IDEAS & Aims For College Writing, MLA Update Solution Manual
IDEAS & Aims For College Writing, MLA Update Solution Manual helps you tackle difficult exercises with expert guidance.
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i
.
Instructor’s Resource Manual
to accompany
IDEAS AND AIMS
Tim Taylor
Eastern Illinois University
Linda Copeland
St. Louis Community College
.
Instructor’s Resource Manual
to accompany
IDEAS AND AIMS
Tim Taylor
Eastern Illinois University
Linda Copeland
St. Louis Community College
iii
.
TABLE OF CONTENTS
How to Use Ideas & Aims 1
Teaching Strategies, Tactics, and Tips 5
Tips and Guidelines for Professional Writing 14
Punctuation Pattern Sheet 39
Designing Your Syllabus & Six Sample Syllabi 43
Chapter Guides 68
Chapter 1 – What It Means to Be a College Student: Following the Codes 68
Chapter 2 – The Reading Process 72
Chapter 3 – Writing and the Process of Writing 84
Chapter 4 – Writing Paragraphs 102
Chapter 5 – Paragraphs Working Together: The Essay 113
Chapter 6 – Descriptive Writing 119
Chapter 7 – Reflective Writing 129
Chapter 8 – Informative Writing 139
Chapter 9 – Analytical Writing 153
Chapter 10 – Evaluative Writing 158
Chapter 11 – Persuasive Writing 169
Chapter 12 – Working with Sources 181
Chapter 13 – Documenting Sources 184
Chapter 14 – Style Matters 204
Chapter 15 – Handbook for Correcting Sentence Errors 213
Works Cited and Recommended Resources 227
.
TABLE OF CONTENTS
How to Use Ideas & Aims 1
Teaching Strategies, Tactics, and Tips 5
Tips and Guidelines for Professional Writing 14
Punctuation Pattern Sheet 39
Designing Your Syllabus & Six Sample Syllabi 43
Chapter Guides 68
Chapter 1 – What It Means to Be a College Student: Following the Codes 68
Chapter 2 – The Reading Process 72
Chapter 3 – Writing and the Process of Writing 84
Chapter 4 – Writing Paragraphs 102
Chapter 5 – Paragraphs Working Together: The Essay 113
Chapter 6 – Descriptive Writing 119
Chapter 7 – Reflective Writing 129
Chapter 8 – Informative Writing 139
Chapter 9 – Analytical Writing 153
Chapter 10 – Evaluative Writing 158
Chapter 11 – Persuasive Writing 169
Chapter 12 – Working with Sources 181
Chapter 13 – Documenting Sources 184
Chapter 14 – Style Matters 204
Chapter 15 – Handbook for Correcting Sentence Errors 213
Works Cited and Recommended Resources 227
iii
.
TABLE OF CONTENTS
How to Use Ideas & Aims 1
Teaching Strategies, Tactics, and Tips 5
Tips and Guidelines for Professional Writing 14
Punctuation Pattern Sheet 39
Designing Your Syllabus & Six Sample Syllabi 43
Chapter Guides 68
Chapter 1 – What It Means to Be a College Student: Following the Codes 68
Chapter 2 – The Reading Process 72
Chapter 3 – Writing and the Process of Writing 84
Chapter 4 – Writing Paragraphs 102
Chapter 5 – Paragraphs Working Together: The Essay 113
Chapter 6 – Descriptive Writing 119
Chapter 7 – Reflective Writing 129
Chapter 8 – Informative Writing 139
Chapter 9 – Analytical Writing 153
Chapter 10 – Evaluative Writing 158
Chapter 11 – Persuasive Writing 169
Chapter 12 – Working with Sources 181
Chapter 13 – Documenting Sources 184
Chapter 14 – Style Matters 204
Chapter 15 – Handbook for Correcting Sentence Errors 213
Works Cited and Recommended Resources 227
.
TABLE OF CONTENTS
How to Use Ideas & Aims 1
Teaching Strategies, Tactics, and Tips 5
Tips and Guidelines for Professional Writing 14
Punctuation Pattern Sheet 39
Designing Your Syllabus & Six Sample Syllabi 43
Chapter Guides 68
Chapter 1 – What It Means to Be a College Student: Following the Codes 68
Chapter 2 – The Reading Process 72
Chapter 3 – Writing and the Process of Writing 84
Chapter 4 – Writing Paragraphs 102
Chapter 5 – Paragraphs Working Together: The Essay 113
Chapter 6 – Descriptive Writing 119
Chapter 7 – Reflective Writing 129
Chapter 8 – Informative Writing 139
Chapter 9 – Analytical Writing 153
Chapter 10 – Evaluative Writing 158
Chapter 11 – Persuasive Writing 169
Chapter 12 – Working with Sources 181
Chapter 13 – Documenting Sources 184
Chapter 14 – Style Matters 204
Chapter 15 – Handbook for Correcting Sentence Errors 213
Works Cited and Recommended Resources 227
iv
.
Developmental Writing Student Supplements
Q: Would your students benefit from additional exercises that offer both practice and application
of basic writing skills, with direct links to additional online practice at MyWritingLab.com?
The Pearson Lab Manual for Developing Writers (Sentences 0-205-63409-5/ Paragraphs 0-205-
69341-5/
Essays: 0-205-69340-7)
This three-volume workbook is an ideal supplement for any developmental writing sequence. References
direct students to Pearson’s MyWritingLab, the marketing-leading online practice system, for even more
practice.
• Volume A: Sentences (0-205-63409-5)
At this level, exercises and applications of grammar, punctuation and mechanics stress rules rather than
simply skill and drill. There are many composing exercises that apply sentence skills explained in the
students’ primary textbook.
• Volume B: Paragraphs (0-205-69341-5) & Volume C: Essays (0-205-69340-7)
The exercises encourage students to apply key concepts covered in most writing classes—i.e. topic
sentences, thesis statements, coherence, unity, levels of development. Analysis exercises give further
illustration of concepts explained in class and in the primary textbook; Building exercises give students
the “raw materials” to develop paragraphs and/or essays along the various modes. Revision prompts
encourage students to look at specific key elements of their own writing and assess whether they have
met the needs of their reading audience.
Q: Would your students benefit from having real student essays and quality student models?
The Pearson Student Essays Booklet (0-205-60544-3)
This brief booklet of student models includes two essays from each of the nine modes. It also includes an
essay that showcases the writing process from beginning to end, crystallizing the importance of revision
for all writers.
Q: Are your students visual learners? Would they benefit from exercises and writing prompts
surrounding various images from everyday life, art, career, education?
Pearson Visual Writing Guide for Developing Writers by Ileen L. Linden (0-205-61984-3)
The Pearson Visual Writing Guide for Developing Writers is a thematic supplement designed to stimulate
reading comprehension through an authentic perspective of visual imagery. Each assignment challenges
the learner to think beyond the text to the image, expanding their worldview as they navigate through
complex or unfamiliar issues. This approach teaches deconstruction, a problem-based strategy that
.
Developmental Writing Student Supplements
Q: Would your students benefit from additional exercises that offer both practice and application
of basic writing skills, with direct links to additional online practice at MyWritingLab.com?
The Pearson Lab Manual for Developing Writers (Sentences 0-205-63409-5/ Paragraphs 0-205-
69341-5/
Essays: 0-205-69340-7)
This three-volume workbook is an ideal supplement for any developmental writing sequence. References
direct students to Pearson’s MyWritingLab, the marketing-leading online practice system, for even more
practice.
• Volume A: Sentences (0-205-63409-5)
At this level, exercises and applications of grammar, punctuation and mechanics stress rules rather than
simply skill and drill. There are many composing exercises that apply sentence skills explained in the
students’ primary textbook.
• Volume B: Paragraphs (0-205-69341-5) & Volume C: Essays (0-205-69340-7)
The exercises encourage students to apply key concepts covered in most writing classes—i.e. topic
sentences, thesis statements, coherence, unity, levels of development. Analysis exercises give further
illustration of concepts explained in class and in the primary textbook; Building exercises give students
the “raw materials” to develop paragraphs and/or essays along the various modes. Revision prompts
encourage students to look at specific key elements of their own writing and assess whether they have
met the needs of their reading audience.
Q: Would your students benefit from having real student essays and quality student models?
The Pearson Student Essays Booklet (0-205-60544-3)
This brief booklet of student models includes two essays from each of the nine modes. It also includes an
essay that showcases the writing process from beginning to end, crystallizing the importance of revision
for all writers.
Q: Are your students visual learners? Would they benefit from exercises and writing prompts
surrounding various images from everyday life, art, career, education?
Pearson Visual Writing Guide for Developing Writers by Ileen L. Linden (0-205-61984-3)
The Pearson Visual Writing Guide for Developing Writers is a thematic supplement designed to stimulate
reading comprehension through an authentic perspective of visual imagery. Each assignment challenges
the learner to think beyond the text to the image, expanding their worldview as they navigate through
complex or unfamiliar issues. This approach teaches deconstruction, a problem-based strategy that
v
.
reveals important social and cultural interrelationships across the curriculum. Instructors will find this a
practical guide for assignments directed toward journaling, reflection, argumentative essay writing and
more.
Q: Do you require your students to have a portfolio? Would a daily/monthly/yearly planner help
them to get organized?
The Pearson Student Planner (0-205-66301-X)
This unique supplement provides students with a space to plan, think about, and present their work. In
addition to the yearly planner, this portfolio includes an assessing/organizing area, daily planner for
students including daily, weekly, and monthly calendars, and a useful links page.
Q: Do you require your students to keep a writing journal, and would students benefit from
prompts and exercises within the journal to help guide their writing? Would a planner included
directly in this journal help keep them organized through the semester?
The Pearson Writer’s Journal and Student Planner by Mimi Markus (0-205-64665-4)
This supplement gives students a place to explore their own writing in the writer’s journal section while
also giving them space to stay organized in the student planner section. The journal portion of the
supplement guides students’ writing through prewriting strategies, suggested themes for their journal
writing, and sample student entries. In the planner section, students can use the monthly, weekly, and
daily calendars to effectively manage their time and their course assignments.
Q: Would your students benefit from seeing how writing is relevant to a range of careers?
Applying English to Your Career by Deborah Davis (0-131-92115-0)
This supplement includes a brief page of instruction on 25 key writing skills, followed by practice
exercises in these skills that focus on seven specific career fields.
Q: Would you like help in providing your students with more grammar and mechanics exercises?
Eighty Practices by Maxine Hairston Emerita (0-673-53422-7)
A collection of ten-item exercises that provide additional practice for specific grammatical usage problems,
such as comma splices, capitalization, and pronouns.
