How to Write Anything with Readings with 2020 APA Update by John J. Ruszkiewicz; Jay T. Dolmage - Fourth Edition, 2019 from Macmillan Student Store
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How to Write Anything with Readings with 2020 APA Update

A Guide and ReferenceFourth Edition ©2019 John J. Ruszkiewicz; Jay T. Dolmage

Instructors at hundreds of colleges and universities have turned to How to Write Anything for support that empowers every student with advice they need, when they need it.  And students love it—holding onto the book for other classes —because the authors’ tone makes writing in any gen...

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ISBN:9781319368890

ISBN:9781319362263

ISBN:9781319362218

How to Write Anything with Readings with 2020 APA Update by John J. Ruszkiewicz; Jay T. Dolmage - Fourth Edition, 2019 from Macmillan Student Store

Engage and empower every writer in your class

Instructors at hundreds of colleges and universities have turned to How to Write Anything for support that empowers every student with advice they need, when they need it.  And students love it—holding onto the book for other classes —because the authors’ tone makes writing in any genre approachable, with a flexible, rhetorical framework for the most commonly taught academic and public genres.

The fourth edition offers students a new Part 1: Strategies for College Writing, even more support for understanding genres and purpose, and an expanded and thoroughly revised take on grammar, mechanics, and usage—all essential to academic success. The result is everything you need to teach composition in a flexible and highly visual guide, reference, handbook, and reader.

Also available: LaunchPad, an online course space with pre-built units featuring the full e-book, book-specific reading comprehension quizzes, adaptive LearningCurve activities to help students hone their understanding of reading and writing, and additional support in A Student’s Companion to How to Write Anything.

Features

Accessible approach encourages students to analyze their own situations and processes. How to Write Anything recognizes that no two students work the same way—and that students write for different reasons in different situations, from essays for a college course to résumés for job applications. Intuitive cross-references in the Guide suggest targeted topics in the Reference, giving students the help they need when and where they need it.

    • "How to Start" questions at the beginning of genre chapters give students options for getting started, even when they’re stuck.

    • A flexible sequence of rhetorical choices gives students a strong framework for working in any genre. They’ll find genre-specific advice about exploring purpose and topic, audience, finding and developing material, structure, style, and design.

    • "Writing about Writing" and "Thinking about Writing" activities give students more help applying the advice in the book and let students try out genres and strategies before tackling a complete assignment.

"How To" visual tutorials and videos offer "clear, concise, and visual guidance" on challenging topics, such as showing students step by step how to find information in a source to create a citation.

Professional models and student writing serve as both examples and springboards for discussion and exploration. Selections are carefully chosen both to engage students and to show how genres change in response to different contexts and audiences. Annotations show how the readings illustrate key principles, patterns of compositions, and points of style and mechanics.

Practical support for a community of instructors is available for all instructors teaching with How to Write Anything. Written by coauthor Jay Dolmage, the Instructor’s Manual offers activities, assignments, sample syllabi, correlations to the WPA outcomes, and more, and a new Student’s Companion for How to Write Anything by Elizabeth Catanese (Community College of Philadelphia) offers support for students in ALP/corequisite courses.

New to This Edition

A new opening part on "Strategies of College Writing" describes what goes on in college writing courses with appealing frankness. In seven lean chapters, practical tips and advice provide an encouraging roadmap to how genres define expectations for writers to consider whenever they compose. The authors guide students through the ins and outs of important strategies, including "know that writing is more than avoiding grammar errors," "learn to think like a writer," and "don’t make writing harder than it is." A sample literacy narrative in chapter 1 introduces students to a common first assignment.

A new stand-alone chapter on genres helps students understand them as real-life responses to ever-changing writing situations. Genres and subgenres are now explained in greater detail, showing why learning about genres really does make composing easier. It’s not just theory.

Enhanced coverage of the writing students are expected to do now—and in the future. A revised chapter on oral reports features new graphics to explain their structure, adds material on poster sessions, and offers a more detailed example of a PowerPoint presentation. A refreshed chapter on professional correspondence provides an up-to-date discussion of how to communicate clearly in both academic and business situations. A sophisticated and intriguing chapter on essays allows students to compose narratives with a directed focus on exploring ideas and issues. And, throughout the book, they will continue to have opportunities to read and compose a variety of narratives, including literacy narratives.

