Writing and editing guides Books

Book SynopsisLEARN NEW AND INSPIRING WAYS OF LIFTING YOUR CREATIVE WRITING.Is your creative writing in need of inspiration? Do you need confidence to create watertight plots and believable characters?The Writer''s Source Book provides dozens of practical exercises to help you create storylines, craft people and generate ideas, with support and creative insight for every stage.It will give you support in identifying your genre and crafting your work around it, and help you to understand the complexities of plot and character before beginning to create your own.Inspired and inspiring exercises will help you master the structure of your book, story or play, while focused and innovative advise will help those who have run into trouble. This is a technical manual ideal for any writer who needs to build, fix, polish or perfect their storyline.ABOUT THE SERIESThe Teach Yourself Creative Writing series helps aspiring authors telTable of Contents : 1. What comes first: character or plot? : 2. Finding characters : 3. Building characters : 4. Troubleshooting characters : 5. Finding genre : 6. Breaking down the elements of story and plot : 7. What do stories want? : 8. Beginnings : 9. Middles : 10. Endings : 11. What goes wrong with a story and how to fix it? : 12. Alternative story structures : 13. Dialogue in stories : 14. Reading as a writer

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Book SynopsisExpressive writing is life-based writing that focuses on authentic expression of lived experience, with resultant insight, growth and skill-building. For decades, it has been the province of journals, memoirs, poets, and language arts classrooms. Social science research now provides indisputable evidence that expressive writing is also healing.In this remarkable collection, eight leading experts from education, counseling, and community service join to offer compelling guidance from applied practice. You'll discover:How writing poetry helps primary school children develop emotional intelligenceA model for helping teens at risk write safely about their deepest hurtsHow to engage reluctant writers and help them develop vital writing skills A simple and effective way to build structure, pacing, and containment into life-based writingHow discovering the wellspring of inner speech helps strengthen writing skillsA method to transform expressive writing into insightful problem-solvingEasy strTrade ReviewExpressive Writing: Foundations of Practice is a transformative guide for those seeking insight through writing and for those who guide that process. Kay Adams is the ideal alchemist for this superb work: an international leader in therapeutic journaling, master teacher and mentor, author and editor, healing professional, and community builder. Adams has distilled both critical research and writing processes from some of the best practitioners in the field. The threads of expressive writing are woven into a text that reflects the evidence-based aspects of therapeutic writing, the creativity and strength building of expressive writing, and specific strategies to use in virtually any context. This work honors and elicits the authentic self—the inner wisdom in each of us. Adams advances expressive writing in a powerful way. If expressive writing can reveal to us our inner wisdom and we share our common and diverse insights, she believes that expressive writing will help communities shape effective change. The applications and possibilities for this as an educational tool are endless, and the editor and authors will help you to begin right away. Expressive Writing: Foundations of Practice is a must-have guide for those who want to grow and heal through writing. Simply put, it inspires. -- Leia Francisco, M.A., BCC, CJF, board certified coach, certified journal facilitator, and former college English instructor, author, “Writing through Transitions”With its vibrant integration of emotion, structure, meaningful exercises, careful selection, and the setting of appropriate limits, Kathleen Adams has upgraded Socrates for our times. 2400 years ago, the Apology argued that the unexamined life is not worth living. Adams has provided all of us with ways to examine our lived experience through writing and expression, making our lives not only more meaningful but more exciting and beautiful. -- Stephen Rojcewicz, distinguished life fellow, American Psychiatric Association, former president, National Association for Poetry TherapyExpressive Writing: Foundations of Practice is the book I’ve been waiting for! As a licensed mental health counselor and certified journal therapist, I strongly believe this book will be a valuable and unique professional resource. As a woman who has written and journaled for decades, I envision this work as a rewarding introduction to the broad range of genres included in the world of expressive writing. This comprehensive and practical guide is appealing and easily accessible. Each chapter, instructive and engaging in its own right, is a powerful and critical component within a collective vision in the field of expressive writing. The contributions are woven together in a manner that flows easily from one to the other. The authors represent the finest in their areas of expertise. Their writing is informative, engaging and supported by additional references. Filled with passion and conviction, each writer provides exceptional wisdom based on their advanced education and decades of experience. I recommend Expressive Writing: Foundations of Practice with complete confidence. -- Rae Hight, RN, LMHC, CJT, Burley, WAThis is an indispensable resource for anyone in the teaching or counseling profession who is interested in exploring the tremendous power of expressive writing for personal, therapeutic or educational purposes. Within these pages, you will find a variety of creative writing tools and techniques that will engage even the most reticent student or client and help them find their “shoobeedoo.” A special bonus is the chapter by Kate Thompson which describes how counselors can benefit from using journaling for self-supervision. -- Theresa Sharpe, Ph.D., associate director, university counseling center, Texas A&M University-Corpus ChristiThis volume is a compelling interdisciplinary contribution to the literature on the therapeutic, educational, personal growth, and community-building aspects of expressive writing. Kay Adams, an international leader in journal therapy, poetry therapy, and expressive writing, has assembled an outstanding collection of authors who within their respective disciplines have joined her to provide clear and practical applications of expressive writing methods. The reader will find, through the description and reflective commentaries, that the practice material presented is suitable for adaptation to a wide range of theoretical orientations and practice models. Indeed, this volume is a welcome addition to the literature on poetry therapy, particularly the expressive/creative component. -- Nicholas F. Mazza, Ph.D., dean and Patricia V. Vance Professor of Social Work at Florida State University, editor, “Journal of Poetry Therapy,” author of “Poetry Therapy: Theory and Practice”If expressive writing is a pathway into the undiscovered self, then this book is the ultimate guide to that journey. Filled with tools, techniques, and stories from leaders in the field, it provides the insights and instructions needed to usher others safely into the rich world of their inner terrain, with only our pens as walking sticks. This volume is a testament to the power of writing to make sense of our lives in both ordinary and extraordinary moments. As a certified poetry and journal facilitator, Expressive Writing: Foundations of Practice won't ever be far from my side. -- Mary Reynolds Thompson, CAPF, CJF, author, "Reclaiming the Wild Soul: How Earth’s Landscapes Restore Us to Wholeness"Expressive Writing: Foundations of Practice is a fundamental and affirming text integrating theory and practice. Respected pioneers and practitioners share with compassion and expertise their research results, anecdotal evidence, and personal experience to clearly demonstrate the many ways therapeutic writing works. This is a “how-to” book of extraordinary caliber for facilitators and individuals alike who wish to use writing for self-expression, personal growth and healing. -- Susan de Wardt, CJF, CAPF, life coach, president, National Federation for Biblio/Poetry TherapyTable of ContentsTable of Contents Series Editor Note Foreword Preface 1.Expression and Reflection: Toward a New Paradigm of Expressive Writing 2. Finding Your Shoobeedoo 3. The Journal Ladder 4. Journal Writing in the Counseling Relationship 5. Liberating Beauty: The Hynes and Hynes-Berry Bibliotherapy Model 6. Engaging the Reluctant Writer 7. Poetry and Emotional Intelligence 8. Writing with Teens at Risk 9. Writing the Family Story About the Authors Acknowledgments