The Pearson Grammar Workbook, 2/e by Jeanette Adkins (0-131-94771-0)
This workbook is a comprehensive source of instruction for students who need additional grammar,
punctuation, and mechanics assistance. Covering such topics as subject-verb agreement, conjunctions,
modifiers, capital letters, and vocabulary, each chapter provides helpful explanations, examples, and
exercises.
.
reveals important social and cultural interrelationships across the curriculum. Instructors will find this a
practical guide for assignments directed toward journaling, reflection, argumentative essay writing and
more.
Q: Do you require your students to have a portfolio? Would a daily/monthly/yearly planner help
them to get organized?
The Pearson Student Planner (0-205-66301-X)
This unique supplement provides students with a space to plan, think about, and present their work. In
addition to the yearly planner, this portfolio includes an assessing/organizing area, daily planner for
students including daily, weekly, and monthly calendars, and a useful links page.
Q: Do you require your students to keep a writing journal, and would students benefit from
prompts and exercises within the journal to help guide their writing? Would a planner included
directly in this journal help keep them organized through the semester?
The Pearson Writer’s Journal and Student Planner by Mimi Markus (0-205-64665-4)
This supplement gives students a place to explore their own writing in the writer’s journal section while
also giving them space to stay organized in the student planner section. The journal portion of the
supplement guides students’ writing through prewriting strategies, suggested themes for their journal
writing, and sample student entries. In the planner section, students can use the monthly, weekly, and
daily calendars to effectively manage their time and their course assignments.
Q: Would your students benefit from seeing how writing is relevant to a range of careers?
Applying English to Your Career by Deborah Davis (0-131-92115-0)
This supplement includes a brief page of instruction on 25 key writing skills, followed by practice
exercises in these skills that focus on seven specific career fields.
Q: Would you like help in providing your students with more grammar and mechanics exercises?
Eighty Practices by Maxine Hairston Emerita (0-673-53422-7)
A collection of ten-item exercises that provide additional practice for specific grammatical usage problems,
such as comma splices, capitalization, and pronouns.
The Pearson Grammar Workbook, 2/e by Jeanette Adkins (0-131-94771-0)
This workbook is a comprehensive source of instruction for students who need additional grammar,
punctuation, and mechanics assistance. Covering such topics as subject-verb agreement, conjunctions,
modifiers, capital letters, and vocabulary, each chapter provides helpful explanations, examples, and
exercises.
vi
.
The Pearson ESL Workbook, 2/e by Susan Miller and Karen Standridge (0-131-94759-1)
This workbook is divided into seven major units, each of which provides thorough explanations and
exercises in the most challenging grammar topics for non-native speakers of English. Topics include
nouns, articles, verbs, modifiers, pronouns, prepositions, and sentence structure.
Q: Do you have your students evaluate their peers’ work? Would you like them to have an
evaluation guide to help them review for their work and the work of their classmates?
What Every Student Should Know About Practicing Peer Review (0-321-44848-0)
Michelle Trim
Q: Do you have your students work in groups? Would you like them to have a guide to maximize
the group work?
Learning Together: An Introduction to Collaborative Learning by Tori Haring-Smith (0-673-46848-
8)
This brief guide to the fundamentals of collaborative learning teaches students how to work effectively in
groups.
Q: Would you like help in providing your students with more editing exercises?
• Print: Pearson Editing Exercises (Student / 0-205-66618-3, Instructor Answer Key / 0-205-
66617-5)
The Editing Exercises booklet contains fifty one-page editing paragraphs that provide students with
opportunities to learn how to recognize and correct the most common types of sentence, grammar,
and mechanical errors in context. Embedding the errors within the context of informative paragraphs
rather than using discrete sentence exercises simulates a more natural writing situation, allowing
students to draw upon their intuitive knowledge of structure and syntax, as well as specific information
from class instruction. The booklet makes an ideal supplement to any grammar, sentence, or writing
text. Various editing topics can be assigned to coordinate with class lessons, or they may be
assigned individually based on problems observed in students’ writing. Students may also complete
selected exercises as an enrichment activity, either on their own or in collaboration with other
students. Additionally, the variety of topics in the paragraphs themselves can also be used as
springboards for discussion or journaling, or as models for writing assignments if desired.
• Online: MyWritingLab APPLY exercises
Get students reviewing and responding to students’ paragraphs. Go to www.mywritinglab.com for
more information.
Q: Would you like help in providing your students with more writing assignment topics?
100 Things to Write About Ron Koertge (0-673-98239-4)
This brief book contains over 100 individual writing assignments, on a variety of topics and in a wide
range of formats, from expressive to analytical writing.
.
The Pearson ESL Workbook, 2/e by Susan Miller and Karen Standridge (0-131-94759-1)
This workbook is divided into seven major units, each of which provides thorough explanations and
exercises in the most challenging grammar topics for non-native speakers of English. Topics include
nouns, articles, verbs, modifiers, pronouns, prepositions, and sentence structure.
Q: Do you have your students evaluate their peers’ work? Would you like them to have an
evaluation guide to help them review for their work and the work of their classmates?
What Every Student Should Know About Practicing Peer Review (0-321-44848-0)
Michelle Trim
Q: Do you have your students work in groups? Would you like them to have a guide to maximize
the group work?
Learning Together: An Introduction to Collaborative Learning by Tori Haring-Smith (0-673-46848-
8)
This brief guide to the fundamentals of collaborative learning teaches students how to work effectively in
groups.
Q: Would you like help in providing your students with more editing exercises?
• Print: Pearson Editing Exercises (Student / 0-205-66618-3, Instructor Answer Key / 0-205-
66617-5)
The Editing Exercises booklet contains fifty one-page editing paragraphs that provide students with
opportunities to learn how to recognize and correct the most common types of sentence, grammar,
and mechanical errors in context. Embedding the errors within the context of informative paragraphs
rather than using discrete sentence exercises simulates a more natural writing situation, allowing
students to draw upon their intuitive knowledge of structure and syntax, as well as specific information
from class instruction. The booklet makes an ideal supplement to any grammar, sentence, or writing
text. Various editing topics can be assigned to coordinate with class lessons, or they may be
assigned individually based on problems observed in students’ writing. Students may also complete
selected exercises as an enrichment activity, either on their own or in collaboration with other
students. Additionally, the variety of topics in the paragraphs themselves can also be used as
springboards for discussion or journaling, or as models for writing assignments if desired.
• Online: MyWritingLab APPLY exercises
Get students reviewing and responding to students’ paragraphs. Go to www.mywritinglab.com for
more information.
Q: Would you like help in providing your students with more writing assignment topics?
100 Things to Write About Ron Koertge (0-673-98239-4)
This brief book contains over 100 individual writing assignments, on a variety of topics and in a wide
range of formats, from expressive to analytical writing.
Loading page 6...
vii
.
Q: Do you assign a research paper? Would students benefit from brief guides explaining specific
aspects of research?
What Every Student Should Know About Researching Online (0-321-44531-7)
David Munger / Shireen Campbell
What Every Student Should Know About Citing Sources with APA Documentation (0-205-49923-6)
Chalon E. Anderson / Amy T. Carrell / Jimmy L. Widdifield, Jr.
What Every Student Should Know About Citing Sources with MLA Documentation (0-321-44737-9)
Michael Greer
What Every Student Should Know About Avoiding Plagiarism (0-321-44689-5)
Linda Stern
Q: Do you require a dictionary or stress the need of owning a dictionary?
The New American Webster Handy College Dictionary, 3/e (0-451-18166-2)
A paperback reference text with more than 100,000 entries.
Q: Do you require and/or suggest a thesaurus?
The Oxford Essential Thesaurus (0-425-16421-7)
From Oxford University Press, renowned for quality educational and reference works, comes this concise,
easy-to-use thesaurus - the essential tool for finding just the right word for every occasion. The 528 page
book includes 175,000 synonyms in a simple A-to-Z format, more than 10,000 entries, extensive word
choices, example sentences and phrases, and guidance on usage, punctuation, and more in exclusive
"Writers Toolkit."
Q: Do you require a dictionary and/or thesaurus?
The Oxford American Desk Dictionary and Thesaurus, 2/e (0-425-18068-9)
From the Oxford University Press and Berkley Publishing Group comes this one-of-a-kind reference book
that combines both of the essential language tools—dictionary and thesaurus—in a single, integrated A-
to-Z volume. The 1,024 page book offers more than 150,000 entries, definitions, and synonyms so you
can find the right word every time, as well as appendices of valuable quick-reference information
including: signs and symbols, weights and measures, presidents of the U.S., U.S. states and capitals, and
more.
.
Q: Do you assign a research paper? Would students benefit from brief guides explaining specific
aspects of research?
What Every Student Should Know About Researching Online (0-321-44531-7)
David Munger / Shireen Campbell
What Every Student Should Know About Citing Sources with APA Documentation (0-205-49923-6)
Chalon E. Anderson / Amy T. Carrell / Jimmy L. Widdifield, Jr.
What Every Student Should Know About Citing Sources with MLA Documentation (0-321-44737-9)
Michael Greer
What Every Student Should Know About Avoiding Plagiarism (0-321-44689-5)
Linda Stern
Q: Do you require a dictionary or stress the need of owning a dictionary?
The New American Webster Handy College Dictionary, 3/e (0-451-18166-2)
A paperback reference text with more than 100,000 entries.
Q: Do you require and/or suggest a thesaurus?
The Oxford Essential Thesaurus (0-425-16421-7)
From Oxford University Press, renowned for quality educational and reference works, comes this concise,
easy-to-use thesaurus - the essential tool for finding just the right word for every occasion. The 528 page
book includes 175,000 synonyms in a simple A-to-Z format, more than 10,000 entries, extensive word
choices, example sentences and phrases, and guidance on usage, punctuation, and more in exclusive
"Writers Toolkit."
Q: Do you require a dictionary and/or thesaurus?
The Oxford American Desk Dictionary and Thesaurus, 2/e (0-425-18068-9)
From the Oxford University Press and Berkley Publishing Group comes this one-of-a-kind reference book
that combines both of the essential language tools—dictionary and thesaurus—in a single, integrated A-
to-Z volume. The 1,024 page book offers more than 150,000 entries, definitions, and synonyms so you
can find the right word every time, as well as appendices of valuable quick-reference information
including: signs and symbols, weights and measures, presidents of the U.S., U.S. states and capitals, and
more.
Loading page 7...
viii
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Penguin Discount Novel Program
In cooperation with Penguin Putnam, Inc., Pearson is proud to offer a variety of Penguin paperbacks at a
significant discount when packaged with any Pearson title. Excellent additions to any English course,
Penguin titles give students the opportunity to explore contemporary and classical fiction and drama. The
available titles include works by authors as diverse as Toni Morrison, Julia Alvarez, Mary Shelley, and
Shakespeare. To review the complete list of titles available, visit the Pearson-Penguin-Putnam website:
http://www.pearsonhighered.com/penguin.
