Point Made: How to Write Like the Nation's Top Advocates
Ross Guberman - 2011
What is the strongest opening for a motion or brief? How to draft winning headings? How to tell a persuasive story when the record is dry and dense? The answers are more science than art, says Guberman, who has analyzed stellar arguments by distinguished attorneys to develop step-by-step instructions for achieving the results you want. The author takes an empirical approach, drawing heavily on the writings of the nation's 50 most influential lawyers, including Barack Obama, John Roberts, Elena Kagan, Ted Olson, and David Boies. Their strategies, demystified and broken down into specific, learnable techniques, become a detailed writing guide full of practical models. In FCC v. Fox, for example, Kathleen Sullivan conjures the potentially dangerous, unintended consequences of finding for the other side (the Why Should I Care? technique). Arguing against allowing the FCC to continue fining broadcasters that let the F-word slip out, she highlights the chilling effect these fines have on America's radio and TV stations, discouraging live programming altogether, with attendant loss to valuable and vibrant programming that has long been part of American culture. Each chapter of Point Made focuses on a typically tough challenge, providing a strategic roadmap and practical tips along with annotated examples of how prominent attorneys have resolved that challenge in varied trial and appellate briefs. Short examples and explanations with engaging titles--Brass Tacks, Talk to Yourself, Russian Doll--deliver weighty materials with a light tone, making the guidelines easy to remember and apply.
English Studies: An Introduction to the Discipline(s)
Bruce McComiskey - 2006
Well-known scholars in the field explore the important qualities and functions of English studies' constituent disciplines--Ellen Barton on linguistics and discourse analysis, Janice Lauer on rhetoric and composition, Katharine Haake on creative writing, Richard Taylor on literature and literary criticism, Amy Elias on critical theory and cultural studies, and Robert Yagelski on English education--and the productive differences and similarities among them that define English studies' continuing importance.Faculty and students in both undergraduate and graduate courses will find the volume an invaluable overview of an increasingly fragmented field, as will department administrators who are responsible for evaluating the contributions of diverse faculty members but whose academic training may be specific to one discipline.Each chapter of English Studies is an argument for the value--the right to equal status--of each individual discipline among all English studies disciplines, yet the book is also an argument for disciplinary integration.
501 Spanish Verbs: Fully Conjugated in All the Tenses in a New Easy-To-Learn Format Alphabetically Arranged
Christopher Kendris - 1963
Popular phrases, words, and expressions accompany the complete conjugation of common Spanish verbs.
Line by Line: How to Edit Your Own Writing
Claire Kehrwald Cook - 1985
With over 700 examples of original and edited sentences, this book provides information about editing techniques, grammar, and usage for every writer from the student to the published author.
Speed Secrets: Professional Race Driving Techniques
Ross Bentley - 1998
Includes discussion of practice techniques, chassis set-up, and working with your pit chief.
The Associated Press Stylebook and Briefing on Media Law
Associated Press - 1977
With this essential guide in hand, any writer can learn to communicate with the clarity and professionalism for which the Associated Press is famous. Fully revised and updated, this edition contains over 5,000 A to Z entries--including more than 50 new ones--laying out the AP's rules on grammar, spelling, punctuation, capitalization, abbreviation, and word and numeral usage. Comprehensive and easy to use, The AP Stylebook provides the facts and references necessary to write accurately about the world today: correct names of countries and organizations, Internet language and search techniques, language to avoid, common trademarks, and the unique guidelines for business and sports reporting. The final word on media law, The AP Stylebook also includes an invaluable section dedicated to crucial advice on how writers can guard against libel and copyright infringement. The veritable "journalist's bible," this is the one reference that working writers cannot afford to be without.With more than 50 new entries plus updates of more than 100 others, The AP Stylebook includes such features as: An A to Z listing of guides to capitalization, abbreviation, spelling, numerals, and usage* Internet guidelines* Sports guidelines and style* Business guidelines and style* A guide to punctuation* Supreme Court decisions regarding libel law* Summary of First Amendment rules* The right of privacy* Copyright guidelines* Proofreaders' marks
How To Write Anything: A Guide and Reference
John J. Ruszkiewicz - 2008
Through memorable visuals and honest talk, John Ruszkiewicz shows students how to write in any situation — wherever they are in their writing process.With everything you need to teach composition, the Guide lays out focused advice for writing common genres, while the Reference covers the range of writing and research skills that students need as they work across genres and disciplines. An intuitive, visual cross-referencing system and a modular chapter organization that’s simple to follow make it even easier for students to work back and forth between chapters and stay focused on their own writing.