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Book SynopsisA growing body of neuroscience research has established the principle of neuroplasticity; a powerfully hopeful message that we can use our minds to change our brains in the direction of greater health and well-being. The key to shaping this change rests in how we direct and focus and our attention. In an easy-to-use workbook format this publication offers a strengths based, preventative, positive approach, grounded in neuroscience research, for creating a stronger sense of overall well-being. It contains more than 65 unique writing prompts and a facilitator's guide with complete facilitation plans for 1-hour, 90 minutes and 2-hour groups.Trade ReviewIn this companionable and lively workbook, the complex worlds of positive psychology, neuropsychology and expressive writing weave together. The result is accessible information and practice--an amazing feat of integration and utility. Ross and Adams make this weave look simple like the Russian Ballet makes turns and leaps look easy. The workbook clearly explains the neurological context of self-improvement and the expressive writing practice that is its vehicle. The book moves gracefully between information, exercises and dialogs; the reader/writer is engaged, active and absorbed throughout. Your Brain on Ink presents state-of-the-art information and writing techniques in a fun and practical way. It is a valuable contribution to the journal writing world. -- Beth Jacobs, PhD, author, “Writing for Emotional Balance and Paper Sky: What Happened After Anne Frank’s Diary Ended”Ross and Adams have hit a home run with this workbook—it’s compelling, informative, and very easy to read. The authors combine advice and insights about the power of therapeutic writing with the scientific research to prove why this kind of writing is so important. Interactive exercises and activities allowed me to integrate the content on a much deeper level. Now I'm even more committed to my journaling! I will return over and over again. -- Robert MacPhee, author, “Manifesting for Non-Gurus” and partner journal; former director of training for Jack Canfield; creator, Excellent Decisions Leadership ProgramYour Brain on Ink is the perfect curriculum for all the helping professions: medicine, nursing, psychology, counselors and coaches. It provides the science of neuroplasticity and expressive writing in a unique pairing that promises to create new positive tracks in the brain. The process allows one to embody a new understanding and gets the brain to maintain a new direction through self-directed brain change. I am eager to use this in teaching and as adjunct homework for my clients, and I am grateful for a whole new understanding of brain neurology presented in simple and profound wording. Ross and Adams, your guides on the side, will open you up to new perspectives you didn’t know how much you needed in order to be effective in your own life and those of others. -- Linda W. Peterson-St. Pierre, PhD, MFT, MRN; emeritus professor, University of Nevada-Reno Medical SchoolAdams and Ross are a wise and masterful team in the creation of this user-friendly trail map into the worlds of neuroscience and expressive writing. The journal ladder is clinical brilliance and indeed creates a sturdy bridge to enriched community of practitioners and researchers alike. As clinicians, it is important to be able to offer our clients ways to continue growth work between sessions. This book offers ten-to-twenty minute writing “bites” that are both safely and powerfully constructed. This book goes far beyond the goal of “advancing the dialogue” about the role of expressive writing in healing. This is groundbreaking work. -- Nancy S. Scherlong, LCSW, PTR-M/S, CJT; writer, adjunct faculty at Columbia and Adelphi Universities; expressive arts trauma therapist and positive psychology coachRoss and Adams have woven a unique workbook for self-awareness, mindfulness, healing, and growth, all in the context of modern brain science. Simple, guided exercises are distilled from decades of scholarly research, making neuroplasticity available to all who seek self-directed change. Fresh writing and carefully constructed prompts invite readers to join the dance and observe their own brains in real time. This book provides fascinating and ready access to passion, clarity, and purpose. -- Nathan Ohren, founder/director of Write4Life.com and host of the JournalTalk podcastYour Brain on Ink is a masterful dance between two expert and wise practitioners. In precise and conversational language, Deborah and Kay explain and illustrate the fertile intersection between brain research and expressive writing. You are guided, step by small step, into a sustainable writing practice that will—literally—change the shape of your brain. From my viewpoint as a business coach and facilitator, this workbook is a quantum advance in how to help clients shift perspective and behavior by activating their own powers of expression and reflection to rewrite the brain maps they live and work by. This pioneering work will change many brains—and many lives—for the better. -- Edwina Cowdery, business coach and facilitator, Sydney, AustraliaYour Brain on Ink is a treasure added to the expressive therapies field. This is the first therapeutic writing book that takes into consideration the neurobiological response to trauma and the sensory healing response it requires. Journal therapy is a natural medium to work with the amygdala’s release process and this book explains the manner in which this is done and the profound potential healing effects. As the focus on trauma healing moves from a lens of trauma-informed care to trauma-applied practice, this book addresses both in practical, understandable, and applicable language. And because journal therapy is also a mindfulness based practice, the astounding benefits of mindful brain changes are apparent and honored throughout. This is an exciting, succinct, and timely addition to the field. -- Cherie Spehar, LCSW, CTC-S, RPT-S, founder/director/lead clinician, Apex Center for Trauma Healing, NCIf we are as happy as we choose to be, to paraphrase Abe Lincoln, how can we become happier than we are, and feel that way more often? According to Deborah Ross and Kathleen Adams, the answer comes from neuroscience: by frequently writing about experiences that leave us feeling more positive in the moment, we strengthen our brains’ ability to do more of the same over time. Based on recent neuroscience discoveries and time-tested journaling techniques, this practice diminishes our brains’ evolutionary mandate to focus on the negative, allowing us to observably shift our feelings toward the positive end of the scale in ten to twenty minutes of writing. And, like an athlete building muscles through repetitive movement, the more we use these techniques, the more our brains build and strengthen the neural pathways for positivity. In world that seems to be drifting ever more negative, Your Brain on Ink: A Workbook on Neuroplasticity and the Journal Ladder provides a very real way to lift ourselves into more positive realms. -- Barbara Stahura, CJF, co-author of "After Brain Injury: Telling Your Story"Table of ContentsForeword Preface Dear Reader: An Introduction to the Workbook Section 1: A User-Friendly Guide to Your Brain and Your Journal 1. Prelude 2. Welcome to Neuroplasticity 3. The Art and Science of Expressive Writing 4. The Journal Ladder 5. Brain Maps 6. The Reflection Write Section 2: The Write Way to Positive Brain Change 7. The Brain as Velcro® and Teflon® 8. Your Limbic System 9. The Brain Takes the Shape the Mind Rests Upon 10. Neural Darwinism 11. Neurons that Fire Together, Wire Together 12. For Your Olfactory Delight 13. The Masking of a Negative is Not a Positive 14. From Positive State to Positive Trait 15. Building Neural Circuitry 16. Series of Three 17. And Now for Something Completely Different 18. Anticipate a Blossoming of Creative Delight 19. Short Bursts of Radiance 20. A Radical Departure 21. Overwriting the Negative Section 3: Our Last Collective Firings 22. Reprise: Your Brain Takes the Shape Your Mind Rests Upon 23. Bridging Into the Future References Literature Review: Evidence-Based Research on Expressive Writing Acknowledgments About the Authors