What Every Student Should Know About (WESSKA) Series
The What Every Student Should Know About... series is a collection of guide books designed to help
students with specific topics that are important in a number of different college courses. Instructors can
package any one of these booklets with their Pearson textbook for no additional charge, or the booklets
can be purchased separately.
What Every Student Should Know About Preparing Effective Oral Presentations (0-205-50545-7)
Martin R. Cox
What Every Student Should Know About Researching Online (0-321-44531-7)
David Munger / Shireen Campbell
What Every Student Should Know About Citing Sources with APA Documentation (0-205-49923-6)
Chalon E. Anderson / Amy T. Carrell / Jimmy L. Widdifield, Jr.
What Every Student Should Know About Citing Sources with MLA Documentation (0-321-44737-9)
Michael Greer
What Every Student Should Know About Avoiding Plagiarism (0-321-44689-5)
Linda Stern
What Every Student Should Know About Practicing Peer Review (0-321-44848-0)
.
Penguin Discount Novel Program
In cooperation with Penguin Putnam, Inc., Pearson is proud to offer a variety of Penguin paperbacks at a
significant discount when packaged with any Pearson title. Excellent additions to any English course,
Penguin titles give students the opportunity to explore contemporary and classical fiction and drama. The
available titles include works by authors as diverse as Toni Morrison, Julia Alvarez, Mary Shelley, and
Shakespeare. To review the complete list of titles available, visit the Pearson-Penguin-Putnam website:
http://www.pearsonhighered.com/penguin.
What Every Student Should Know About (WESSKA) Series
The What Every Student Should Know About... series is a collection of guide books designed to help
students with specific topics that are important in a number of different college courses. Instructors can
package any one of these booklets with their Pearson textbook for no additional charge, or the booklets
can be purchased separately.
What Every Student Should Know About Preparing Effective Oral Presentations (0-205-50545-7)
Martin R. Cox
What Every Student Should Know About Researching Online (0-321-44531-7)
David Munger / Shireen Campbell
What Every Student Should Know About Citing Sources with APA Documentation (0-205-49923-6)
Chalon E. Anderson / Amy T. Carrell / Jimmy L. Widdifield, Jr.
What Every Student Should Know About Citing Sources with MLA Documentation (0-321-44737-9)
Michael Greer
What Every Student Should Know About Avoiding Plagiarism (0-321-44689-5)
Linda Stern
What Every Student Should Know About Practicing Peer Review (0-321-44848-0)
Loading page 8...
ix
.
Michelle Trim
Multimedia Offerings
Q: Do your students have trouble transferring skill and drill lessons into their own writing or
seeing errors in others’ writing? ● Would you like constant awareness of your students’ progress
and work in an easy-to-use tracking system? ● Would a mastery results reporter help you to plan
your lectures according to your class’ weaknesses? ● Do you want to save time by having work
automatically graded and feedback supplied?
MyWritingLab (www.mywritinglab.com)
MyWritingLab is a complete online learning system with better practice exercises to make students better
writers. The exercises in MyWritingLab are progressive, which means within each skill module students
move from literal comprehension to critical application to demonstrating their skills in their own writing.
The 9,000+ exercises in the system do rehearse grammar, but they also extend into the writing process,
paragraph development, essay development, and research. A thorough diagnostic test outlines where
student have not yet mastered the skill, and an easy-to-use tracking systems enables students and
instructors to monitor all work in MyWritingLab.
STATE SPECIFIC SUPPLEMENTS
For Florida Adopters:
Thinking Through the Test: A Study Guide for the Florida College Basic Skills Exit Test, by D.J.
Henry and Mimi Markus
FOR FLORIDA ADOPTIONS ONLY. This workbook helps students strengthen their reading skills in
preparation for the Florida College Basic Skills Exit Test. It features both diagnostic tests to help assess
areas that may need improvement and exit tests to help test skill mastery. Detailed explanatory answers
have been provided for almost all of the questions. Package item only—not available for sale.
Available Versions:
Available Versions:
.
Michelle Trim
Multimedia Offerings
Q: Do your students have trouble transferring skill and drill lessons into their own writing or
seeing errors in others’ writing? ● Would you like constant awareness of your students’ progress
and work in an easy-to-use tracking system? ● Would a mastery results reporter help you to plan
your lectures according to your class’ weaknesses? ● Do you want to save time by having work
automatically graded and feedback supplied?
MyWritingLab (www.mywritinglab.com)
MyWritingLab is a complete online learning system with better practice exercises to make students better
writers. The exercises in MyWritingLab are progressive, which means within each skill module students
move from literal comprehension to critical application to demonstrating their skills in their own writing.
The 9,000+ exercises in the system do rehearse grammar, but they also extend into the writing process,
paragraph development, essay development, and research. A thorough diagnostic test outlines where
student have not yet mastered the skill, and an easy-to-use tracking systems enables students and
instructors to monitor all work in MyWritingLab.
STATE SPECIFIC SUPPLEMENTS
For Florida Adopters:
Thinking Through the Test: A Study Guide for the Florida College Basic Skills Exit Test, by D.J.
Henry and Mimi Markus
FOR FLORIDA ADOPTIONS ONLY. This workbook helps students strengthen their reading skills in
preparation for the Florida College Basic Skills Exit Test. It features both diagnostic tests to help assess
areas that may need improvement and exit tests to help test skill mastery. Detailed explanatory answers
have been provided for almost all of the questions. Package item only—not available for sale.
Available Versions:
Available Versions:
Loading page 9...
x
.
Preparing for the CLAST, 7/e (Instructor/Print 0-321-01950-4)
These two, 40-item objective tests evaluate students’ readiness for the Florida CLAST exams. Strategies
for teaching CLAST preparedness are included.
For Texas Adopters
The Pearson THEA Study Guide, by Jeannette Harris (Student/ 0-321-27240-4)
Created specifically for students in Texas, this study guide includes straightforward explanations and
numerous practice exercises to help students prepare for the reading and writing sections of THEA Test.
Package item only—not available for sale.
For New York/CUNY Adopters
Preparing for the CUNY-ACT Reading and Writing Test, edited by Patricia Licklider (Student/ 0-
321-19608-2)
This booklet, prepared by reading and writing faculty from across the CUNY system, is designed to help
students prepare for the CUNY-ACT exit test. It includes test-taking tips, reading passages, typical exam
questions, and sample writing prompts to help students become familiar with each portion of the test.
Thinking Through the Test A Study Guide for the Florida College Basic
Skills Exit Tests: Reading and Writing, without Answers 3/e
0-321-38740-6
Thinking Through the Test A Study Guide for the Florida College Basic
Skills Exit Tests: Reading and Writing, with Answers, 3/e
0-321-38739-2
Thinking Through the Test A Study Guide for the Florida College Basic
Skills Exit Tests: Writing, with Answers, 3/e
0-321-38741-4
Thinking Through the Test A Study Guide for the Florida College Basic
Skills Exit Tests: Writing, without Answers, 3/e
0-321-38934-4
.
Preparing for the CLAST, 7/e (Instructor/Print 0-321-01950-4)
These two, 40-item objective tests evaluate students’ readiness for the Florida CLAST exams. Strategies
for teaching CLAST preparedness are included.
For Texas Adopters
The Pearson THEA Study Guide, by Jeannette Harris (Student/ 0-321-27240-4)
Created specifically for students in Texas, this study guide includes straightforward explanations and
numerous practice exercises to help students prepare for the reading and writing sections of THEA Test.
Package item only—not available for sale.
For New York/CUNY Adopters
Preparing for the CUNY-ACT Reading and Writing Test, edited by Patricia Licklider (Student/ 0-
321-19608-2)
This booklet, prepared by reading and writing faculty from across the CUNY system, is designed to help
students prepare for the CUNY-ACT exit test. It includes test-taking tips, reading passages, typical exam
questions, and sample writing prompts to help students become familiar with each portion of the test.
Thinking Through the Test A Study Guide for the Florida College Basic
Skills Exit Tests: Reading and Writing, without Answers 3/e
0-321-38740-6
Thinking Through the Test A Study Guide for the Florida College Basic
Skills Exit Tests: Reading and Writing, with Answers, 3/e
0-321-38739-2
Thinking Through the Test A Study Guide for the Florida College Basic
Skills Exit Tests: Writing, with Answers, 3/e
0-321-38741-4
Thinking Through the Test A Study Guide for the Florida College Basic
Skills Exit Tests: Writing, without Answers, 3/e
0-321-38934-4
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Developmental Writing Instructor Resources
Pearson is pleased to offer a variety of support materials to help make teaching developmental English
easier on teachers and to help students excel in their coursework. Many of our student supplements are
available free or at a greatly reduced price when packaged with a Pearson writing textbook. Contact your
local Pearson sales representative for more information on pricing and how to create a package.
On the Front Lines by Donna Bontatibus (0-205-81680-0)
On the Front Lines is a practical, streamlined guide designed for the instructors—new, adjunct, temporary,
and even seasoned—of developmental writing at the community college. Within eight concise chapters,
instructors receive realistic, easy-to-apply advice that centers on the preparation and teaching of
developmental writing in a nation with over 1,000 community colleges. Instructors will be walked through
the process of preparing a syllabus; structuring the classroom experience; appealing to different learning
styles; teaching with technology; constructing and evaluating assignments; and conferencing with
students. This accessible guide also encourages instructors to look outside the classroom--to familiarize
themselves with campus resources and policies that support the classroom experience--and to look
ahead for their own professional development opportunities. Given the debates on developmental
education and the importance of first-year experience initiatives to assist with student transition and
retention, there is a monumental amount of weight placed on the shoulders of instructors of
developmental writing. On the Front Lines respects the instructor’s role in the developmental writing
classroom and offers practical, straightforward guidance to see the instructor through the preparation of
classes to the submission of final grades.
The Pearson Developmental Writing PowerPoints (0-205-75219-5)
To complement face-to-face and online courses, The Pearson Developmental Writing PowerPoint
resource provides overviews on all the elements of writing an effective essay. This pedagogically sound
PowerPoint guide will provide instructors and students with informative slides on writing patterns –
classification, cause/effect, argument, etc. – and common grammatical errors, with questions and
answers included.
The Pearson Test Bank for Developmental Writing (Print Version) by Janice Okoomian with
contributions by Mimi Markus—available via the Instructor Resource Center ONLY (0-321-08486-1)
This test bank features more than 5,000 questions in all areas of writing. In addition to extensive
grammar practice, the test bank covers paragraphs and essays, including such topics as the writing
process and documentation. Instructors simply log on to the Instructor Resource Center (IRC) to
download and print the tests of their choice.
