Research 136
Elle Caminante’s First
Draft: Starving Artists
A Writer Achieves Her Goal: Elle Caminante’s Final
140 Draft 147
Student Comments on
Caminante’s First Draft ELLE CAMINANTE, STARVING ARTISTS: MYTH OR REALITY?
143 (Exploratory Essay) 147
Responding to Readers’
Comments 145
Self-Assessment: Reflecting on Your Goals 152
PART THREE Using What You Have Learned to Write Arguments 235
Rhetorical Knowledge
Writing about Visual Texts
Writing Assignment Options
Writing Processes
Invention: Getting Started • Organizing Your Ideas
and Details • Constructing a Complete Draft
• Revising
Knowledge of Conventions
Ben Evans’ Topic Choice
Editing • Genres, Documentation, and Format
and Brainstorming
Ben Evans’ First Draft A Writer Achieves His Goal: Ben Evans’ Visual
Student Comments on
Ben Evans’ First Draft
Analysis
Responding to Readers’ BEN EVANS, THE “DIRTY BOMB” (Student Essay)
Comments
Rhetorical Knowledge
Writing about Creative Works
Writing Effectively about a Creative Work
Writing Responsibly about a Creative Work
Writing Processes
Selecting a Creative Work to Write About • Recording
Your Initial Responses • Finding a Feature to Analyze
• Organizing Your Ideas • Integrating Visuals When Writing
about Creative Works • Constructing a Full Draft • Revising
Knowledge of Conventions
Editing • Genres, Documentation, and Format
xxii Contents
Frances Walker’s
Invention Work
A Writer Achieves Her Goal: Frances Walker’s
Frances Walker’s
Organization Final Draft
Frances Walker’s First FRANCES WALKER, “SOMETIMES SHE DREAMS” POETRY ANALYSIS
Draft
Student Comments on (Student Essay)
Frances Walker’s First
Draft
Responding to Readers’
Self-Assessment: Reflecting on Your Goals
Comments
Index 632
To our students and colleagues, who offered us inspiration for this project. To Elizabeth
Murphy, who guided our journey.
D. R., G. G., and B. M.
For Courtney, with all my love. Thanks for sharing your life with me.
G. G.
For Rachel and Seth, the most supportive son and daughter.
B. M.
About the Authors
Duane Roen is Professor of English at Arizona State University, where he serves as Dean of the College of Integrative Sciences
and Arts, Dean of University College, Vice Provost, and Coordinator for the Project for Writing and Recording Family History. At
ASU he has also served as Head of Interdisciplinary Studies; Head of Humanities and Arts; Director of Composition; Co-Director of
the graduate program in Rhetoric, Composition, and Linguistics; Director of the Center for Learning and Teaching Excellence; and
President of the Academic Senate. At Syracuse University he served as Director of the Writing Program. At the University of Arizona,
he was Founding Director of the graduate program in Rhetoric, Composition, and the Teaching of English, as well as Director of
Graduate Studies in the Department of English. He has served as Secretary of the Conference on College Composition and Commu-
nication and President of the Council of Writing Program Administrators.
Duane has written extensively about writing across the curriculum; writing curricula, pedagogy, and assessment;
writing program administration; writing family history; and collaboration, among other topics. In addition to more than
280 articles, chapters, and conference papers, Duane has published the following books: Composing Our Lives in Rhetoric
and Composition: Stories about the Growth of a Discipline (with Theresa Enos and Stuart Brown); The Writer’s Toolbox
(with Stuart Brown and Bob Mittan); A Sense of Audience in Written Discourse (with Gesa Kirsch); Becoming Expert:
Writing and Learning across the Disciplines (with Stuart Brown and Bob Mittan); Richness in Writing: Empowering ESL
Students (with Donna Johnson); Strategies for Teaching First-Year Composition (with Lauren Yena, Susan K. Miller,
Veronica Pantoja, and Eric Waggoner); Views from the Center: The CCCC Chairs’ Addresses, 1977–2005; The WPA Out-
comes Statement: A Decade Later (with Nicholas Behm, Greg Glau, Deborah Holdstein, and Edward White); and The
McGraw-Hill Guide: Writing for College, Writing for Life (with Greg Glau and Barry Maid), now in its fourth edition. He
is currently co-authoring a composition handbook (with Michael Day), co-editing a collection of essays on the Framework
for Success in Postsecondary Writing (with Nicholas Behm and Sherry Rankins-Robertson), and co-editing a collection of
essays on cognition in writing (with Patricia Portanova and Michael Rifenburg).