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Book SynopsisThe science of neuroplasticity demonstrates that our brains can and do change. We each not only have the power but use the power to create new neural pathways for better or for worse. This science has demonstrated that we can create pathways that lead to resilience, vitality, greater peace of mind, and improved well-being.Self-directed neuroplasticity is a method of accelerating neurological change through expressive writing. It's what happens when you harness the power of your pen or keyboard in service of intention, attention, and action for your greater good. This workbook of expressive writing for brain change can lead to increased well-being. As you learn and apply the principles of neuroplasticity to your own life, staged and sequenced through masterful application of writing techniques designed to promote positive brain change, improved satisfaction will not be far behind.Trade ReviewIn this companionable and lively workbook, the complex worlds of positive psychology, neuropsychology and expressive writing weave together. The result is accessible information and practice — an amazing feat of integration and utility. Ross and Adams make this weave look simple like the Russian Ballet makes turns and leaps look easy. The workbook clearly explains the neurological context of self-improvement and the expressive writing practice that is its vehicle. The book moves gracefully between information, exercises and dialogs; the reader/writer is engaged, active and absorbed throughout. Your Brain on Ink presents state-of-the-art information and writing techniques in a fun and practical way. It is a valuable contribution to the journal writing world. -- Beth Jacobs, PhD, author, “Writing for Emotional Balance and Paper Sky: What Happened After Anne Frank’s Diary Ended”Ross and Adams have hit a home run with this workbook — it’s compelling, informative, and very easy to read. The authors combine advice and insights about the power of therapeutic writing with the scientific research to prove why this kind of writing is so important. Interactive exercises and activities allowed me to integrate the content on a much deeper level. Now I'm even more committed to my journaling! I will return over and over again. -- Robert MacPhee, author, “Manifesting for Non-Gurus” and partner journal; former director of training for Jack Canfield; creator, Excellent Decisions Leadership ProgramYour Brain on Ink is the perfect curriculum for all the helping professions: medicine, nursing, psychology, counselors and coaches. It provides the science of neuroplasticity and expressive writing in a unique pairing that promises to create new positive tracks in the brain. The process allows one to embody a new understanding and gets the brain to maintain a new direction through self-directed brain change. I am eager to use this in teaching and as adjunct homework for my clients, and I am grateful for a whole new understanding of brain neurology presented in simple and profound wording. Ross and Adams, your guides on the side, will open you up to new perspectives you didn’t know how much you needed in order to be effective in your own life and those of others. -- Linda W. Peterson-St. Pierre, PhD, MFT, MRN; emeritus professor, University of Nevada-Reno Medical SchoolAdams and Ross are a wise and masterful team in the creation of this user-friendly trail map into the worlds of neuroscience and expressive writing. The journal ladder is clinical brilliance and indeed creates a sturdy bridge to enriched community of practitioners and researchers alike. As clinicians, it is important to be able to offer our clients ways to continue growth work between sessions. This book offers ten-to-twenty minute writing 'bites' that are both safely and powerfully constructed. This book goes far beyond the goal of 'advancing the dialogue' about the role of expressive writing in healing. This is groundbreaking work. -- Nancy S. Scherlong, LCSW, PTR-M/S, CJT; writer, adjunct faculty at Columbia and Adelphi Universities; expressive arts trauma therapist and positive psychology coachRoss and Adams have woven a unique workbook for self-awareness, mindfulness, healing, and growth, all in the context of modern brain science. Simple, guided exercises are distilled from decades of scholarly research, making neuroplasticity available to all who seek self-directed change. Fresh writing and carefully constructed prompts invite readers to join the dance and observe their own brains in real time. This book provides fascinating and ready access to passion, clarity, and purpose. -- Nathan Ohren, founder/director of Write4Life.com and host of the JournalTalk podcastYour Brain on Ink is a masterful dance between two expert and wise practitioners. In precise and conversational language, Deborah and Kay explain and illustrate the fertile intersection between brain research and expressive writing. You are guided, step by small step, into a sustainable writing practice that will — literally — change the shape of your brain. From my viewpoint as a business coach and facilitator, this workbook is a quantum advance in how to help clients shift perspective and behavior by activating their own powers of expression and reflection to rewrite the brain maps they live and work by. This pioneering work will change many brains — and many lives — for the better. -- Edwina Cowdery, business coach and facilitator, Sydney, AustraliaYour Brain on Ink is a treasure added to the expressive therapies field. This is the first therapeutic writing book that takes into consideration the neurobiological response to trauma and the sensory healing response it requires. Journal therapy is a natural medium to work with the amygdala’s release process and this book explains the manner in which this is done and the profound potential healing effects. As the focus on trauma healing moves from a lens of trauma-informed care to trauma-applied practice, this book addresses both in practical, understandable, and applicable language. And because journal therapy is also a mindfulness based practice, the astounding benefits of mindful brain changes are apparent and honored throughout. This is an exciting, succinct, and timely addition to the field. -- Cherie Spehar, LCSW, CTC-S, RPT-S, founder/director/lead clinician, Apex Center for Trauma Healing, NCIf we are as happy as we choose to be, to paraphrase Abe Lincoln, how can we become happier than we are, and feel that way more often? According to Deborah Ross and Kathleen Adams, the answer comes from neuroscience: by frequently writing about experiences that leave us feeling more positive in the moment, we strengthen our brains’ ability to do more of the same over time. Based on recent neuroscience discoveries and time-tested journaling techniques, this practice diminishes our brains’ evolutionary mandate to focus on the negative, allowing us to observably shift our feelings toward the positive end of the scale in ten to twenty minutes of writing. And, like an athlete building muscles through repetitive movement, the more we use these techniques, the more our brains build and strengthen the neural pathways for positivity. In world that seems to be drifting ever more negative, Your Brain on Ink: A Workbook on Neuroplasticity and the Journal Ladder provides a very real way to lift ourselves into more positive realms. -- Barbara Stahura, CJF, co-author of "After Brain Injury: Telling Your Story"Table of ContentsForeword Preface Dear Reader: An Introduction to the Workbook Section 1: A User-Friendly Guide to Your Brain and Your Journal 1. Prelude 2. Welcome to Neuroplasticity 3. The Art and Science of Expressive Writing 4. The Journal Ladder 5. Brain Maps 6. The Reflection Write Section 2: The Write Way to Positive Brain Change 7. The Brain as Velcro® and Teflon® 8. Your Limbic System 9. The Brain Takes the Shape the Mind Rests Upon 10. Neural Darwinism 11. Neurons that Fire Together, Wire Together 12. For Your Olfactory Delight 13. The Masking of a Negative is Not a Positive 14. From Positive State to Positive Trait 15. Building Neural Circuitry 16. Series of Three 17. And Now for Something Completely Different 18. Anticipate a Blossoming of Creative Delight 19. Short Bursts of Radiance 20. A Radical Departure 21. Overwriting the Negative Section 3: Our Last Collective Firings 22. Reprise: Your Brain Takes the Shape Your Mind Rests Upon 23. Bridging Into the Future References Literature Review: Evidence-Based Research on Expressive Writing Acknowledgments About the Authors