MyTest for The Pearson Test Bank for Developmental Writing (online only) (0-205-79834-9)
This test bank features more than 5,000 questions in all areas of writing, from grammar to paragraphing
through essay writing, research, and documentation. Through this instructor friendly program instructors
are able to edit these questions and tests to suit their classroom needs and are also allowed more
flexibility to manage assessments at any time.
.
Developmental Writing Instructor Resources
Pearson is pleased to offer a variety of support materials to help make teaching developmental English
easier on teachers and to help students excel in their coursework. Many of our student supplements are
available free or at a greatly reduced price when packaged with a Pearson writing textbook. Contact your
local Pearson sales representative for more information on pricing and how to create a package.
On the Front Lines by Donna Bontatibus (0-205-81680-0)
On the Front Lines is a practical, streamlined guide designed for the instructors—new, adjunct, temporary,
and even seasoned—of developmental writing at the community college. Within eight concise chapters,
instructors receive realistic, easy-to-apply advice that centers on the preparation and teaching of
developmental writing in a nation with over 1,000 community colleges. Instructors will be walked through
the process of preparing a syllabus; structuring the classroom experience; appealing to different learning
styles; teaching with technology; constructing and evaluating assignments; and conferencing with
students. This accessible guide also encourages instructors to look outside the classroom--to familiarize
themselves with campus resources and policies that support the classroom experience--and to look
ahead for their own professional development opportunities. Given the debates on developmental
education and the importance of first-year experience initiatives to assist with student transition and
retention, there is a monumental amount of weight placed on the shoulders of instructors of
developmental writing. On the Front Lines respects the instructor’s role in the developmental writing
classroom and offers practical, straightforward guidance to see the instructor through the preparation of
classes to the submission of final grades.
The Pearson Developmental Writing PowerPoints (0-205-75219-5)
To complement face-to-face and online courses, The Pearson Developmental Writing PowerPoint
resource provides overviews on all the elements of writing an effective essay. This pedagogically sound
PowerPoint guide will provide instructors and students with informative slides on writing patterns –
classification, cause/effect, argument, etc. – and common grammatical errors, with questions and
answers included.
The Pearson Test Bank for Developmental Writing (Print Version) by Janice Okoomian with
contributions by Mimi Markus—available via the Instructor Resource Center ONLY (0-321-08486-1)
This test bank features more than 5,000 questions in all areas of writing. In addition to extensive
grammar practice, the test bank covers paragraphs and essays, including such topics as the writing
process and documentation. Instructors simply log on to the Instructor Resource Center (IRC) to
download and print the tests of their choice.
MyTest for The Pearson Test Bank for Developmental Writing (online only) (0-205-79834-9)
This test bank features more than 5,000 questions in all areas of writing, from grammar to paragraphing
through essay writing, research, and documentation. Through this instructor friendly program instructors
are able to edit these questions and tests to suit their classroom needs and are also allowed more
flexibility to manage assessments at any time.
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Diagnostic and Editing Tests with Exercises, 9/e (0-321-41524-8)
This collection of diagnostic tests helps instructors assess students’ competence in standard written
English to determine placement or to gauge progress.
The Pearson Guide to Community Service-Learning in the English Classroom and Beyond by
Elizabeth Kessler Rodriguez (0-321-12749-8)
Written by Elizabeth Rodriguez Kessler of the University of Houston, this monograph provides a definition
and history of service-learning, as well as an overview of how service-learning can be integrated
effectively into the college classroom.
.
Diagnostic and Editing Tests with Exercises, 9/e (0-321-41524-8)
This collection of diagnostic tests helps instructors assess students’ competence in standard written
English to determine placement or to gauge progress.
The Pearson Guide to Community Service-Learning in the English Classroom and Beyond by
Elizabeth Kessler Rodriguez (0-321-12749-8)
Written by Elizabeth Rodriguez Kessler of the University of Houston, this monograph provides a definition
and history of service-learning, as well as an overview of how service-learning can be integrated
effectively into the college classroom.
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.
Instructor Resource Center
GETTING REGISTERED
To register for the Instructor Resource Center (IRC), go to www.pearsonhighered.com and click
“Educators.”
1. Click “Catalog & Instructor Resources.”
2. Request access to download digital supplements by clicking the “New users, request Access” link.
Follow the provided instructions. Once you have been verified as a valid Pearson instructor, an instructor
code will be emailed to you. Please use this code to set up your Pearson login name and password. After
you have set up your username and password, proceed to the directions below.
DOWNLOADING RESOURCES
1. Go to http://www.pearsonhighered.com/educator, sign in using your Pearson login name and
password. Under “Download Resources” search for your book or product by either entering the
author’s last name or keyword.
2. Select your text from the provided results.
3. After being directed to the catalog page for your text, click the “Instructor Resources” link located
under the “Resources” tab.
.
Instructor Resource Center
GETTING REGISTERED
To register for the Instructor Resource Center (IRC), go to www.pearsonhighered.com and click
“Educators.”
1. Click “Catalog & Instructor Resources.”
2. Request access to download digital supplements by clicking the “New users, request Access” link.
Follow the provided instructions. Once you have been verified as a valid Pearson instructor, an instructor
code will be emailed to you. Please use this code to set up your Pearson login name and password. After
you have set up your username and password, proceed to the directions below.
DOWNLOADING RESOURCES
1. Go to http://www.pearsonhighered.com/educator, sign in using your Pearson login name and
password. Under “Download Resources” search for your book or product by either entering the
author’s last name or keyword.
2. Select your text from the provided results.
3. After being directed to the catalog page for your text, click the “Instructor Resources” link located
under the “Resources” tab.
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.
Clicking the “Instructor Resources” link will provide a list of all of the book-specific print and digital
resources for your text below the main title. Items available for download will have a icon.
4. Click on the “Show Downloadable Files” link next to the resource you want to download.
A pop-up box will appear showing which files you have selected to download. Once you select the
files, you will be prompted to login with an Instructor Resource Center login.
5. If you have not already signed in, you will be asked to enter your login name and password, and click
the “Submit” button.
6. Read the terms and conditions and then click the “I accept, proceed with download” button to begin
the download process.
7. “Save” the supplement file to a folder you can easily find again.
Once you are signed into the IRC, you may continue to download additional resources from our
online catalog.
Please “Sign Out” when you are finished.
.
Clicking the “Instructor Resources” link will provide a list of all of the book-specific print and digital
resources for your text below the main title. Items available for download will have a icon.
4. Click on the “Show Downloadable Files” link next to the resource you want to download.
A pop-up box will appear showing which files you have selected to download. Once you select the
files, you will be prompted to login with an Instructor Resource Center login.
5. If you have not already signed in, you will be asked to enter your login name and password, and click
the “Submit” button.
6. Read the terms and conditions and then click the “I accept, proceed with download” button to begin
the download process.
7. “Save” the supplement file to a folder you can easily find again.
Once you are signed into the IRC, you may continue to download additional resources from our
online catalog.
Please “Sign Out” when you are finished.
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.
How to Use IDEAS & Aims
We wrote IDEAS & Aims to serve a growing need in college writing classrooms. Whether the
course you are teaching is a studio basic writing course, an accelerated learning program, a stretch
developmental writing course, an integrated reading-writing course, or a college composition course,
IDEAS & Aims emphasizes the following:
▪ Rhetorical purpose (aim)
▪ College-level reading skills
▪ Critical thinking skills
▪ Academic, professional, and personal writing
The Advantage of an Aims-Based Approach
IDEAS & Aims gives special emphasis to the areas mentioned above, but it does so with an aims-
or a purposes-based approach. The text reflects the reality that most people do not sit down and
think, “I need to write a division/classification paper.” Instead, writers are better off considering
their rhetorical purpose (the aim of the writing) and crafting that prose with a specific audience in
mind.
From our interactions with colleagues coupled with our years of teaching and administrative
experience, we have found many instructors are not satisfied with textbooks organized by the modes
of discourse (also called the patterns of organization). IDEAS & Aims, in contrast, takes an aims-
based approach.
By using an aims-based approach, the textbook shows how rhetorical aim is key to a writer’s
purpose and how paragraphs work toward that overarching goal. Chapters 4 and 5 explain and
illustrate the traditional methods of paragraph development—process, comparison and contrast, and
so on—but then place these within the larger aims of describing, reflecting, informing, analyzing,
evaluating, and persuading.
We believe students recognize the limited value of a modes-based approach. For example, a student
may be asked to write a comparison/contrast paper in a writing course, but later on in her college
career, she may have to write a lesson plan in an education course, a research paper based on the
genre of IMRD (Introduction, Methods, Results, and Discussion) in a psychology course, or a
marketing plan in a business course. Rather than drawing from her knowledge of the modes she
learned in a writing course, she can direct her writing more effectively by focusing on the purposes
of those types of documents and using the appropriate rhetorical moves that connect to that
purpose as it connects to a specific genre of writing.
If you we want to teach for transfer, as many experts in composition studies have argued for,
thinking about the aim or purpose of a piece of writing and using a rhetorical mindset are major keys
for students becoming adept and flexible writers not only in college but also in the workplace.
To address that workplace focus, the aims-based chapters provide writing assignments that
exemplify how a writer’s purpose plays out in professional settings. In addition, the textbook
consistently interweaves examples of the workplace writing into the chapters.
.
How to Use IDEAS & Aims
We wrote IDEAS & Aims to serve a growing need in college writing classrooms. Whether the
course you are teaching is a studio basic writing course, an accelerated learning program, a stretch
developmental writing course, an integrated reading-writing course, or a college composition course,
IDEAS & Aims emphasizes the following:
▪ Rhetorical purpose (aim)
▪ College-level reading skills
▪ Critical thinking skills
▪ Academic, professional, and personal writing
The Advantage of an Aims-Based Approach
IDEAS & Aims gives special emphasis to the areas mentioned above, but it does so with an aims-
or a purposes-based approach. The text reflects the reality that most people do not sit down and
think, “I need to write a division/classification paper.” Instead, writers are better off considering
their rhetorical purpose (the aim of the writing) and crafting that prose with a specific audience in
mind.
From our interactions with colleagues coupled with our years of teaching and administrative
experience, we have found many instructors are not satisfied with textbooks organized by the modes
of discourse (also called the patterns of organization). IDEAS & Aims, in contrast, takes an aims-
based approach.
By using an aims-based approach, the textbook shows how rhetorical aim is key to a writer’s
purpose and how paragraphs work toward that overarching goal. Chapters 4 and 5 explain and
illustrate the traditional methods of paragraph development—process, comparison and contrast, and
so on—but then place these within the larger aims of describing, reflecting, informing, analyzing,
evaluating, and persuading.
