Drawing on a wide range of  great writers, from Philip Roth to Antonin Scalia to Jane Austen, How to Write a Sentence is much more than a writing manual—it is a spirited love letter to the written word, and a key to understanding how great writing works.

    It is a book for everybody who wants to learn how to write or who needs to do some writing to get through the day, as almost everybody does in the age of e-mail and the Internet. Whether you want to write about people or places, science and technology, business, sports, the arts or about yourself in the increasingly popular memoir genre, On Writing Well offers you fundamental priciples as well as the insights of a distinguished writer and teacher. With more than a million copies sold, this volume has stood the test of time and remains a valuable resource for writers and would-be writers.

    Readers learn why theory matters in designing and implementing high-quality instruction; how to critically evaluate the assumptions and beliefs that guide their own work with students; and the benefits of approaching everyday teaching situations from multiple theoretical perspectives. Every chapter features classroom application activities and illuminating teaching vignettes. Of particular utility to graduate students, the book also addresses research applications, including descriptions of exemplary studies informed by each theoretical model.

    The story begins in 1973, in the offices of The Atlantic Monthly, in Boston, where a young freelance writer named Tracy Kidder came looking for an assignment. Richard Todd was the editor who encouraged him. From that article grew a lifelong association. Before long, Kidder’s The Soul of a New Machine, the first book the two worked on together, had won the Pulitzer Prize. It was a heady moment, but for Kidder and Todd it was only the beginning of an education in the art of nonfiction.Good Prose explores three major nonfiction forms: narratives, essays, and memoirs. Kidder and Todd draw candidly, sometimes comically, on their own experience—their mistakes as well as accomplishments—to demonstrate the pragmatic ways in which creative problems get solved. They also turn to the works of a wide range of writers, novelists as well as nonfiction writers, for models and instruction. They talk about narrative strategies (and about how to find a story, sometimes in surprising places), about the ethical challenges of nonfiction, and about the realities of making a living as a writer. They offer some tart and emphatic opinions on the current state of language. And they take a clear stand against playing loose with the facts. Their advice is always grounded in the practical world of writing and publishing.Good Prose—like Strunk and White’s The Elements of Style—is a succinct, authoritative, and entertaining arbiter of standards in contemporary writing, offering guidance for the professional writer and the beginner alike. This wise and useful book is the perfect companion for anyone who loves to read good books and longs to write one.

    Its hands-on, completely accessible approach walks writers through each stage of the creative process, from the initial triggering idea to the revision of the final manuscript. It is unique in combing the three main aspects of creative writing instruction: process (finding inspiration, getting ideas on the page), craft (specific techniques like characterization), and anthology (learning by reading masters of the form). Succinct, clear definitions of basic terms of fiction are accompanied by examples, including excerpts from masterpieces of short fiction and essays as well as contemporary novels. A special highlight is Alice LaPlante's systematic debunking of many of the so-called rules of creative writing. This book is perfect for writers working alone as well as for creative writing classes, both introductory and advanced.

    Now, in Disrupting Thinking they take teachers a step further and discuss an on-going problem: lack of engagement with reading. They explain that all too often, no matter the strategy shared with students, too many students remain disengaged and reluctant readers. The problem, they suggest, is that we have misrepresented to students why we read and how we ought to approach any text - fiction or nonfiction. With their hallmark humor and their appreciated practicality, Beers and Probst present a vision of what reading and what education across all the grades could be. Hands-on-strategies make it applicable right away for the classroom teacher, and turn-and-talk discussion points make it a guidebook for school-wide conversations. In particular, they share new strategies and ideas for helping classroom teachers:–Create engagement and relevance–Encourage responsive and responsible reading–Deepen comprehension–Develop lifelong reading habits“We think it’s time we finally do become a nation of readers, and we know it’s time students learn to tell fake news from real news. It’s time we help students understand why how they read is so important,” explain Beers and Probst. “Disrupting Thinking is, at its heart, an exploration of how we help students become the reader who does so much more than decode, recall, or choose the correct answer from a multiple-choice list. This book shows us how to help students become the critical thinkers our nation needs them to be." Includes online resource bank.

    In THE ART OF X-RAY READING, Clark invites you to don your X-ray reading glasses and join him on a guided tour through some of the most exquisite and masterful literary works of all time, from The Great Gatsby to Lolita to The Bluest Eye, and many more. Along the way, he shows you how to mine these masterpieces for invaluable writing strategies that you can add to your arsenal and apply in your own writing. Once you've experienced X-ray reading, your writing will never be the same again.

    Zapruder argues that the way we have been taught to read poetry is the very thing that prevents us from enjoying it. In lively, lilting prose, he shows us how that misunderstanding interferes with our direct experience of poetry and creates the sense of confusion or inadequacy that many of us feel when faced with it.   Zapruder explores what poems are, and how we can read them, so that we can, as Whitman wrote, “possess the origin of all poems,” without the aid of any teacher or expert. Most important, he asks how reading poetry can help us to lead our lives with greater meaning and purpose. Anchored in poetic analysis and steered through Zapruder’s personal experience of coming to the form, Why Poetry is engaging and conversational, even as it makes a passionate argument for the necessity of poetry in an age when information is constantly being mistaken for knowledge. While he provides a simple reading method for approaching poems and illuminates concepts like associative movement, metaphor, and negative capability, Zapruder explicitly confronts the obstacles that readers face when they encounter poetry to show us that poetry can be read, and enjoyed, by anyone.