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Book SynopsisFirst and foremost, and most inclusively, anyone fascinated by thinking and learning about connections between brain research and writing should read The Write Mind for Every Classroom: How to Connect Brain Science and Writing Across the Disciplines. Teachers of writing across a wide range of grade levels will find this book useful, especially those teaching adolescents. The information and activities are designed for those teaching across secondary and post-secondary content areas. As writing becomes increasingly central across all content areas as a result of both federal and state mandates such as the Common Core State Standards (CCSS), this book will be useful to all teachers of adolescents. College and university professors will find this book useful in helping to prepare today's pre-service teachers. Literacy coaches, principals, and mentor/lead teachers will find much of value, as will educators involved in teacher learning groups. As brain-based education enters the nationalTrade ReviewI have never observed Dr. Wirtz teaching, but if the insightful and well-documented classroom activities he offers in The Write Mind for Every Classroom are any indication, he must be very good, indeed. I highly recommend this book to writing teachers at all levels and in all subject areas for the activities it offers as well as for the clear articulation of how the activities he recommends connect to brain studies and writing. -- Patrick Bizzaro, author of Responding to Student Poems: Applications of Critical Theory and Composing Ourselves as Writer-Teacher-Writers: Starting with Wendy BishopProfessor Wirtz’s debut pedagogical writing text is fantastic for both pre- and in-service teachers alike. Offering an accessible overview of brain-based research and its impact on adolescent writers, Wirtz provides perspectives from real writers in the field and ways in which teachers can integrate a variety of practical, engaging, and student-centered instructional writing activities to any content area classroom. -- Jody Polleck, Associate Professor in Adolescent Literacy at Hunter College and 10th grade English at New Design High School in New York CityAs a middle school principal, I understand and appreciate the challenges associated with adolescents engaging in authentic and positive writing experiences. Jason Wirtz provides a detailed look at the brain science behind how to help organically navigate a young learner into unlocking his or her potential to start thinking like a writer. This book also provides an extensive menu of “just in time” lesson ideas to help a beginning educator and also add to a seasoned teacher’s bag of instructional tools to use in the classroom. -- Jason Myatt, Middle School Principal in Plano Intermediate School District, Plano, TexasFinally! A book that helps educators with strategies for writing across all curriculums that provides us with clear rational of brain based learning. Dr. Wirtz puts together an outstanding product for all teachers. A must-read to help your students and teachers throughout their writing process. -- Ryan Fink, 8th grade science teacher, Holt Junior High School, Holt, MichiganThis book opens up exciting new vistas on the teaching of writing by illuminating neuroscientific bases of writing activity. Targeting adolescent writers, Wirtz effectively offers practical strategies for writing across the disciplines informed by a knowledge of brain processes. -- Professor Suzanne Nalbantian, author of Memory in Literature and Editor of The Memory Process: Neuroscientific and Humanistic PerspectivesTable of ContentsAcknowledgments About the Author Foreword Introduction Chapter 1: Automaticity and Writing Chapter 2: Theory of Mind and Writing Chapter 3: Brain States and Writing Chapter 4: Brain Variation and Writing Chapter 5: Emotional Engagement and Writing Chapter 6: Nonconscious Cognition and Writing Chapter 7: Bringing it All Together: The Metacognitive Writing Classroom References

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Book SynopsisFirst and foremost, and most inclusively, anyone fascinated by thinking and learning about connections between brain research and writing should read The Write Mind for Every Classroom: How to Connect Brain Science and Writing Across the Disciplines. Teachers of writing across a wide range of grade levels will find this book useful, especially those teaching adolescents. The information and activities are designed for those teaching across secondary and post-secondary content areas. As writing becomes increasingly central across all content areas as a result of both federal and state mandates such as the Common Core State Standards (CCSS), this book will be useful to all teachers of adolescents. College and university professors will find this book useful in helping to prepare today's pre-service teachers. Literacy coaches, principals, and mentor/lead teachers will find much of value, as will educators involved in teacher learning groups. As brain-based education enters the national spTable of ContentsAcknowledgments About the Author Foreword Introduction Chapter 1: Automaticity and Writing Chapter 2: Theory of Mind and Writing Chapter 3: Brain States and Writing Chapter 4: Brain Variation and Writing Chapter 5: Emotional Engagement and Writing Chapter 6: Nonconscious Cognition and Writing Chapter 7: Bringing it All Together: The Metacognitive Writing Classroom References

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Book Synopsis Twenty original, classroom-tested assignments: This innovative collection of college writing assignments explores the practical applications of each lesson. Drawing upon current best practices, each chapter includes a discussion of the rationale behind the assignment, along with supplemental elements such as guidelines for evaluation, prewriting exercises and tips for avoiding common pitfalls. The assignments are designed for a range of courses, from first-year composition to upper-division writing in various disciplines.

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Book Synopsis Over the years, technological advances have given publishers the ability to produce more books and online publications with greater speed. This new efficiency, however, has increased editors'' workloads, limiting the amount of detailed editorial feedback that they can provide authors. In turn, writers must become self-editors, ensuring that their text is nearly perfect on submission. This book serves as a guide to self-editing nonfiction print and online publications, including articles for general and academic audiences. It is both prescriptive and descriptive, drawing from stylebooks, dictionaries, research, and more to provide a full picture of both style and grammar. Also provided are techniques that boost search-engine optimization and engagement of Internet audiences.

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Book Synopsis This book guides first-year students through the dos and don''ts of composition, from such basic questions as Can I use ''I'' in a college essay? to more advanced points about structure and style. Emphasizing the importance of writing in all majors, the author encourages students to find their own voice and to express themselves without jargon or academese. Tips are provided on concision, use of supporting claims, marshaling arguments, researching topics, documenting sources, and revision.

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Book SynopsisLearn to integrate programming with good documentation. This book teaches you the craft of documentation for each step in the software development lifecycle, from understanding your users'' needs to publishing, measuring, and maintaining useful developer documentation.Well-documented projects save time for both developers on the project and users of the software. Projects without adequate documentation suffer from poor developer productivity, project scalability, user adoption, and accessibility. In short: bad documentation kills projects. Docs for Developers demystifies the process of creating great developer documentation, following a team of software developers as they work to launch a new product. At each step along the way, you learn through examples, templates, and principles how to create, measure, and maintain documentation-tools you can adapt to the needs of your own organization.What You''ll Learn Table of Contents Getting Started Researching documentation Understanding your users Cultivating empathy Understanding user desires, user needs, and company needs Recruiting users for research Research methods Reading code comments Trying it out Friction logs Running diverse and inclusive focus groups and interviews User journey mapping Identifying and working with stakeholders Finding your experts Collaborative documentation development Learning from existing content The value of design documents Finding examples in industry Designing documentation Defining your initial set of content Deciding your minimum viable documentation Drafting test and acceptance criteria Understanding content types Concepts, tutorials and reference documentation Code comments API specifications READMEs Guides Release notes Drafting documentation Setting yourself up for writing success Who is this for? Personas, requirements, content types Definition of done How to iterate Tools and tips for writing rough drafts Understanding your needs Choosing your writing tools (handwriting, text-only, productivity/measurement writing tools) “Hacks” to get started drafting content Mechanics Headings Paragraphs Lists Notes and warnings Conclusions/tests Using templates to form drafts Purpose of a template How to derive a template from existing docs How to take templates into text Gathering initial feedback Feedback methods Integrating feedback Getting feedback from difficult contributors Editing content for publication Determine destination Editing tools (Grammarly, linters, etc) Declaring good enough Recap, strategies, and reassurance Structuring sets of documentation Where content types live Concepts, tutorials and reference documentation Code comments API specifications READMEs Guides Release notes Designing your information architecture Content information architecture styles Designing for search Creating clear, well-lit paths through content User testing and maintenance Planning for document automation Integrating code samples and visual content Integrating code samples When and why to use code samples Creating concise, usable, maintainable samples Standardising your samples Using visual content: Screenshots, diagrams, and videos When your documentation may need visual content Making your visual content accessible Integrating screenshots, diagrams Videos Measuring documentation success How documentation succeeds Measuring different types of documentation quality Structural Quality Functional Quality Process Quality Measuring what you want to change Drawing conclusions from document metrics Working with contributors Defining how decisions are made Deciding on a governance structure Writing an effective Code of Conduct Choosing a content licence Code licenses Content licences Building and enforcing a style guide Editing submitted content and giving feedback Setting acceptability criteria Editing for accessibility and inclusion Editing for internationalization and translation Giving actionable feedback Planning and running a document sprint Maintaining documentation Creating a content review processes Assigning document owners Performing freshness checks on content Responding to documentation issues Separating documentation issues from product issues Responding to users Automating document maintenance Automating API and reference content Using doc linters Deleting and archiving content Wrapping up