We believe students recognize the limited value of a modes-based approach. For example, a student
may be asked to write a comparison/contrast paper in a writing course, but later on in her college
career, she may have to write a lesson plan in an education course, a research paper based on the
genre of IMRD (Introduction, Methods, Results, and Discussion) in a psychology course, or a
marketing plan in a business course. Rather than drawing from her knowledge of the modes she
learned in a writing course, she can direct her writing more effectively by focusing on the purposes
of those types of documents and using the appropriate rhetorical moves that connect to that
purpose as it connects to a specific genre of writing.
If you we want to teach for transfer, as many experts in composition studies have argued for,
thinking about the aim or purpose of a piece of writing and using a rhetorical mindset are major keys
for students becoming adept and flexible writers not only in college but also in the workplace.
To address that workplace focus, the aims-based chapters provide writing assignments that
exemplify how a writer’s purpose plays out in professional settings. In addition, the textbook
consistently interweaves examples of the workplace writing into the chapters.
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.
Overall, IDEAS & Aims shows students how an aims-based approach can support them in their
college, workplace, civic, and personal writing.
The Reading-Writing Connection
As one could expect, IDEAS & Aims discusses the writing process at length. However, this
textbook also discusses the reading process. Chapter 2 covers analytical reading strategies and how
students should use a process of reading to get the most out of their writing course, as well as other
courses.
The textbook reflects the reality that writing teachers also have to teach reading skills. The book
challenges students to become critical thinkers who engage in deep analytical reading and writing.
Students will be guided to look at an author’s assumptions, evidence, and presentation of material,
and then to think about their own assumptions and evidence. This textbook’s strong focus on
connecting analytical reading, writing, and critical thinking strategies addresses the important
reading-writing connection in our classrooms.
In addition, a way to foster strong reading skills is through the IDEAS template (Interest, Details,
Explanation, Audience, and Style), which is detailed in Chapter 2 and 3. Students can use this easy-
to-remember and useful tool in productive ways. They can use the IDEAS template as a tool to
examine, analyze, and critique the diverse reading selections in the textbook.
Following research from reading pedagogy, when readings are provided, they are prefaced by pre-
reading questions and are followed by questions for discussion that usually connect to the IDEAS
template. In turn, instructors can use those reading selections and springboards for writing via
journals and essays.
Overall Structure of the Textbook
IDEAS & Aims has five parts. Part One focuses on college expectations and codes, reading
strategies and the process of reading, and writing and the process of writing. Part Two teaches
students how to write cohesive, unified, and developed paragraphs and essays.
The chapters in Part Three are organized by rhetorical purpose via six aims—writing that is
descriptive, reflective, informative, analytical, evaluative, and persuasive. Each chapter showcases
diverse readings that range from short selections (one to four paragraphs) to long essays.
Part Four addresses working with sources, research, and MLA and APA documentation. Finally, the
text concludes with Part Five. Chapter 14: Style Matters, which provides important sentence-level
information and exercises; and Chapter 15: Correcting Sentence Errors, which is similar to a
handbook, concludes the textbook.
.
Overall, IDEAS & Aims shows students how an aims-based approach can support them in their
college, workplace, civic, and personal writing.
The Reading-Writing Connection
As one could expect, IDEAS & Aims discusses the writing process at length. However, this
textbook also discusses the reading process. Chapter 2 covers analytical reading strategies and how
students should use a process of reading to get the most out of their writing course, as well as other
courses.
The textbook reflects the reality that writing teachers also have to teach reading skills. The book
challenges students to become critical thinkers who engage in deep analytical reading and writing.
Students will be guided to look at an author’s assumptions, evidence, and presentation of material,
and then to think about their own assumptions and evidence. This textbook’s strong focus on
connecting analytical reading, writing, and critical thinking strategies addresses the important
reading-writing connection in our classrooms.
In addition, a way to foster strong reading skills is through the IDEAS template (Interest, Details,
Explanation, Audience, and Style), which is detailed in Chapter 2 and 3. Students can use this easy-
to-remember and useful tool in productive ways. They can use the IDEAS template as a tool to
examine, analyze, and critique the diverse reading selections in the textbook.
Following research from reading pedagogy, when readings are provided, they are prefaced by pre-
reading questions and are followed by questions for discussion that usually connect to the IDEAS
template. In turn, instructors can use those reading selections and springboards for writing via
journals and essays.
Overall Structure of the Textbook
IDEAS & Aims has five parts. Part One focuses on college expectations and codes, reading
strategies and the process of reading, and writing and the process of writing. Part Two teaches
students how to write cohesive, unified, and developed paragraphs and essays.
The chapters in Part Three are organized by rhetorical purpose via six aims—writing that is
descriptive, reflective, informative, analytical, evaluative, and persuasive. Each chapter showcases
diverse readings that range from short selections (one to four paragraphs) to long essays.
Part Four addresses working with sources, research, and MLA and APA documentation. Finally, the
text concludes with Part Five. Chapter 14: Style Matters, which provides important sentence-level
information and exercises; and Chapter 15: Correcting Sentence Errors, which is similar to a
handbook, concludes the textbook.
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.
Internal Structure of the Aims-Based Chapters
In the aims-based chapters (6-11), the chapters are organized in a consistent manner:
▪ Learning Objectives
Each chapter provides clear learning objectives about the principles and skills the chapter
covers.
▪ Succinct Instruction
The beginning of every chapter offers concise instruction and advice about writing for that
purpose.
▪ Exercises
Short exercises are provided that link directly to concepts presented in the early part of the
chapters.
▪ Examples/Student Models
There are examples of how students have gone through the process of writing a paper for a
college class—their brainstorming and then the final product, the paper. These “Put IDEAS
to Work” sections provide positive modeling for what students can do.
▪ Reading and Writing: IDEAS in Action
To further reinforce the IDEAS template, the chapters also offer professional essays that are
annotated via IDEAS to model analytical reading.
▪ Accessible Readings
The chapters provide a mix of readings that clearly connect to the rhetorical purpose
detailed in each chapter. All readings are prefaced by pre-reading prompts to stimulate
critical thinking about topics. After the questions, there are typically two different
assignments instructors can use for directed journal assignments or for larger assignments.
▪ Additional Writing Assignments
The chapters close with three larger writing assignments: a smaller paragraph-length
assignment, an essay assignment, and a mock professional writing case that has students
write in a specific genre (letter, memo, among others).
▪ Visuals for Critical Thinking
Each chapter uses visual aids (photographs, comics, etc.) throughout to stimulate analytical
thinking related to the learning goals of each chapter. Sometimes serious or sometimes
humorous, they reflect the focus of each chapter and make students look beyond the
obvious for critical thinking.
▪ Chapter at a Glance
At the close of each chapter, there is a visual that reinforces the learning objectives of the
chapter.
Types of Writing Assignments
In all of the aims-based chapters (6–11) and in earlier and later chapters, the book provides
numerous and varied writing assignments or short writing prompts that can be turned into some
sort of directed journal to be turned in or a major paper.
.
Internal Structure of the Aims-Based Chapters
In the aims-based chapters (6-11), the chapters are organized in a consistent manner:
▪ Learning Objectives
Each chapter provides clear learning objectives about the principles and skills the chapter
covers.
▪ Succinct Instruction
The beginning of every chapter offers concise instruction and advice about writing for that
purpose.
▪ Exercises
Short exercises are provided that link directly to concepts presented in the early part of the
chapters.
▪ Examples/Student Models
There are examples of how students have gone through the process of writing a paper for a
college class—their brainstorming and then the final product, the paper. These “Put IDEAS
to Work” sections provide positive modeling for what students can do.
▪ Reading and Writing: IDEAS in Action
To further reinforce the IDEAS template, the chapters also offer professional essays that are
annotated via IDEAS to model analytical reading.
▪ Accessible Readings
The chapters provide a mix of readings that clearly connect to the rhetorical purpose
detailed in each chapter. All readings are prefaced by pre-reading prompts to stimulate
critical thinking about topics. After the questions, there are typically two different
assignments instructors can use for directed journal assignments or for larger assignments.
▪ Additional Writing Assignments
The chapters close with three larger writing assignments: a smaller paragraph-length
assignment, an essay assignment, and a mock professional writing case that has students
write in a specific genre (letter, memo, among others).
▪ Visuals for Critical Thinking
Each chapter uses visual aids (photographs, comics, etc.) throughout to stimulate analytical
thinking related to the learning goals of each chapter. Sometimes serious or sometimes
humorous, they reflect the focus of each chapter and make students look beyond the
obvious for critical thinking.
▪ Chapter at a Glance
At the close of each chapter, there is a visual that reinforces the learning objectives of the
chapter.
Types of Writing Assignments
In all of the aims-based chapters (6–11) and in earlier and later chapters, the book provides
numerous and varied writing assignments or short writing prompts that can be turned into some
sort of directed journal to be turned in or a major paper.
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.
End-of-the-Chapter Writing Assignments
Each purpose-driven chapters (6–11) has three types of writing assignments at the end of them:
▪ Paragraph-focused Assignment
The first prompt is a paragraph-level that usually demands one to four paragraphs of
writing. Because instructors sometimes start small and move to larger assignments during a
semester, these prompts serve the purpose of shorter assignments used earlier in a semester
or quarter.
▪ Essay Assignment
Instructors can use the second prompt anytime in the semester depending on how one
configures his or her syllabus. These are larger papers.
▪ Professional Writing Case
The third prompt is modeled on how some instructors teach professional, technical, or
business writing courses. Rather than assigning a paper that is written for the teacher and
peers, students have to take on the role of a certain individual, consider a very specific
reader, and use a professional writing genre in response to a rhetorical situation. They are
given an interesting and detailed rhetorical situation, and then students have to write in
response to it by using a letter, memo, report, and other genres.
Ideas for Writing Prompts and How to Use Them
After the discussion questions that follow the readings in the text’s chapters, there are typically one
or two “IDEAS for Your Own Writing” assignments that you can use for smaller or larger writing
assignments. To model careful, deep reading, instructors can use these prompts for writing
assignments to support strong discussion and thinking about the writers’ ideas and moves in their
pieces. Because a lot of college writing is based on writing in response to reading, you can modify
the prompts in a couple of ways:
▪ Expand & Articulate
You can turn them into larger assignments by providing clear directions about audience,
purpose, organization, and how they will be evaluated.
▪ Provide Choices for Journals or Short Papers
You can use these prompts as choices for students to write in response to that unit on a
specific aim of writing such as informative, etc. If an instructor regularly uses shorter papers,
giving students a choice of what readings they can respond to gives them agency.
Also, an instructor does not always have to use these prompts for writing. They can be used for
discussion. After students have read a specific piece of writing, you can use some of the “IDEAS for
Your Own Writing” prompts in these ways:
.