New selections throughout every key academic genres chapter reveal the diversity of genres while engaging students. Chosen to entertain and inform, while also illustrating how audience and context influence a writer’s choices, new readings 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).

A new Handbook offers an expanded and thoroughly revised take on grammar, mechanics, and usage. The "Common Errors" section from the previous edition has been greatly expanded in order to do much more than correct errors. The new Handbook sets 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." Several cartoons lighten the discussion.

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

"I was concerned it might be too general, trying to be all things to all disciplines. How to Write Anything? But, students tell me they use it to help with assignments in other classes. I had a remarkable number who told me that they were going to hang onto their books, not sell them back to the bookstore." -Karin Rhodes, Salem State University

"How to Write Anything has completely surpassed my expectations. It is visually appealing, nicely organized, and covers a wide variety of modes and topics, which is important to professors in my department for planning purposes. Students have commented that they enjoy reading it." - Hailey Sheets, Southwestern Michigan College

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Table of Contents

Preface
Introduction

GUIDE

Part 1  
Strategies for College Writing
1 Academic Goals and Expectations
2 Defining Genres and Purpose
3 Claiming Topics
4 Imagining Audiences
5 Gathering Materials
6 Organizing Ideas
7 Choosing Style and Design

Part 2  
Key Academic Genres
8 Reports
9 Explanations
10 Arguments
11 Evaluations
12 Proposals
13 Literary Analyses
14 Rhetorical Analyses
15 Essays
  
Part 3  
Special College Assignments
16 Essay Examinations
17 Annotated Bibliographies
18 Synthesis Papers
19 Position Papers
20 Oral Reports
21 Professional Correspondence
22 Résumés
23 Personal Statements
24 Writing Portfolios

REFERENCE

Part 4  
A Writer’s Routines
25 Smart Reading
26 Critical Thinking
27 Shaping a Thesis
28 Strategies of Development
29 Outlining
30 Revising, Editing, and Proofreading
31 Peer Editing
32 Overcoming Writer’s Block

Part 5   
Style
33 Levels of Style
34 Clear and Vigorous Writing
35 Inclusive Writing
36 Purposeful Paragraphs
37 Strategic Transitions
38 Memorable Openings and Closings
39 Informative Titles

Part 6 
Design and Digital Media
40 Understanding Digital Media
41 Tables, Graphs, and Infographics
42 Designing Print and Online Documents

Part 7  
Academic Research and Sources
43 Beginning Research
44 Consulting Experts
45 Finding Print and Online Sources
46 Evaluating Sources
47 Doing Field Research
48 Annotating Sources
49 Summarizing Sources
50 Paraphrasing Sources
51 Incorporating Sources into Your Work
52 Documenting Sources

Part 8  
Handbook
53 MLA Documentation and Format
54 APA Documentation and Format
55 Grammar
56 Mechanics
57 Sentence Issues
58 Troublesome Pairs
READER

Part 9
Readings

59 Reports: Readings
Genre Moves: N. Scott Momaday, From The Way to Rainy Mountain [DESCRIPTIVE REPORT] 
INFORMATIONAL REPORT: Lewis Dartnell, Why Would Aliens Even Bother With Earth? The Pros And Cons Of A Trip To The Planet We Call Home
DEFINITIONAL REPORT: Steve Silberman, Neurodiversity Rewires Conventional Thinking about Brains 
LEGAL REPORT: Philip Deloria, The Cherokee Nation Decision 
MULTIMODAL REPORT: CyeKeia Lee and Amy Goldrick-Rabb, Navigating College: Resource Guide for Homeless and Low Income Students

60 Explanations: Readings
Genre Moves: Sojourner Truth, From Ain’t I a Woman? [ARGUMENTATIVE SPEECH] 
ANALYSIS OF CULTURAL VALUES: Paul Argenti, Corporate Ethics in the Era of Millennials
ARGUMENTATIVE REPORT: Jeff Wise, The Sad Science of Hipsterism: The Psychology of Indie Bands, PBR, and Weird Facial Hair 
ARGUMENT FOR CHANGE: Emily Bazelon, Hitting Bottom: Why America Should Outlaw Spanking 
POLICY ARGUMENT: Daniel Engber, Glutton Intolerance 

61 Arguments: Readings
Genre Moves: Naomi Klein, From No Logo [EVALUATION] 
TELEVISION REVIEW: Emily Nussbaum, To Stir, with Love 
EVALUATION: Mark Yakich, The Football Play
GAME EVALUATION: Marcel O’Gorman, The Case for Locking Up Your Smartphone
PRODUCT REVIEW: Heather Radke, The Jumpsuit That Will Replace all Clothing Forever