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Book SynopsisA prolific and award-winning writer, Lee Martin has put pen to paper to offer his wisdom, honed during thirty years of teaching the oh-so-elusive art of writing. Telling Stories is intended for anyone interested in thinking more about the elements of storytelling in short stories, novels, and memoirs. Martin clearly delineates helpful and practical techniques for demystifying the writing process and providestools for perfecting the art of the scene, characterization, detail, point of view, language, and revisionin short, the art of writing. His discussion of the craft in his own life draws from experiences, memories, and stories to provide a more personal perspective on the elements of writing. Martin provides encouragement by sharing what he's learned from his journey through frustrations, challenges, and successes. Most important, Telling Stories emphasizes that you are not alone on this journey and that writers must remain focused on what they love: the process of moving words onTrade Review"[Martin's] own sentences are like bright sun-polished bones on a beach: sparse outlines nevertheless telling their own devastating story. No doubt aspiring writers will appreciate this honesty, and may find many of the writing prompts here helpful, particularly to unclog a blockage. But it is Martin's own literary journey that is most compelling."—Sara Lonsdale, Times Literary Supplement"Martin combines writing tips with examples from literature and his own life and teachings. It's a clever, warm-hearted book for writers of fiction or creative nonfiction. It could be used in creative writing classes or kept on the desk for those days one needs a little shot of inspiration."—Debbie Hagan, Brevity“‘Why shouldn’t good writing be hard? It’s our attempt at salvation,’ Lee Martin says in this exceptional book. Martin, through craft lessons, exercises, and literary examples, helps writers discover salvation one carefully selected word at a time.”—Sue William Silverman, author of Fearless Confessions: A Writer’s Guide to Memoir “Lee Martin has long been one of my favorite writers of fiction and memoir, and now he’s one of my favorite writers of advice about the writer’s craft. Everyone who writes, or wants to, should read this wise and inspiring book.”—David Jauss, author of On Writing FictionTable of ContentsAcknowledgments Introduction Part 1. Structure: Once upon a Time Writing the Opening of a Short Story Juggling Balls: An Exercise for Opening a Short Story Using Mystery to Open Your Story Trouble? I’ve Seen Trouble Making a Scene The Inevitable Surprise Framing the Story Character and Incident I Didn’t Expect That One Way to Structure a Memoir Organizing the Memoir The Layers of Memoir I Was Wearing Them the Day: Touchstone Moments and Details for the Fiction Writer Yogi Berra and the Art of Flash Nonfiction Mad Libs for Creative Nonfiction Enough about Me, Tell Me What You Think about Me Shrinking a Novel Preparing the Final Scene by Avoiding Conflict Here We Are at the End Taking Care at the End: The Art of Misdirection Part 2. Characterization: There Were Three Little Pigs On a Mother’s Birthday, a Writer Loves the World Tightening the Screws: Putting Pressure on Our Characters Contradictory Characters Odd Couples: The Writer as Matchmaker Characterization in the Personal Essay Creating Richer Characters The Art of the Snark Part 3. Detail: A House of Straw, a House of Sticks, a House of Bricks My Mother Gives Me a Writing Lesson Get the Particulars Right Know Your Place That Kind of Place: An Argument for Nostalgia Nostalgia and the Memoirist A Detail and All It Can Do The Places We Know: What Richard Ford Taught Me Daydreaming Your Memoir The Heart’s Field: Place in Fiction Oh, Those Pesky Facts: What’s a Memoir Writer to Do? Memoir and the Work of Resurrection Using Photos in Memoir Ordinary Details in Memoir Connecting Particulars Context Part 4. Point of View: “Little Pig, Little Pig, Let Me Come In” Your Point of View Choice Creates the Effect of the Story The Inner Story of the Writer’s Thinking Finding a Different Lens Memoir and the Future Living Full: Avoiding Sentimentality in Memoir Into the Fire Part 5. Language: “Not by the Hair of My Chinny Chin Chin” Stylin’ The Value of a Beautiful Sentence The Art of the Twerk: Writing the Miley Cyrus Way Communal and Personal Voices Voice in Creative Nonfiction Personae and Tone in Fiction Paying Attention to Form in Flash Nonfiction The Kite The Thing Said: Ten Thoughts on Writing Dialogue in Memoir Alligators and Marshmallows: A Lesson in Humor Comedy in Fiction Part 6. Revision: And the Third Little Pig Lived Happily Ever After Taking Flight: First Drafts Felt Sense: Focusing on Revision More Revision Activities The Doorway between Memoir and Fiction Proverbs for Revising a Novel Part 7. The Writing Life: The Two Little Pigs Now Felt Sorry for Having Been So Lazy and Built Their Houses with Bricks My Mother’s Gifts to Me My Aunt among the Rocks Five Ways We Keep Ourselves from Writing Five Things All Writers Can Control Reading Like a Writer Writing to Preserve Travel and the Writer Slowing Down Our Quiet Places What Fills Us The Books and the Boys of Summer A Writer Writes: A Lifelong Apprenticeship Defeating Writer’s Block Ten Thoughts on the Writing Life Keep Facing the Blank Page

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Book SynopsisThis book investigates how identities for West African women are created and recreated through the broad interplay of Nollywood film viewing on social and individual levels. Since many Nollywood films are freely accessible online, the role of online communities repurposes Nollywood films. Female Narratives in Nollywood Melodramas addresses if this is a good or bad promoter of critical consciousness, as many of the films depict the stifling of women. The authors examine nine Nollywood melodramas through Black feminist, cultivation, audience reception, and social identity theories. Readers will gain an understanding of how Nollywood is a product and contributor to evolving processes of globalization. Recommended for scholars of film studies, communication, African studies, and women studies.Trade ReviewThe authors have provided an in-depth study of Nollywood, depicting rich African cultural and traditional values, exploring the reconstruction of West African women and examining the role of online communities, making it a must-read for Nollywood fans. -- Pius W. Akumbu, University of Buea, CameroonFemale Narratives in Nollywood Melodramas is a quintessential and compelling interrogation of women’s identity in Nollywood films through the periscopic lenses of culture, tradition, memory, and gender. -- Emmanuel Adedun, Mountain Top UniversityFemale Narratives in Nollywood Melodramas represents a groundbreaking work looking at the intersectionality of gender, popular culture, and social ethics. Aside from a brilliant and critical rendering of the Hollywood melodrama phenomena, the authors provide us with a deeply human look at innovative ways in which women navigate polarities of subjectivity and objectivity, wholeness and suffering, endurance and socio-cultural fatigue on film and in real life. In what is a superb analytical framework, readers will gain entry into a world where Nollywood women's cultures of dissemblance and dissonance serve as emblematic of both particular and universal realities of community, nation, and diaspora. Read this book! -- Zachery R. Williams, The University of AkronTable of ContentsI. Introduction II. Alternative Frames for Viewing and Thinking about Nollywood Films III. The Women of Nollywood: Suffering and Agency IV. Differential Access to Nollywood Films V. Female Directors and Producers VI. Concluding Thoughts Appendix A: Themes of suffering in the nine selected films Appendix B: Themes of agency in the nine selected films Appendix C: African/African Diasporic Film Festivals Appendix D: African female filmmakers Filmography Bibliography About the Authors