An Introduction to Legal Reasoning
Edward H. Levi - 1962
By citing a large number of cases, the author makes his presentation of the processes of judicial interpretation particularly lucid.
My Grammar and I... Or Should That Be Me?: How to Speak and Write It Right
Caroline Taggart - 2008
Avoid Grammatical Minefields with this Entertaining GuideConfused about when to use "its" or "it's" or the correct spelling of "principal" and "principle"? My Grammar and I...or Should That Be me? is a refresher course for anyone who has ever been stumped by spelling confusion, dangling modifiers, split infinities, or for those who have no idea what these things even are.Clever, informative, and fun, this delightful little handbook offers practical and humorous guidance on how to avoid falling into language pitfalls.* Sentence Structure: Let's ponder the subject or object: Is it "I" or is it "me"?* Parts of Speech: "whose" or "who's"? "which" or "that"?* Punctuation: So where does that comma go, anyway?* Spelling and Confusables: There are times when the spelling "rules" confuse.* Elements of Style: You'll find there's lots more to know about grammar.* ...and for grammar know-it-alls, there are entertaining "Smart Aleck" tidbits throughout.
Crush It With Kindle - How to self publish your books on Kindle and promote them to #1 bestseller status
John Tighe - 2012
With simplified methods and helpful techniques John guides authors on the road to promoting their books to bestseller status in the Kindle Store.
Inside Out: Strategies for Teaching Writing
Dawn Latta Kirby - 2003
Together the three authors have thoroughly updated Inside Out with the latest information on technology, a substantial reference section on resources, and loads of new examples.
The Book of Positive Quotations
John Cook - 1997
"A valuable tool for anyone who writes or speaks."-- Zig Zigler
The McGraw-Hill Handbook of English Grammar and Usage
Mark Lester - 2004
'The McGraw-Hill Handbook of English Grammar and Usage' does so in an entertaining way.
Writing to Win: The Legal Writer
Steven D. Stark - 1999
Legal education, which focuses on judicial opinions, not instruments of persuasion, is partly to blame. Yet forceful writing is one of the most potent weapons of legal advocacy. In Writing to Win, Steve Stark, a former teacher of writing at Harvard Law, who has taught thousands of aspiring and practicing lawyers, has written the only book on the market that applies the universal principles of vigorous prose to the job of making a case--and winning it.Writing to Win focuses on the writing of lawyers, not judges, and includes dozens of examples of effective (and ineffective) real-life writing--as well as models drawn from advertising, journalism, and fiction. It deals with the problems lawyers face in writing, from organization to strengthening and editing prose; teaches ways of improving arguments; addresses litigation and technical writing in all its forms; and covers the writing attorneys must perform in their practice, from memos and letters to briefs and contracts. Each chapter opens with a succinct set of rules for easy reference.No other legal writing book on the market is as practical, as focused on results, as well written as Writing to Win.
The Making of a Poem: A Norton Anthology of Poetic Forms
Mark Strand - 2000
But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this: 1) Each pantoum stanza must be four lines long. 2) The length is unspecified but the pantoum must begin and end with the same line. 3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains. 4) The rhyming of each quatrain is abab. 5) The final quatrain changes this pattern. 6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins: Rain, midnight rain, nothing but wild rain On this bleak hut, and solitude, and me Remembering again that I shall die And neither hear the rain nor give it thanks For washing me cleaner than I have been Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads: What lips my lips have kissed, and where, and why, I have forgotten, and what arms have lain Under my head till morning, but the rain Is full of ghosts tonight, that tap and sigh Upon the glass and listen for reply, And in my heart there stirs a quiet pain For unremembered lads that not again Will turn to me at midnight with a cry. Thus in the winter stands the lonely tree Nor knows what birds have vanquished one by one, Yet knows its boughs more silent than before: I cannot say what loves have come and gone, I only know that summer sang in me A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.Aviya Kushner