62 Evaluations: Readings
Genre Moves: James Baldwin, From If Black English Isn’t a Language, Then Tell Me, What Is? [CAUSAL ANALYSIS] 
CAUSAL ANALYSIS: Rita J. King, How Twitter Is Reshaping the Future of Storytelling 
CAUSAL ANALYSIS: Robert W. Gehl, A History of Like 
VISUAL EXPLANATION: Matt Daniels, Where New Slang Comes From
CULTURAL EXPLANATION: Eddo Stern, Warcrack for the Hordes: Why Warcraft Owns the World

63 Proposals: Readings 
Genre Moves: Rachel Carson, From The Obligation to Endure [PROPOSAL]
PROPOSAL FOR CHANGE: Michael Todd, Is That Plastic in Your Trash a Hazard?
PROPOSAL FOR CHANGE: Jane McGonigal, Video Games: An Hour a Day Is Key to Success in Life 
PROPOSAL: Neil deGrasse Tyson, The Cosmic Perspective 
SATIRICAL PROPOSAL: Kembrew McLeod, A Modest Free Market Proposal for Education Reform 

64 Literary Analyses: Readings 
Genre Moves: Zadie Smith, From What Does Soulful Mean? [LITERARY ANALYSIS]
TEXTUAL ANALYSIS: Roxane Gay, Not Here to Make Friends
FILM ANALYSIS: Hunter Harris, Beyonce’s Lemonade is a Celebration of Black Identity (student essay)
TEXTUAL ANALYSIS: Anna Peppard, On Marvel’s First Female Superhero Written by a Woman

65 Rhetorical Analyses: Readings 
Genre Moves: Susan Sontag, From Notes on “Camp” [RHETORICAL ANALYSIS] 
CULTURAL ANALYSIS: Christine Martorana, Death: The End We All Have to Face(book)
ANALYSIS OF AN ADVERTISEMENT: Jake Romm, Why That Catastrophic Pepsi Ad Was Actually a Resounding Success
CULTURAL ANALYSIS: Teju Cole, Finders Keepers

66 Essays: Readings
Genre Moves: Amy Tan, From Mother Tongue [LITERACY NARRATIVE] 
NARRATIVE: From Patton Oswalt, Zombie Spaceship Wasteland 
GRAPHIC NARRATIVE (EXCERPT): Lynda Barry, Lost and Found 
REFLECTION: Naomi Shihab Nye, Mint Snowball 
LITERACY NARRATIVE: Ta-Nehisi Coates, Acting French
COLLABORATIVE NARRATIVE: Donald Collins and Mary Collins, We Call Back and Forth to Each Other About Things that Nearly Destroy Us

John J. Ruszkiewicz

John J. Ruszkiewicz is a professor emeritus at the University of Texas at Austin where he taught literature, rhetoric, and writing for forty years. A winner of the President’s Associates Teaching Excellence Award, he was instrumental in creating the Department of Rhetoric and Writing in 1993 and directed the unit from 2001-05. He has also served as president of the Conference of College Teachers of English (CCTE) of Texas, which gave him its Frances Hernández Teacher—Scholar Award in 2012. For Bedford/St. Martin's, he is coauthor, with Andrea Lunsford, of Everything’s An Argument and the author of How To Write Anything and A Reader's Guide to College Writing. In retirement, he writes mystery novels under the pen name J.J. Rusz, his first The Window Trail, published in July on Amazon.

Jay T. Dolmage

Jay Dolmage is an assistant professor of English at the University of Waterloo. He is the author of Instructor's Manual for How to Write Anything and the coauthor of How to Write Anything: A Guide and Reference with Readings (with John J. Ruszkiewicz) and Disability and the Teaching of Writing (with Cynthia Lewiecki-Wilson and Brenda Jo Brueggemann). He is the coeditor, with Nedra Reynolds, of the new Bedford Bibliography for Teachers of Writing.  He teaches graduate classes in rhetoric and composition pedagogy and has published widely on rhetorical theory and accessible teaching. To hear Jay talk about the readings in How to Write Anything, watch the Bedford/St. Martin’s “Author Talk” video.

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Instructor's Manual for How to Write Anything

Meet Jay Dolmage