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Tired of correcting the same mistakes year after year, hoarse from endless repetition of the same rules, at long last frustrated by the inability of students to grasp his words of wisdom, Professor David Williams has put it all down in a book: the dirty truth about what college professors and other ...

Tired of correcting the same mistakes year after year, hoarse from endless repetition of the same rules, at long last frustrated by the inability of students to grasp his words of wisdom, Professor David Williams has put it all down in a book: the dirty truth about what college professors and other teachers are really looking for as they grade student papers. Outrageous and wise, Sin Boldly! goes where no other how-to-write handbook has dared go before. Personal, perceptive, and purposefully provocative, this book offers students crucial advice on the entire writing process. From choosing a paper topic to adopting a persuasive voice, shaping an argument, and organizing an essay; from political correctness (or lack thereof) to matters of style, punctuation, and usage, Sin Boldly! is crammed with information, ideas, and examples that will entertain and instruct even the most confident students in their quest for the A+ they all think they deserve.

No two writing situations are exactly the same and skilled writers, like skilled painters, must develop the know-how to represent the objects of their writing as part of a flexible art. This special art of writing lies hidden between grammar--the well-formedness of sentences--and genre--the capacity ...

No two writing situations are exactly the same and skilled writers, like skilled painters, must develop the know-how to represent the objects of their writing as part of a flexible art. This special art of writing lies hidden between grammar--the well-formedness of sentences--and genre--the capacity of texts to perform culturally holistic communicative functions (e.g., the memo, the strategic report, the letter to the editor). Concealed between grammar and genre, this less visible art of writing is what Kaufer and Butler call "representational composition." Texts within this hidden art are best viewed not primarily as grammatical units or as genre functions, but as bearers of design elements stimulating imagistic, narrative, and information-rich worlds, and as an invitation to readers to explore and interact with them. This volume presents a systematic study of the principles that underlie writing as representational composition. Drawing from student models derived from a studio method, the authors use each chapter to present a different aspect of what unfolds--across the course of the book--into a cumulative, interactive, and unified body of representational principles underlying the design of texts. They reveal what makes the textual representations achieved by expert writers worthwhile, and, at the same time, difficult for novice writers to reproduce. Extending the framework of their 1996 volume, Rhetoric and the Arts of Design, into a realm of textual design, this volume will interest students and instructors of writing, rhetoric, and information design.

As colleges and universities have responded to the demand of businesses and industries for graduates who can write effectively, Composition Studies has gained significance. However, in spite of the growing importance attached to writing, many composition courses do not satisfactorily educate their ...

As colleges and universities have responded to the demand of businesses and industries for graduates who can write effectively, Composition Studies has gained significance. However, in spite of the growing importance attached to writing, many composition courses do not satisfactorily educate their students. This volume includes essays by writing specialists who are concerned with their own failure to improve their students' writing skills. In addition to exploring the shortcomings of Composition Studies, the contributors discuss needed reforms for the teaching of writing.