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Book SynopsisThis book investigates how identities for West African women are created and recreated through the broad interplay of Nollywood film viewing on social and individual levels. Since many Nollywood films are freely accessible online, the role of online communities repurposes Nollywood films. Female Narratives in Nollywood Melodramas addresses if this is a good or bad promoter of critical consciousness, as many of the films depict the stifling of women. The authors examine nine Nollywood melodramas through Black feminist, cultivation, audience reception, and social identity theories. Readers will gain an understanding of how Nollywood is a product and contributor to evolving processes of globalization. Recommended for scholars of film studies, communication, African studies, and women studies.Trade ReviewThe authors have provided an in-depth study of Nollywood, depicting rich African cultural and traditional values, exploring the reconstruction of West African women and examining the role of online communities, making it a must-read for Nollywood fans. -- Pius W. Akumbu, University of Buea, CameroonFemale Narratives in Nollywood Melodramas is a quintessential and compelling interrogation of women’s identity in Nollywood films through the periscopic lenses of culture, tradition, memory, and gender. -- Emmanuel Adedun, Mountain Top UniversityFemale Narratives in Nollywood Melodramas represents a groundbreaking work looking at the intersectionality of gender, popular culture, and social ethics. Aside from a brilliant and critical rendering of the Hollywood melodrama phenomena, the authors provide us with a deeply human look at innovative ways in which women navigate polarities of subjectivity and objectivity, wholeness and suffering, endurance and socio-cultural fatigue on film and in real life. In what is a superb analytical framework, readers will gain entry into a world where Nollywood women's cultures of dissemblance and dissonance serve as emblematic of both particular and universal realities of community, nation, and diaspora. Read this book! -- Zachery R. Williams, The University of AkronTable of ContentsI. Introduction II. Alternative Frames for Viewing and Thinking about Nollywood Films III. The Women of Nollywood: Suffering and Agency IV. Differential Access to Nollywood Films V. Female Directors and Producers VI. Concluding Thoughts Appendix A: Themes of suffering in the nine selected films Appendix B: Themes of agency in the nine selected films Appendix C: African/African Diasporic Film Festivals Appendix D: African female filmmakers Filmography Bibliography About the Authors

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Book SynopsisEngagement is trendy. Although paired most often with community, diverse invocations of engagement have gained cache, capturing longstanding shifts toward new practices of knowledge making that both reflect and facilitate multiple ways of being an academic. Engagement functions as a gloss for these shiftsaddressing more expansive understandings of where, how, and with whom we research, teach, and partner. This book examines these shifts, locating them within socio-economic trends within and beyond the higher educational landscape, with particular focus on how they have been enacted within the diverse subfields of writing studies. In so doing, this book provides concrete models for enacting these new responsive practices, thereby encouraging scholars to examine how they can facilitate writing for social action through taking positions, building relationships, and crossing boundaries.Trade ReviewI foresee scholars in rhetoric and composition drawing on these essays in their scholarship, particularly those working on issues of community literacy and community-engaged writing projects. -- Scott Andrew Wible, University of MarylandTable of ContentsIntroduction Mary P. Sheridan Section 1: Taking Positions 1. Taking Action in the Age of Reaction: Constructing Architectures of Participation Linda Adler-Kassner 2. Engage, Respond, Advocate: Copyright in Context Dànielle DeVoss 3. The Figured Worlds of Digital Mediation in Schools Rachel Gramer 4. Witnessing Learning: Building Relationships between Past, Present, and Future Selves Bump Halbritter and Julie Lindquist 5. Imagining Pedagogical Engagement: On the Rhetorical Limits of Vulnerability Kellie Sharp-Hoskins 6. Police Use-of-Force Policy: Engagement and the Mediation/Negotiation of Responsibility in a Public Institutional Genre Michael Knievel 7. From Public Writing to Writing-in-Common: Community Literacy after the Public Sphere Stephen Schneider Afterword for Section 1: Taking Positions Drew Holladay Section 2: Building Relationships 8. The Rhetoric of Outrage: Responding through Memoir and Public History Shannon Carter and Donna Dunbar-Odom 9. Remixed Literacies and Radical Cooperation at Play in a Youth-Directed Media Project Londie T. Martin and Adela C. Licona 10. Enacting Confianza: Responsive Community Literacy Learning Research in Mexington, Kentucky Steven Alvarez 11. From the Center to the Sidelines: Responsive Leadership in a High School-College Writing Partnership Heather Lindenman 12. The SISTA Project: Literacy Outreach in Response to Community Needs David A. Jolliffe, Julia Paganelli-Martin, Daniele Cunningham, and Shiloh Peters Afterword for Section 2: Building Relationships Megan Faver Hartline Section 3: Crossing Boundaries 13. Writing, Democracy, Activism: Palestine, Israel, and Community Publishing Steve Parks 14. Carceral Windows and the Promise of Literacy Patrick W. Berry 15. Habitus, Disposition, and Disruption in MOOCs: Developing Responsive Pedagogy at Scale Ben McCorkle, Cynthia L. Selfe, Kaitlin Clinnin, and Kay Halasek 16. Meeting Students Where They Are: Practicing Responsive Pedagogy Kaitlin Clinnin, Kay Halasek, Ben McCorkle, and Cynthia L. Selfe 17. Refugee Literacy Learning and Liminal Belonging: A Neoliberal Context of Diversity Stephanie Rae Larson 18. “Responsive Understanding” and Receptivity to Global Writing Research Christiane Donahue Afterword for Section 3: Crossing Boundaries Megan J. Bardolph

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Book SynopsisClassical, rhetorical techniques can enhance the persuasiveness of Supreme Court opinions by making their language clear, lively, and memorable. This book focuses on three techniques, invention (creation of arguments), arrangement (organization), and style (word choice) in the work of Oliver Wendell Holmes, Jr., Robert Jackson, Hugo Black, William Brennan, and Antonin Scalia, respectively. The justices featured here contributed to the Court's rhetorical legacy in different ways, but all five rejected the magisterial opinion style of the eighteenth and nineteenth centuries in favor of a more personal and conversational format. Because of this, their opinions have endured, at least in part, and while modern speakers may not recall the authors, they understand and embrace the ideas expressed in their legal writings and continue to apply it to current debates. This book can be used by practicing lawyers as well as academics not only to study legal writing techniques but also as a tool to Trade ReviewWords matter. The Pen is Mightier reminds law students, lawyers, and judges alike that they can matter most when legal acumen is coupled with great writing. Choosing five gifted justices, Brian Porto conveys with admirable clarity equal to his subject a truth writers of judicial opinions learn sooner or later: how you say it is as important as what you say. -- Jeffrey Amestoy, former Chief Justice of the Vermont Supreme Court and author of Slavish Shore: The Odyssey of Richard Henry Jr.Table of ContentsChapter One: The Power Of Rhetoric In Supreme Court Opinions Chapter Two: The Rhetorical Roots of Persuasive Legal Writing Chapter Three: Oliver Wendell Holmes, Jr.: Literary Lion Chapter Four: Robert Jackson: Country Lawyer with A Golden Pen Chapter Five: Hugo Black: Master Of Simplicity Chapter Six: William Brennan: Bridge-Builder Chapter Seven: Antonin Scalia: Originalist in Style Too Chapter Eight: Rhetoric And The Supreme Court: Past, Present, And Future

