Elizabeth Wardle - Writing about Writing

The front cover.

Fourth Edition

• These three new chapters build the conceptual foundation for writing about writing.
• Every chapter in Part Two contains a set of readings with scaffolded support.

FOURTH EDITION

• ELIZABETH WARDLE
• Miami University

• DOUG DOWNS
• Montana State University

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ACKNOWLEDGMENTS

Text acknowledgments and copyrights appear at the back of the book on , which constitute an extension of the copyright page. Art acknowledgments and copyrights appear on the same page as the art selections they cover.

• • • Famous essay on the nature of drafting and revision, emphasizing the frequent need to let early drafts be bad drafts.
  • • Classic observational study of inexperienced writers composing, emphasizing patterns emerging from carefully coded texts and notes.
  • • Methodological exploration of early process-research protocols, comparing lab-based process observations against naturalistic observation of professional writer Donald Murray.
  • • Comparative study of how the two stated groups of writers approached and accomplished revision, including their assumptions about the nature and purpose of revision.
  • • Reports different strategies for writing used by fluent versus blocked student writers, finding that the common denominator for blocking is interference caused by adherence to rigid rules.
  • • Examines how students compose with multimodal resources including sounds, video, and images, noting a number of ways that these tools can make it more difficult to be effective for audiences.
  • • Illustrates how mindfulness and reflection can help us trace our growth as writers by investigating where this writers ideas come from and how he gets writing done.
  • • Provides advice on how to respond effectively to peers writing.
• • • Analyzes the idea of literacy sponsorship and demonstrates its application across various case studies.
  • • Illustrates the notion of literacy sponsorship with a short narration about her struggle to gain her fathers approval for her writing.
  • • Describes Villanuevas own literate experiences and how they are intertwined with his cultural background.
  • • A collaborative project by five students placed in a remedial writing course and labeled not yet proficient writers, in which they use what they learned in their first-year writing course to challenge their schools harmful labeling practices.
  • • Criticizes critics of student writing who fail to observe that how much readers notice and care about errors in a text depends on who they think the author is.
  • • Argues against the tradition of allowing only standard English in school and college, asserting instead that we should teach people how to code mesh by embedding multiple versions of a language in whatever writing or speaking theyre doing.
  • • Shows the many ways identity is enmeshed with language, recounting how Mellixs current experience of writing is shaped by her past experiences in particular places and times.
  • • Illustrates how identity and literacy experiences shape one another and how both shape writing experiences, from the perspective of a multilingual writer who never feels like a unified whole.
• • • Overviews key principles of rhetoric by integrating several theories of rhetoric into a narrative of how writing is rhetorical.
  • • Retheorizes rhetorical situation by defining and giving an extended example of elements that constitute this theory.
  • • Explains and analyzes numerous examples of intertextuality, texts being comprised of other, earlier texts and writers work.
  • • Examines reading as a meaning-constructing activity shaped by rhetorical principles, suggesting that readers who think rhetorically are more powerful readers.
  • • Extends Haas and Flowers work on rhetorical reading to the student research-writing situation, suggesting the teaching of rhetorical reading of sources.
  • • Argues that all forms of writing include the writer, even apparently objective or scientific forms.
  • • Looks at three writers who understand a photo of actress Emma Watson in very different ways, demonstrating how different observers can interpret the same symbolic action.
• • • Introduces the concepts of dominant, nondominant, primary, and secondary Discourses in order to discuss how people are socialized through language.
  • • Draws on theories about language in communities in order to examine how workers and patrons in a diner interact through language and texts.
  • • Offers a retrospective on developing his theory of discourse communities, while also evolving and updating the theory with additional elements.
  • • Explains the concept of discourse communities and focuses on how and why conflicts occur in them, particularly in academic communities.
  • • Demonstrates how groups of people such as medical professionals use language and texts in specialized ways as they work to accomplish their goals together.