End-of-the-Chapter Writing Assignments
Each purpose-driven chapters (6–11) has three types of writing assignments at the end of them:
▪ Paragraph-focused Assignment
The first prompt is a paragraph-level that usually demands one to four paragraphs of
writing. Because instructors sometimes start small and move to larger assignments during a
semester, these prompts serve the purpose of shorter assignments used earlier in a semester
or quarter.
▪ Essay Assignment
Instructors can use the second prompt anytime in the semester depending on how one
configures his or her syllabus. These are larger papers.
▪ Professional Writing Case
The third prompt is modeled on how some instructors teach professional, technical, or
business writing courses. Rather than assigning a paper that is written for the teacher and
peers, students have to take on the role of a certain individual, consider a very specific
reader, and use a professional writing genre in response to a rhetorical situation. They are
given an interesting and detailed rhetorical situation, and then students have to write in
response to it by using a letter, memo, report, and other genres.
Ideas for Writing Prompts and How to Use Them
After the discussion questions that follow the readings in the text’s chapters, there are typically one
or two “IDEAS for Your Own Writing” assignments that you can use for smaller or larger writing
assignments. To model careful, deep reading, instructors can use these prompts for writing
assignments to support strong discussion and thinking about the writers’ ideas and moves in their
pieces. Because a lot of college writing is based on writing in response to reading, you can modify
the prompts in a couple of ways:
▪ Expand & Articulate
You can turn them into larger assignments by providing clear directions about audience,
purpose, organization, and how they will be evaluated.
▪ Provide Choices for Journals or Short Papers
You can use these prompts as choices for students to write in response to that unit on a
specific aim of writing such as informative, etc. If an instructor regularly uses shorter papers,
giving students a choice of what readings they can respond to gives them agency.
Also, an instructor does not always have to use these prompts for writing. They can be used for
discussion. After students have read a specific piece of writing, you can use some of the “IDEAS for
Your Own Writing” prompts in these ways:
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▪ Use as Additional Discussion Questions
Those writing ideas often connect to the analytical questions after the readings, so
instructors can present them as ways to further connect with the authors’ ideas and points.
▪ Have Students do an In-Class Writing to Discover Their Thoughts
Key to becoming a stronger writer is practice, and in-class writing can show students that, as
Janet Emig relates, “writing is a mode of learning.” Having students write in response to the
prompts and then having them share their written response or ideas based on the responses
can help students understand the messiness of writing and how writing helps them discover
their thoughts.
Teaching Strategies, Tactics, and Tips
The following section provides a number of ways you can use IDEAS & Aims effectively along with
some helpful discussion of how to use peer review and comment/evaluate student work.
The IDEAS Template in Your Classroom
As Chapters 2 and 3 detail, students can use the IDEAS template for both analytical reading and as a
heuristic, a tool for generating content, for their papers. Below is more information about how to
use the IDEAS template.
Reading from a Writer’s and Reader’s Perspective
One of the most significant challenges writing instructors face is helping students become stronger
and more discerning readers. As we know from our own education, there’s a connection between
reading and writing. To become a good writer, you need to become a strong reader. What the
IDEAS template can do for students is give them an easy to remember mnemonic device that
focuses their attention on writers’ moves.
To that end, the “Questions for Discussion” after each major reading offer questions tied to the
template to imprint that mindset for students, to make them think about a piece of writing from a
writer’s and reader’s perspective. Too often students read selections in textbooks as though they are
hallowed material, that the works are polished and need no work.
When we selected readings for the chapters, we deliberately chose essays that connected to the aim
of writing and a topic that students might enjoy discussing, but they are not without flaws. When
directing discussion about a piece of writing, we recommend that instructors strive to go beyond
initial reactions of like or dislike and make students delve deeply into how an essay is constructed,
what support is used, and how it moves from one point to the next.
By using the IDEAS template, you can ask questions that connect to the writer and reader. Here are
some typical ones, many of which are followed by the simple and very important question of
“Why?” that makes students explain their reasoning:
▪ Interest
o What did the author do at the start to spark a reader’s interest in the topic? Why?
o How could he or she done that more effectively? Why?
o How would you have started the essay? Why?
.
▪ Use as Additional Discussion Questions
Those writing ideas often connect to the analytical questions after the readings, so
instructors can present them as ways to further connect with the authors’ ideas and points.
▪ Have Students do an In-Class Writing to Discover Their Thoughts
Key to becoming a stronger writer is practice, and in-class writing can show students that, as
Janet Emig relates, “writing is a mode of learning.” Having students write in response to the
prompts and then having them share their written response or ideas based on the responses
can help students understand the messiness of writing and how writing helps them discover
their thoughts.
Teaching Strategies, Tactics, and Tips
The following section provides a number of ways you can use IDEAS & Aims effectively along with
some helpful discussion of how to use peer review and comment/evaluate student work.
The IDEAS Template in Your Classroom
As Chapters 2 and 3 detail, students can use the IDEAS template for both analytical reading and as a
heuristic, a tool for generating content, for their papers. Below is more information about how to
use the IDEAS template.
Reading from a Writer’s and Reader’s Perspective
One of the most significant challenges writing instructors face is helping students become stronger
and more discerning readers. As we know from our own education, there’s a connection between
reading and writing. To become a good writer, you need to become a strong reader. What the
IDEAS template can do for students is give them an easy to remember mnemonic device that
focuses their attention on writers’ moves.
To that end, the “Questions for Discussion” after each major reading offer questions tied to the
template to imprint that mindset for students, to make them think about a piece of writing from a
writer’s and reader’s perspective. Too often students read selections in textbooks as though they are
hallowed material, that the works are polished and need no work.
When we selected readings for the chapters, we deliberately chose essays that connected to the aim
of writing and a topic that students might enjoy discussing, but they are not without flaws. When
directing discussion about a piece of writing, we recommend that instructors strive to go beyond
initial reactions of like or dislike and make students delve deeply into how an essay is constructed,
what support is used, and how it moves from one point to the next.
By using the IDEAS template, you can ask questions that connect to the writer and reader. Here are
some typical ones, many of which are followed by the simple and very important question of
“Why?” that makes students explain their reasoning:
▪ Interest
o What did the author do at the start to spark a reader’s interest in the topic? Why?
o How could he or she done that more effectively? Why?
o How would you have started the essay? Why?
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o What would entice people to read on? Why?
o How does the author maintain interest throughout the piece of writing?
o What could have been cut or added to maintain interest? Why?
▪ Details
o Look at the difference between general and specific details in the piece of writing.
Where does the author stop to really detail something and why is he or she doing
that? Why? What effect does it have on the reader?
o Where are there places that might confuse the reader? Why?
o What are places that need more details to show the reader? Why?
o Where are there places that didn’t need to be as detailed as they are currently? Why?
● Explanation
o Examples persuade. What examples work in this piece of writing for readers? Why?
o What examples aren’t as strong? Why?
o What examples or further explanation would you have used if you were the writer?
Why?
o Looking at the overall organization of the piece of writing, would a different order of
examples and explanation worked more effectively? Why? How?
o What choices in explaining matters would you redo if you were the author? Why?
How?
▪ Audience
o What’s the tone and attitude of the writer? How does that tone and attitude connect
or distance readers? Why?
o Where in the piece of writing does the author clearly connect to readers? How?
o Where does the writing not take into account different perspectives? Why?
o How might someone hostile to the author’s points react? Why?
▪ Style
o Look at the individual sentences of the piece of writing. How does the writer vary
the types and lengths of sentences? What effect does that have on the reader?
o Pick out five sentences that are crucial to this piece of writing. How are they written?
Why did the author choose to write them this way? What effect does sentence
structure have on meaning?
o Look closely at transitions. Where are they artfully used, and what can you learn
from those examples? Where are stronger transitions needed? Why?
.
o What would entice people to read on? Why?
o How does the author maintain interest throughout the piece of writing?
o What could have been cut or added to maintain interest? Why?
▪ Details
o Look at the difference between general and specific details in the piece of writing.
Where does the author stop to really detail something and why is he or she doing
that? Why? What effect does it have on the reader?
o Where are there places that might confuse the reader? Why?
o What are places that need more details to show the reader? Why?
o Where are there places that didn’t need to be as detailed as they are currently? Why?
● Explanation
o Examples persuade. What examples work in this piece of writing for readers? Why?
o What examples aren’t as strong? Why?
o What examples or further explanation would you have used if you were the writer?
Why?
o Looking at the overall organization of the piece of writing, would a different order of
examples and explanation worked more effectively? Why? How?
o What choices in explaining matters would you redo if you were the author? Why?
How?
▪ Audience
o What’s the tone and attitude of the writer? How does that tone and attitude connect
or distance readers? Why?
o Where in the piece of writing does the author clearly connect to readers? How?
o Where does the writing not take into account different perspectives? Why?
o How might someone hostile to the author’s points react? Why?
▪ Style
o Look at the individual sentences of the piece of writing. How does the writer vary
the types and lengths of sentences? What effect does that have on the reader?
o Pick out five sentences that are crucial to this piece of writing. How are they written?
Why did the author choose to write them this way? What effect does sentence
structure have on meaning?
o Look closely at transitions. Where are they artfully used, and what can you learn
from those examples? Where are stronger transitions needed? Why?
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These questions are not the only ones you can use. In fact, to make some of them more effective,
it’s better to cite specifics within the piece of writing to focus students’ attention.
Discussion and Group Work
Using the questions above or ones similar, you can base discussion within your classroom on what
students can learn from the essays and authors and how they can transfer that knowledge to their
own writing. Being explicit about what students can learn from the reading will accomplish these
tasks:
1) You can connect what published authors are doing in their writing to what students need to
do in their writing. Being explicit about what works and what does not is a learning
experience for their writing assignments.
2) You can show that they should not read passively. They have to engage in the reading and
actively consider the choices the writer made for his or her audience.
3) You can slow them down. In contrast to skimming, looking at the essay or passage in “slow
motion” will reinforce that you have to read carefully.
4) You can get them past the obsessive search for the “right answer.” Many of students seem
to think discussion is focused on the right answer to questions. By opening up discussion to
diverse perspectives, they can see that there are multiple answers as long as those
perspectives are supported by logical reasons. To move students beyond the mindset of
“Everyone has a right to their own opinion”, discussion can reinforce that opinions without
logical support don’t have rights in the classroom.
Open discussion as a whole group is useful. However, an instructor can often use small groups to do
the work of breaking down a reading selection. The key though is properly arranging and monitoring
small groups.
While it’s helpful to put students in pairs for a number of activities, we suggest small groups need to
be between three or four people or in pairs. If you have over four people in a group, some students
can hide from offering their ideas just like they do in a large-group discussion. The advantage that
small groups have is that the introverts, the students who usually have good points but rarely speak
in large groups, are more likely to contribute. It’s a safer space for them than a large-group
discussion.
One way to use the IDEAS template is to assign each small group one part of the template, such as
Group 1 has “Interest,” Group 2 has “Details,” and so on. This can be easily done with the
discussion questions after readings.