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Book SynopsisClassical rhetorical techniques can enhance the persuasiveness of Supreme Court opinions by making their language clear, lively, and memorable. This book focuses on three techniquesinvention (creation of arguments), arrangement (organization), and style (word choice)in the work of Oliver Wendell Holmes, Jr., Robert Jackson, Hugo Black, William Brennan, and Antonin Scalia, respectively. The justices featured here contributed to the Court's rhetorical legacy in different ways, but all five rejected the magisterial opinion style of the eighteenth and nineteenth centuries in favor of a more personal and conversational format. As a result, their opinions have endured, and even modern readers who cannot recall the justices' names understand and embrace the ideas expressed in their legal writings and apply those ideas to current debates. Practicing lawyers, professors, and students can use this book to study legal writing techniques and make their own writing more persuasive.Trade ReviewWords matter. The Pen is Mightier reminds law students, lawyers, and judges alike that they can matter most when legal acumen is coupled with great writing. Choosing five gifted justices, Brian Porto conveys with admirable clarity equal to his subject a truth writers of judicial opinions learn sooner or later: how you say it is as important as what you say. -- Jeffrey Amestoy, former Chief Justice of the Vermont Supreme Court and author of Slavish Shore: The Odyssey of Richard Henry Dana Jr.Professor Porto offers a provocative and practical study of how revered Supreme Court Justices from Holmes to Kagan have exploited rhetoric and argumentation. Both the excerpts and the author's insights will be invaluable to judges and advocates alike -- Ross Guberman, president of Legal Writing ProRhetoric, Persuasion, and Modern Legal Writing is an incredibly informative and interesting analysis of what turns good writing into great writing using the examples of Supreme Court Justices. -- Heidi Gilchrist, Brooklyn Law SchoolTable of ContentsChapter One: The Power Of Rhetoric In Supreme Court OpinionsChapter Two: The Rhetorical Roots of Persuasive Legal WritingChapter Three: Oliver Wendell Holmes, Jr.: Literary LionChapter Four: Robert Jackson: Country Lawyer with A Golden PenChapter Five: Hugo Black: Master Of SimplicityChapter Six: William Brennan: Bridge-BuilderChapter Seven: Antonin Scalia: Originalist in Style TooChapter Eight: Rhetoric And The Supreme Court: Past, Present, And Future

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Book SynopsisInspired by the reading and writing habits of citizens leading up to the French Revolution, The Writing Public is a compelling addition to the long-running debate about the link between the Enlightenment and the political struggle that followed. Elizabeth Andrews Bond scoured France''s local newspapers spanning the two decades prior to the Revolution as well as its first three years, shining a light on the letters to the editor. A form of early social media, these letters constituted a lively and ongoing conversation among readers.Bond takes us beyond the glamorous salons of the intelligentsia into the everyday worlds of the craftsmen, clergy, farmers, and women who composed these letters. As a result, we get a fascinating glimpse into who participated in public discourse, what they most wanted to discuss, and how they shaped a climate of opinion. The Writing Public offers a novel examination of how French citizens used the infTrade Review[The Writing Public] is a compelling addition to the long-running debate about the link between the Enlightenment and the political struggle that followed. * New Books Network *Bond writes very well [.]The Writing Public should be read by anyone interested in the intellectual origins of the French Revolution.The Writing Public is a model monograph, and the best guide to understanding mainstream French thinking on the eve of the Revolution. * Journal of Modern History *Table of ContentsIntroduction 1. The Production and Distribution of the Information Press 2. The Writers, Self-Presentation, and Subjectivity 3. Reading Together, Book References, and Interacting with Print 4. Popular Science and Public Participation 5. Agricultural Reform and Local Innovation 6. Bienfaisance, Fellow Feeling, and the Public Good 7. Communicating the Revolution Conclusion

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Book SynopsisThis book by one of Latin America’s leading cultural theorists examines the place of the subject and the role of biographical and autobiographical genres in contemporary culture. Arfuch argues that the on-going proliferation of private and intimate stories – what she calls the ‘biographical space’ – can be seen as symptomatic of the impersonalizing dynamics of contemporary times. Autobiographical genres, however, harbour an intersubjective dimension. The ‘I’ who speaks wants to be heard by another, and the other who listens discovers in autobiography possible points of identification. Autobiographical genres, including those that border on fiction, therefore become spaces in which the singularity of experience opens onto the collective and its historicity in ways that allow us to reflect on the ethical, political, and aesthetic dimensions not only of self-representation but also of life itself. Opening up debate through juxtaposition and dialogue, Arfuch’s own poetic writing moves freely from the Holocaust to Argentina’s last dictatorship and its traumatic memories, and then to the troubled borderlands between Mexico and the United States to show how artists rescue shards of memory that would otherwise be relegated to the dustbin of history. In so doing, she makes us see not only how challenging it is to represent past traumas and violence but also how vitally necessary it is to do so as a political strategy for combating the tides of forgetting and for finding ways of being in common.Trade Review"Leonor Arfuch's Memory and Autobiography is a brilliant reflection on autobiography not as a mere exercise in self-construction but as an act of witnessing the unforgettable and as a call to communal dialogue. An invaluable contribution by one of Latin America's most insightful cultural critics."—Sylvia Molloy, Albert Schweitzer Chair in the Humanities Emerita, New York UniversityTable of ContentsAcknowledgements Introduction by Michael Lazzara Prologue I. A Beginning II. The Gaze as Autobiography: Time, place, objects 1. Journeys: time, place 2. Objects, memory 3. Biographies / autobiographies 4. Recapitulations III. Memory and Image IV. Women Who Narrate: Autobiography and Traumatic Memories 1. About narration 2. Biography, memory 3. Being and the limit 4. (In)conclusions V. Political Violence, Autobiography and Testimony 1. The tone of the debate 2. Colophon VI. The Threshold, the Frontier. Explorations in the Limits 1. Language and transgression 2. Art on the frontier 3. Public art / critical art VII. The Name, the Number 1. On the massacre 2. The distance of the number 3. Ethics and responsibility 4. Naming 5. Silence, names Bibliography Index

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Book SynopsisA career in science relies on developing the skill to convince strangers to give you enormous sums of money. So why do so many scientists write terrible research proposals? Grant Writing from the Ground Up presents a step-by-step process to construct compelling grant proposals that rise to the top of a reviewer's stack.Table of Contents Why Should You Read This Book? Finding What Fuels You Identifying Stakeholders What Are Your Resources? Finding Funding Dissecting a Grant Solicitation Call the Research Sponsor Before Your Start Writing Building a Scaffold Choosing Your Approach Intermission Defining Objectives What Do You Need? Creating a Project Plan Costs and Justifications Letters of Support Refining the Scope Answers and Questions Illustrations The Rough Draft The Revision Process Submission Keep Going Conclusion