    

    The book is rooted in Jennifer's belief that teachers know what they need when it comes to professional development in literacy, and the best literacy leaders are those who listen to and respect the educators in their midst. Grounded in research but thoroughly practical, Jennifer shares advice on:organizing a literacy room with resources for classroom teachers, including book lists, bins of children's books tied to craft and strategy lessons, bulletin board ideas, and files with instructional materials;developing intervention classrooms for struggling readers and writers built on collaboration between teachers and literacy specialists;setting up assessment notebooks for teachers, and preparing new and veteran teachers for student assessments across grades;creating model programs for dealing with schoolwide problems like reading fluency, and then moving from the pilot to implementation in many classrooms;coaching new and veteran teachers in the latest literacy practices, without taking on the role of expert;analyzing and using books, videos and journals in professional development programs;infusing routine staff meetings with discussions of new literacy curricula;leading teacher study groups using a variety of formats;finding and budgeting money for professional development programs in literacy;protecting time and scheduling priorities, to ensure the literacy specialist position doesn't become a “catch-all” for the random needs of teachers or administrators.At a time when all administrators are urged to be literacy leaders, this insider's view helps to define what leadership looks like and shows how to create an environment that fosters professional development. Jennifer Allen shares the balance leaders struggle with, as they strive to support and honor the fine practices of teachers, even as they nudge colleagues to improve their literacy instruction. Ultimately, Becoming a Literacy Leader is a hopeful book, an optimistic and realistic portrait of life in schools among teachers committed to doing their jobs well.

    Suggesting that teachers need to know key aspects of grammar in order to teach writing more effectively, Weaver also argued that students need to be guided in learning and applying grammatical concepts as they revise and edit their writing. Attention to sentence structure and mechanics during the process of writing would result in better products.With Teaching Grammar in Context, Weaver extends her philosophy by offering teachers a rationale and practical ideas for teaching grammar not in isolation but in the context of writing. She begins by introducing some common meanings of grammar and provides a historical overview of traditional reasons for teaching grammar as a school subject. After examining those reasons, she questions them, citing decades of research which suggests that grammar taught in isolation has little, if any, effect on most students' writing.To lay the groundwork for a more effective approach, Weaver considers how preschoolers learn the basic structures of their native language and how second-language grammar is acquired. She goes on to suggest a research-based perspective on the concept of error and on the writing errors our students make, concluding with practical alternatives to what Lois Rosen has dubbed the error hunt. Equally useful is Weaver's examination of the aspects of grammar on which we might focus as we guide our students in writing and revising sentences and in editing selected pieces. Her final chapter addresses the teaching of grammar from the perspective of learning theory.The appendix includes numerous sample lessons from Weaver's own teaching, illustrating the five broad topics suggested in the text:teaching concepts of subject, verb, clause, sentence, and related editing concepts teaching style through sentence combining and generating teaching sentence sense and style through manipulation of syntactic elements teaching the power of dialects and dialects of power teaching punctuation and mechanics for convention, clarity, and style. Teaching Grammar in Context fills a long-standing gap in the literature on teaching writing. It will prove invaluable to all practicing and preservice teachers, especially those at the middle and high school levels, where grammar is taught most intensively.

    This opinion, commonplace among published as well as aspiring writers, struck Nisi as taking the easy way out and spurred her to write an essay addressing the problem of how to write about characters marked by racial and ethnic differences. In the course of writing the essay, however, she realized that similar problems arise when writers try to create characters whose gender, sexual preference, and age differ significantly from their own. Nisi and Cynthia collaborated to develop a workshop that addresses these problems with the aim of both increasing writers' skill and sensitivity in portraying difference in their fiction as well as allaying their anxieties about ''getting it wrong.'' Writing the Other: A Practical Approach is the manual that grew out of their workshop. It discusses basic aspects of characterization and offers elementary techniques, practical exercises, and examples for helping writers create richer and more accurate characters with ''differences.''

    Harness the students interest in film to help them engage critically with a range of media including visual and printed texts.

    To overcome the practical, social, and psychological obstacles along the way, you need a knowledgeable guide and the right tools. This comprehensive how-to guide to developing and writing a quality dissertation provides: Expanded and updated coverage of crucial topics such as conducting a literature review, dissertation support groups, and harnessing technology to conduct research Progress tracking tools, sample forms, resource lists, and other user-friendly elements Thoroughly updated and revised chapters with the most current need-to-know information

    Forster's Aspects of the Novel is an innovative and effusive treatise on a literary form that, at the time of publication, had only recently begun to enjoy serious academic consideration. This Penguin Classics edition is edited with an introduction by Oliver Stallybrass, and features a new preface by Frank Kermode.First given as a series of lectures at Cambridge University, Aspects of the Novel is Forster's analysis of this great literary form. Here he rejects the 'pseudoscholarship' of historical criticism - 'that great demon of chronology' - that considers writers in terms of the period in which they wrote and instead asks us to imagine the great novelists working together in a single room. He discusses aspects of people, plot, fantasy and rhythm, making illuminating comparisons between novelists such as Proust and James, Dickens and Thackeray, Eliot and Dostoyevsky - the features shared by their books and the ways in which they differ. Written in a wonderfully engaging and conversational manner, this penetrating work of criticism is full of Forster's habitual irreverence, wit and wisdom.In his new introduction, Frank Kermode discusses the ways in which Forster's perspective as a novelist inspired his lectures. This edition also includes the original introduction by Oliver Stallybrass, a chronology, further reading and appendices.E. M. Forster (1879-1970) was a noted English author and critic and a member of the Bloomsbury group. His first novel, Where Angels Fear To Tread appeared in 1905. The Longest Journey appeared in 1907, followed by A Room With A View (1908), based partly on the material from extended holidays in Italy with his mother. Howards End (1910) was a story that centered on an English country house and dealt with the clash between two families, one interested in art and literature, the other only in business. Maurice was revised several times during his life, and finally published posthumously in 1971.If you enjoyed Aspects of the Novel, you might like Forster's A Room with a View, also available in Penguin Classics.