You can assign each group a set of questions organized by parts of the IDEAS template, and then
they can report their findings to the large group. Instructors often ask one group member to be the
spokesperson for the group (the person who presents their points), and another group member acts
as a secretary for the group to write down their ideas. At the end of class, the groups then turn in
their notes to show that they’ve been on task and are doing their work.
One pitfall of having groups present is that sometimes the other groups do not listen to what a
group is saying. It becomes an exercise in the group reporting to the teacher. One method to guard
.
These questions are not the only ones you can use. In fact, to make some of them more effective,
it’s better to cite specifics within the piece of writing to focus students’ attention.
Discussion and Group Work
Using the questions above or ones similar, you can base discussion within your classroom on what
students can learn from the essays and authors and how they can transfer that knowledge to their
own writing. Being explicit about what students can learn from the reading will accomplish these
tasks:
1) You can connect what published authors are doing in their writing to what students need to
do in their writing. Being explicit about what works and what does not is a learning
experience for their writing assignments.
2) You can show that they should not read passively. They have to engage in the reading and
actively consider the choices the writer made for his or her audience.
3) You can slow them down. In contrast to skimming, looking at the essay or passage in “slow
motion” will reinforce that you have to read carefully.
4) You can get them past the obsessive search for the “right answer.” Many of students seem
to think discussion is focused on the right answer to questions. By opening up discussion to
diverse perspectives, they can see that there are multiple answers as long as those
perspectives are supported by logical reasons. To move students beyond the mindset of
“Everyone has a right to their own opinion”, discussion can reinforce that opinions without
logical support don’t have rights in the classroom.
Open discussion as a whole group is useful. However, an instructor can often use small groups to do
the work of breaking down a reading selection. The key though is properly arranging and monitoring
small groups.
While it’s helpful to put students in pairs for a number of activities, we suggest small groups need to
be between three or four people or in pairs. If you have over four people in a group, some students
can hide from offering their ideas just like they do in a large-group discussion. The advantage that
small groups have is that the introverts, the students who usually have good points but rarely speak
in large groups, are more likely to contribute. It’s a safer space for them than a large-group
discussion.
One way to use the IDEAS template is to assign each small group one part of the template, such as
Group 1 has “Interest,” Group 2 has “Details,” and so on. This can be easily done with the
discussion questions after readings.
You can assign each group a set of questions organized by parts of the IDEAS template, and then
they can report their findings to the large group. Instructors often ask one group member to be the
spokesperson for the group (the person who presents their points), and another group member acts
as a secretary for the group to write down their ideas. At the end of class, the groups then turn in
their notes to show that they’ve been on task and are doing their work.
One pitfall of having groups present is that sometimes the other groups do not listen to what a
group is saying. It becomes an exercise in the group reporting to the teacher. One method to guard
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against that happening is using a presenter-respondent format. In this format, a group or
individual expresses their ideas related to the IDEAS questions, but then they have to pick someone
or multiple people to respond to what they just said—to agree, to disagree, or to offer a different
viewpoint and why they think that way. In the presenter-respondent format, groups have to actively
listen to what others are saying because they might get called on by their peers (or instructor) to
respond to what was said during class. Once students get used to the format of discussion that has
them talking to each other (and not exclusively to the instructor), often students will volunteer to be
respondents, and discussion ensues.
Prewriting and Invention
As detailed in the chapters through student examples, students can use IDEAS as a way to generate
content for their papers. The examples in the chapters model how students can use IDEAS as a way
to get the messy writing out of the way in order to move them toward drafting their papers.
Using IDEAS in this way works as simple brainstorming on paper or screen, with which writing
instructors are familiar. Chapter 3 also provides various methods of prewriting that students can use.
Another method of invention is pairing or grouping students to talk through the IDEAS template
about points for their papers. To many students who have a fear of writing, simply talking to
someone about their ideas based on the IDEAS template can free them from a negative mindset and
provide a reader’s perspective on what they should do in the paper. To students, sitting down and
talking about ideas is an easy first step that can precede working on the page or screen.
To guard against idle chit-chat about whatever is on their minds, the instructor should closely
monitor the conversations and get students on track when they need it. You should move from
group to group to make sure they’re talking about their ideas for the papers.
Directions for this collaborative, spoken brainstorming could be statements as simple as this:
▪ You have your paper assignment. I’m going to put you in pairs. Use the IDEAS template a
guide to talk about what you’ll write about in your paper. Your partner should give you ideas
on what will work and what won’t. I’ll move among you to take any questions and see how
you’re doing. You’ll have five minutes for each pairing, and we’ll do three or four rounds of
this, so you can get different perspectives.
▪ Now that I have you in groups of three, I want you to talk about what you’re going to
include in your papers. Take turns presenting your ideas. After someone has presented his or
her ideas, your peers should provide feedback on how to generate interest, provide good
details, explain things better, offer examples, and think about audience. Think about what
you would want as a reader.
▪ In this first group, just focus on Interest. What can the writer do to make this topic
interesting to the reader? After five minutes, we’ll move to a second group of different
people where you’ll talk about details to use, examples to provide, and explanation that will
be needed.
If you’ve created a supportive classroom environment for students, using the IDEAS template in
this way could be done as a large group activity. Each student could present his or her ideas, and
.
against that happening is using a presenter-respondent format. In this format, a group or
individual expresses their ideas related to the IDEAS questions, but then they have to pick someone
or multiple people to respond to what they just said—to agree, to disagree, or to offer a different
viewpoint and why they think that way. In the presenter-respondent format, groups have to actively
listen to what others are saying because they might get called on by their peers (or instructor) to
respond to what was said during class. Once students get used to the format of discussion that has
them talking to each other (and not exclusively to the instructor), often students will volunteer to be
respondents, and discussion ensues.
Prewriting and Invention
As detailed in the chapters through student examples, students can use IDEAS as a way to generate
content for their papers. The examples in the chapters model how students can use IDEAS as a way
to get the messy writing out of the way in order to move them toward drafting their papers.
Using IDEAS in this way works as simple brainstorming on paper or screen, with which writing
instructors are familiar. Chapter 3 also provides various methods of prewriting that students can use.
Another method of invention is pairing or grouping students to talk through the IDEAS template
about points for their papers. To many students who have a fear of writing, simply talking to
someone about their ideas based on the IDEAS template can free them from a negative mindset and
provide a reader’s perspective on what they should do in the paper. To students, sitting down and
talking about ideas is an easy first step that can precede working on the page or screen.
To guard against idle chit-chat about whatever is on their minds, the instructor should closely
monitor the conversations and get students on track when they need it. You should move from
group to group to make sure they’re talking about their ideas for the papers.
Directions for this collaborative, spoken brainstorming could be statements as simple as this:
▪ You have your paper assignment. I’m going to put you in pairs. Use the IDEAS template a
guide to talk about what you’ll write about in your paper. Your partner should give you ideas
on what will work and what won’t. I’ll move among you to take any questions and see how
you’re doing. You’ll have five minutes for each pairing, and we’ll do three or four rounds of
this, so you can get different perspectives.
▪ Now that I have you in groups of three, I want you to talk about what you’re going to
include in your papers. Take turns presenting your ideas. After someone has presented his or
her ideas, your peers should provide feedback on how to generate interest, provide good
details, explain things better, offer examples, and think about audience. Think about what
you would want as a reader.
▪ In this first group, just focus on Interest. What can the writer do to make this topic
interesting to the reader? After five minutes, we’ll move to a second group of different
people where you’ll talk about details to use, examples to provide, and explanation that will
be needed.
If you’ve created a supportive classroom environment for students, using the IDEAS template in
this way could be done as a large group activity. Each student could present his or her ideas, and
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.
then peers and instructor can respond by focusing on what really needs to be detailed, further
explanation that is needed, and examples that could be used.
By doing activities like the ones mentioned above, you are ensuring the focus of the classroom is on
student learning and student writing.
Peer Review
Peer review is a hallmark of writing classrooms that focus on the writing process. Methods of peer
review are detailed later (page 18), but using IDEAS to formulate peer review questions can
explicitly address what you expect for a paper. Below is a basic example of content-based peer
review questions an instructor might use based on the IDEAS template.
1. Provide a brief statement about the strengths of this paper.
2. Where does the paper need to be more interesting and work with the reader? Why? Offer one
helpful suggestion on how to create more interest for the reader.
3. Where does the paper need to provide stronger details? Why? Offer two helpful suggestions for
providing stronger details.
4. What needs to be explained better and why? What are some examples or further support that
will help the paper? Offer two helpful suggestions about explanation.
5. How does the author need to think further about his or her reader? Offer one helpful suggestion
about audience.
6. Describe two glitches in style or grammar that need to be addressed before the final draft is
turned in.
7. Offer words of encouragement to the writer about revising this paper.
Of course, these are just basic questions that you can adapt and revise to whatever paper your
students are working on.
Grading Criteria and Rubrics
Key to explaining what you expect in a paper is providing grading criteria or a rubric to students, so
they know what they have to do in a given paper. When you provide an assignment sheet, you can
explicitly address what a paper should do by providing grading criteria and/or a rubric. An example
of grading criteria for a book review is below. Behind each bulleted point, we have tied each to a
part of IDEAS.
A Successful Book Review
▪ Provides a concise, accurate, and interesting background for and description of the book at
the beginning of the review. Interest
▪ Offers a thesis that directs the action of the evaluation and reflects the whole review by the
end of the first paragraph. Explanation
▪ Has a thesis that is assertive, one that clearly makes a judgment about the merit of the book
considering its possible audience. Explanation
▪ Gives solid reasons why someone should or should not read this book. Details,
Explanation, & Audience
.
then peers and instructor can respond by focusing on what really needs to be detailed, further
explanation that is needed, and examples that could be used.
By doing activities like the ones mentioned above, you are ensuring the focus of the classroom is on
student learning and student writing.
Peer Review
Peer review is a hallmark of writing classrooms that focus on the writing process. Methods of peer
review are detailed later (page 18), but using IDEAS to formulate peer review questions can
explicitly address what you expect for a paper. Below is a basic example of content-based peer
review questions an instructor might use based on the IDEAS template.
1. Provide a brief statement about the strengths of this paper.
2. Where does the paper need to be more interesting and work with the reader? Why? Offer one
helpful suggestion on how to create more interest for the reader.
3. Where does the paper need to provide stronger details? Why? Offer two helpful suggestions for
providing stronger details.
4. What needs to be explained better and why? What are some examples or further support that
will help the paper? Offer two helpful suggestions about explanation.
5. How does the author need to think further about his or her reader? Offer one helpful suggestion
about audience.
6. Describe two glitches in style or grammar that need to be addressed before the final draft is
turned in.