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Book Synopsis". . . An essential, unique, and thoroughly 'user friendly' instructional reference and guide that should be an integral part of every author and every publisher's professional book marketing plan instructional reference collection." - Midwest Book Review Metadata Essentials: Proven Techniques for Book Marketing and Discovery provides clear and easy-to-implement recommendations so you can focus your efforts on the industry's most relevant metadata. Based on direct feedback from retailers and librarians, Metadata Essentials unlocks insights into the value and real-life uses of the metadata you spend so many precious hours editing and curating. Because it does matter. Enhance the metadata that yields proven results Boost title discovery Increase online conversion rates Save time and money

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Book SynopsisThe Philosophy of Composition (1846) is an essay by Edgar Allan Poe. Recognized as a foundational figure of nineteenth century fiction, Poe has inspired generations of readers and writers with his craftsmanship and taste for tragedy and terror. His brief but meteoric career shaped the trajectory of American literature forever, forming a legacy without which science fiction, horror, and detective writing would surely be shells of themselves. Published only three years before his untimely death, the essay appeared in an April 1846 issue of Graham’s American Monthly Magazine of Literature and Art, whose editor had previously made the mistake of turning down “The Raven.” Both influential and controversial, Poe’s essay on craft was intended as a dismissal of the myth of spontaneous art, arguing instead that a true artist depends upon attention to detail and adherence to a logical creative process. Using his own poetic masterpiece as an example, Poe claims that the writer must maintain “unity of effect” throughout the work in order to inspire the intended emotional response in the reader. Once this element has been set in place, the writer may proceed with the more technical aspects of composition, such as characters, setting, and plot. Although Poe’s essay drew the ire of Anglo-American poet T. S. Eliot, it was immensely popular among Poe’s Francophone audience and served as inspiration for such artists as Maurice Ravel and Charles Baudelaire. With a beautifully designed cover and professionally typeset manuscript, this edition of Edgar Allan Poe’s The Philosophy of Composition is a classic of American literature reimagined for modern readers.

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Book SynopsisOffering the everyday tasks of literary editors as inspired sources of postwar literary history Michel Foucault famously theorized “the author function” in his 1969 essay “What Is an Author?” proposing that the existence of the author limits textual meaning. Abram Foley shows a similar critique at work in the labor of several postwar editors who sought to question and undo the corporate “editorial/industrial complex.” Marking an end to the powerful trope of the editor as gatekeeper, The Editor Function demonstrates how practices of editing and publishing constitute their own kinds of thought, calling on us to rethink what we read and how.The Editor Function follows avant-garde American literary editors and the publishing practices they developed to compete against the postwar corporate consolidation of the publishing industry. Foley studies editing and publishing through archival readings and small press and literary journal publishing lists as unique sites for literary inquiry. Pairing histories and analyses of well- and lesser-known figures and publishing formations, from Cid Corman’s Origin and Nathaniel Mackey’s Hambone to Dalkey Archive Press and Semiotext(e), Foley offers the first in-depth engagement with major publishing initiatives in the postwar United States.The Editor Function proposes that from the seemingly mundane tasks of these editors—routine editorial correspondence, line editing, list formation—emerge visions of new, better worlds and new textual and conceptual spaces for collective action.Trade Review"The Editor Function fills an enormous void in the literary history of the postwar era. Abram Foley’s meticulous archival scholarship reveals the centrality—and the elusiveness—of editors and their practices. This is a must-read book for scholars of contemporary U.S. fiction and poetry, as well as for those interested in small-press publishing and avant-garde communities."—Paul Stephens, author of absence of clutter: minimal writing as art and literature"If early modern Europe saw the ‘author function’ assume some of the social and legal roles traditionally played by publishers, Abram Foley shows us a more recent assumption of literary and artistic roles by editors. In the process, The Editor Function boldly extends the scope of literary history to the dynamic practices of publishing itself."—Craig Dworkin, author of Dictionary Poetics: Toward a Radical Lexicography "Foley excels in weaving a complicated web of editors, authors, and publishing houses, each with their own agenda in creating postwar American literary culture... [The Editor Function] fills an obvious gap in literature about literary publishing following World War II into the present."—College & Research LibrariesTable of ContentsContentsIntroduction: The Editor Function1. Editing and the Open Field: Charles Olson’s Letters to Editors2. Editing and the Institution: John O’Brien and Dalkey Archive Press3. Editing and the Ensemble: Nathaniel Mackey's Hambone4. Editing and Eros: Chris Kraus, Semiotext(e), and I Love DickCoda: Editing and EntropyAcknowledgmentsNotesIndex

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Book SynopsisOffering the everyday tasks of literary editors as inspired sources of postwar literary history Michel Foucault famously theorized “the author function” in his 1969 essay “What Is an Author?” proposing that the existence of the author limits textual meaning. Abram Foley shows a similar critique at work in the labor of several postwar editors who sought to question and undo the corporate “editorial/industrial complex.” Marking an end to the powerful trope of the editor as gatekeeper, The Editor Function demonstrates how practices of editing and publishing constitute their own kinds of thought, calling on us to rethink what we read and how.The Editor Function follows avant-garde American literary editors and the publishing practices they developed to compete against the postwar corporate consolidation of the publishing industry. Foley studies editing and publishing through archival readings and small press and literary journal publishing lists as unique sites for literary inquiry. Pairing histories and analyses of well- and lesser-known figures and publishing formations, from Cid Corman’s Origin and Nathaniel Mackey’s Hambone to Dalkey Archive Press and Semiotext(e), Foley offers the first in-depth engagement with major publishing initiatives in the postwar United States.The Editor Function proposes that from the seemingly mundane tasks of these editors—routine editorial correspondence, line editing, list formation—emerge visions of new, better worlds and new textual and conceptual spaces for collective action.Trade Review"The Editor Function fills an enormous void in the literary history of the postwar era. Abram Foley’s meticulous archival scholarship reveals the centrality—and the elusiveness—of editors and their practices. This is a must-read book for scholars of contemporary U.S. fiction and poetry, as well as for those interested in small-press publishing and avant-garde communities."—Paul Stephens, author of absence of clutter: minimal writing as art and literature"If early modern Europe saw the ‘author function’ assume some of the social and legal roles traditionally played by publishers, Abram Foley shows us a more recent assumption of literary and artistic roles by editors. In the process, The Editor Function boldly extends the scope of literary history to the dynamic practices of publishing itself."—Craig Dworkin, author of Dictionary Poetics: Toward a Radical Lexicography "Foley excels in weaving a complicated web of editors, authors, and publishing houses, each with their own agenda in creating postwar American literary culture... [The Editor Function] fills an obvious gap in literature about literary publishing following World War II into the present."—College & Research LibrariesTable of ContentsContentsIntroduction: The Editor Function1. Editing and the Open Field: Charles Olson’s Letters to Editors2. Editing and the Institution: John O’Brien and Dalkey Archive Press3. Editing and the Ensemble: Nathaniel Mackey's Hambone4. Editing and Eros: Chris Kraus, Semiotext(e), and I Love DickCoda: Editing and EntropyAcknowledgmentsNotesIndex

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