Gregory R. Glau was Director of the University Writing Program at Northern Arizona University from 2008 to 2015,
and at Arizona State University from 2000 to 2008. Greg received his MA in Rhetoric and Composition from Northern
Arizona University, and his PhD in Rhetoric, Composition, and the Teaching of English from the University of Arizona.
With Linda Adler-Kassner of University of California–Santa Barbara, Greg is co-editor of the Bedford Bibliography for
Teachers of Basic Writing (2001; 2nd ed., 2005); third edition 2010 (co-edited with Chitralekha Duttagupta of Utah Valley
University). Greg also is co-author of Scenarios for Writing (Mayfield/McGraw-Hill, 2001). Greg has published in the
Journal of Basic Writing, WPA: Writing Program Administration, Rhetoric Review, English Journal, The Writing Instruc-
tor, IDEAS Plus, and Arizona English Bulletin. Greg regularly presents at CCCC and has presented at WPA, MLA,
RMMLA, the Western States Composition Conference, NCTE, and others. He (with Duane Roen and Barry Maid) is past
Managing Editor of WPA: Writing Program Administration.
Barry M. Maid is Professor of Technical Communication at Arizona State University, where he led the development of
the program in Technical Communication. He has spent most of his career in writing program administration. Before coming
to ASU, he taught at the University of Arkansas at Little Rock, where, among other duties, he directed the Writing Center
and the First Year Composition Program, chaired the Department of English, and helped create the Department of Rhetoric
and Writing. He has written or co-authored chapters for more than twenty books, and some of his writing-across-the-curric-
ulum work has recently been published (with several co-authors) in a nursing journal. Barry has co-authored articles on
information literacy for library journals, and he is also the editor of Information Literacy: Research and Collaboration
across Disciplines (with Barbara D’Angelo, Sandra Jamieson, and Janice Walker). His professional interests remain in writ-
ing in digital environments, writing program administration (especially program assessment), and partnerships between
academic programs and industry. Barry enjoys long road trips and continues to visit the national parks of the West.
xxiv
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hirveästi peläten, että Aljošan päättäväisyys katoaa. He kulkivat
ääneti, Rakitin ei edes uskaltanut alkaa puhella.
3.
Sipuli
— Itse sinä olet soma, Rakitin! Sanon sinulle, että odotan yhtä
semmoista pikku sanomaa. Heti kun sanoma tulee, lähden
kiitämään, — lennän tieheni, näette vain vilahduksen. Siksi olen
koristautunut, jotta olisin valmiina.
— Mitä virka-arvoa?
— Nytpä ovat Mitenjkan asiat hullusti, — ui, ui. Tietääkö hän vai
eikä tiedä?
— Mitäpä tietäisi. Ei tiedä ensinkään! Jos saisi tietää, niin tappaisi.
Mutta sitä minä nyt en ollenkaan pelkää, en pelkää nyt hänen
veistään. Ole vaiti, Rakitka, älä muistuta mieleeni Dmitri
Fjodorovitšia: hän on murskannut koko sydämeni. Mutta minä en
tahdo mitään tästä tällä hetkellä ajatellakaan. Aljošetskaa voin
ajatella, minä katselen Aljošetskaa… Hymyilehän minulle, kultaseni,
ilostu, hymähdä minun tyhmyydelleni, minun riemulleni… Hymyilipä,
hymyili! Kas miten ystävällisesti katsoo. Minä, tiedätkö Aljoša, olen
kaiken aikaa ajatellut, että sinä olet minulle vihainen
toissapäiväisestä, sen neidin takia. Koira minä olin, niin se on…
Mutta hyvä on kuitenkin, että kävi niin. Se oli paha ja se oli hyvä, —
hymähti Grušenjka äkkiä mietteissään, ja jokin kova piirre vilahti
äkkiä hänen hymyssään. — Mitja kertoi hänen huutaneen: »Piiskaa
pitäisi semmoiselle!» Minä loukkasin häntä silloin pahasti. Hän kutsui
minut luokseen, tahtoi voittaa, viekoitella suklaallansa… Ei, se on
hyvä, että kävi niin, — naurahti hän taas. — Mutta minä pelkään
vain, että sinä suutuit…
Sisälle tuli Fenja ja pani pöydälle tarjottimen, jolla oli avattu pullo ja
kolme täytettyä pikaria.
Hän otti pikarin, Aljoša otti omansa, joi pienen kulauksen ja pani
pikarin jälleen paikalleen.
— Mitenkä niin?
— Mutta nyt ole vaiti, Rakitka, kaikki se, mitä nyt sanon, on
semmoista, mikä ei ole sinun korviasi vasten. Istuudu tänne
nurkkaan ja pidä suusi kiinni; sinä et rakasta meitä, ole siis vaiti.