7. Offer words of encouragement to the writer about revising this paper.
Of course, these are just basic questions that you can adapt and revise to whatever paper your
students are working on.
Grading Criteria and Rubrics
Key to explaining what you expect in a paper is providing grading criteria or a rubric to students, so
they know what they have to do in a given paper. When you provide an assignment sheet, you can
explicitly address what a paper should do by providing grading criteria and/or a rubric. An example
of grading criteria for a book review is below. Behind each bulleted point, we have tied each to a
part of IDEAS.
A Successful Book Review
▪ Provides a concise, accurate, and interesting background for and description of the book at
the beginning of the review. Interest
▪ Offers a thesis that directs the action of the evaluation and reflects the whole review by the
end of the first paragraph. Explanation
▪ Has a thesis that is assertive, one that clearly makes a judgment about the merit of the book
considering its possible audience. Explanation
▪ Gives solid reasons why someone should or should not read this book. Details,
Explanation, & Audience
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.
▪ Offers strong support for its thesis by using specific and concrete details along with an
explanation to support the evaluation. Details, Explanation, & Audience
▪ Has focused and unified paragraphs that relate specific details connected to criteria
appropriate for evaluating this book. Details & Explanation
▪ Is interesting to read—it isn’t boring. Interest & Audience
▪ Can have an attitude and certainly needs to be stylish. Interest, Audience, & Style
▪ Paraphrases and integrates quotations from the book effectively, smoothly, and ethically
through appropriate introductory phrases and in-text citations in MLA Style. Details
▪ Can use third person voice and first person voice to evaluate the book but not second
person (you, your). Details & Audience
▪ Exhibits strong concision, cohesion, transitions, and sentence variety in length and type.
Audience & Style
▪ Provides a medium level of tone and diction—not too formal but not too informal. Style
▪ Does not have editing errors that distract the reader or disrupt the meaning of sentences.
Audience & Style
▪ Is relatively free of mechanical and proofreading errors. Style
The boldfacing of IDEAS could be a bit heavy-handed to some, so another option is an instructor
explaining each bullet to students and casually connecting the IDEAS template to the detailed
grading criteria of the paper.
Another approach to showing students how they are going to be evaluated is creating a grading
rubric that allots points to specific aspects of the paper. Below is an example of a rubric organized
by IDEAS with 20 points allotted to each part. Instructors could obviously adjust point distributions
as they desire. The example on the next page uses simple check marks to note the effectiveness of
the paper based on those components, and the comments section provides a spot for instructors to
be text-specific about what needs to be addressed when the student revises the paper.
.
▪ Offers strong support for its thesis by using specific and concrete details along with an
explanation to support the evaluation. Details, Explanation, & Audience
▪ Has focused and unified paragraphs that relate specific details connected to criteria
appropriate for evaluating this book. Details & Explanation
▪ Is interesting to read—it isn’t boring. Interest & Audience
▪ Can have an attitude and certainly needs to be stylish. Interest, Audience, & Style
▪ Paraphrases and integrates quotations from the book effectively, smoothly, and ethically
through appropriate introductory phrases and in-text citations in MLA Style. Details
▪ Can use third person voice and first person voice to evaluate the book but not second
person (you, your). Details & Audience
▪ Exhibits strong concision, cohesion, transitions, and sentence variety in length and type.
Audience & Style
▪ Provides a medium level of tone and diction—not too formal but not too informal. Style
▪ Does not have editing errors that distract the reader or disrupt the meaning of sentences.
Audience & Style
▪ Is relatively free of mechanical and proofreading errors. Style
The boldfacing of IDEAS could be a bit heavy-handed to some, so another option is an instructor
explaining each bullet to students and casually connecting the IDEAS template to the detailed
grading criteria of the paper.
Another approach to showing students how they are going to be evaluated is creating a grading
rubric that allots points to specific aspects of the paper. Below is an example of a rubric organized
by IDEAS with 20 points allotted to each part. Instructors could obviously adjust point distributions
as they desire. The example on the next page uses simple check marks to note the effectiveness of
the paper based on those components, and the comments section provides a spot for instructors to
be text-specific about what needs to be addressed when the student revises the paper.
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.
Quality Excellent Effective Adequate Needs
Improvement
Weak Point
Total
Interest
20 points X 15
Details
20 points X 12
Explanation
20 points X 12
Audience
20 points X 18
Style
20 points X 15
Grammar
Mechanics
Spelling
[negative
points only]
X -10
Point Total:
100
62
Comments:
.
Quality Excellent Effective Adequate Needs
Improvement
Weak Point
Total
Interest
20 points X 15
Details
20 points X 12
Explanation
20 points X 12
Audience
20 points X 18
Style
20 points X 15
Grammar
Mechanics
Spelling
[negative
points only]
X -10
Point Total:
100
62
Comments:
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.
Similar to an instructor’s specific and well-written commentary about a paper, rubrics like the one on
the last page make it transparent what’s working and what’s not and what needs to be addressed if
students have the chance to revise their work for a higher grade.
That rubric uses check marks, but a different rubric could provide space for comments on each
aspect of IDEAS, such as the example below. In the rubric below Details and Explanation are put
together to highlight how they work as a team and how support and evidence are crucial for a strong
paper.
Criteria Comments Points
Interest
15 pts.
Details
&
Explanation
50 pts.
Audience
Awareness
20 pts.
Style
15 pts.
The second rubric looks less scientific because it is simply a comment sheet broken down by
IDEAS. Regardless, one advantage of using any of these (that is not often talked about) is that
instead of writing on students’ papers, you can write on the rubric using a word-processing program,
and students won’t have trouble deciphering your handwriting.
.
Similar to an instructor’s specific and well-written commentary about a paper, rubrics like the one on
the last page make it transparent what’s working and what’s not and what needs to be addressed if
students have the chance to revise their work for a higher grade.
That rubric uses check marks, but a different rubric could provide space for comments on each
aspect of IDEAS, such as the example below. In the rubric below Details and Explanation are put
together to highlight how they work as a team and how support and evidence are crucial for a strong
paper.
Criteria Comments Points
Interest
15 pts.
Details
&
Explanation
50 pts.
Audience
Awareness
20 pts.
Style
15 pts.
The second rubric looks less scientific because it is simply a comment sheet broken down by
IDEAS. Regardless, one advantage of using any of these (that is not often talked about) is that
instead of writing on students’ papers, you can write on the rubric using a word-processing program,
and students won’t have trouble deciphering your handwriting.
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.
Also, if you save comment files/rubrics for each student and put them in a folder related to the
course, you can return to those comments if you need to assess where writers have grown and have
been challenged throughout the term. The comments/rubrics for each student offer a glimpse of
what they’ve done that semester or quarter.
Professional Writing Assignments
In each of the aims-based chapters, the final assignment is always a professional writing case. These
cases provide mock rhetorical situations in which students have to take on a certain role and write to
a fictitious audience. However, the situation is realistic to real writing situations they might
encounter. The cases are similar to how professionals in various fields practice their craft and critical
thinking skills in mock situations.
Below are the professional writing cases featured in the aims-based chapters:
▪ Ch. 6: Real Estate Description: Describing to Make the Sale
▪ Ch. 7: Marketing Ideas Memo
▪ Ch. 8: Rejection Letter
▪ Ch. 9: PTA Memo
▪ Ch. 10: Parole Letter
▪ Ch. 11: Job or Internship Application Letter
In addition, the cases show students how writing is important to their careers. Too often students
take writing courses with the misguided notion that they won’t have to write often once they get a
job. Most of them find out later on that they have to write all the time in their careers. So rather that
tell students that writing is important in their professions, the professional writing cases in chapters
6–11 show them.
Using a Case Method
The cases in chapters 6–11 can be used as is, or instructors are welcome to modify them as they so
choose. What you will likely have to do is give students information about specific genres and their
formats during class time.
One way of actively helping students learn about professional writing genres is by having students
go out and find examples of a professional letter or memo and bring it back to class (and letters,
memos, and reports from the college they attend are often interesting and revealing). The
assignment would be something along the lines of a “search and share” activity where each student
has to report on the documents and talk about what they discovered about the piece of writing. The
students would have to talk about the what the document is about and then discuss what moves the
writers made to connect to the principles detailed in the aims-based chapter and how the document
is similar and different than the academic papers they write in college. Also, the instructor can
specifically ask about the strengths and weaknesses of each piece of writing and have students give
detailed, text-specific answers about what works and what does not.
What follows on the next two pages is a handout about professional writing that you can copy and
distribute to students. This handout works nicely with the search and share activity outlined above.
.
Also, if you save comment files/rubrics for each student and put them in a folder related to the
course, you can return to those comments if you need to assess where writers have grown and have
been challenged throughout the term. The comments/rubrics for each student offer a glimpse of
what they’ve done that semester or quarter.
Professional Writing Assignments
In each of the aims-based chapters, the final assignment is always a professional writing case. These
cases provide mock rhetorical situations in which students have to take on a certain role and write to
a fictitious audience. However, the situation is realistic to real writing situations they might
encounter. The cases are similar to how professionals in various fields practice their craft and critical
thinking skills in mock situations.
Below are the professional writing cases featured in the aims-based chapters:
▪ Ch. 6: Real Estate Description: Describing to Make the Sale
▪ Ch. 7: Marketing Ideas Memo
▪ Ch. 8: Rejection Letter
▪ Ch. 9: PTA Memo
▪ Ch. 10: Parole Letter
▪ Ch. 11: Job or Internship Application Letter
In addition, the cases show students how writing is important to their careers. Too often students
take writing courses with the misguided notion that they won’t have to write often once they get a
job. Most of them find out later on that they have to write all the time in their careers. So rather that
tell students that writing is important in their professions, the professional writing cases in chapters
6–11 show them.
Using a Case Method
The cases in chapters 6–11 can be used as is, or instructors are welcome to modify them as they so
choose. What you will likely have to do is give students information about specific genres and their
formats during class time.
One way of actively helping students learn about professional writing genres is by having students
go out and find examples of a professional letter or memo and bring it back to class (and letters,
memos, and reports from the college they attend are often interesting and revealing). The
assignment would be something along the lines of a “search and share” activity where each student
has to report on the documents and talk about what they discovered about the piece of writing. The
students would have to talk about the what the document is about and then discuss what moves the
writers made to connect to the principles detailed in the aims-based chapter and how the document
is similar and different than the academic papers they write in college. Also, the instructor can
specifically ask about the strengths and weaknesses of each piece of writing and have students give
detailed, text-specific answers about what works and what does not.
What follows on the next two pages is a handout about professional writing that you can copy and
distribute to students. This handout works nicely with the search and share activity outlined above.
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14
.
Tips and Guidelines for Professional Writing Genres
In General
In comparison to the academic writing you do in college, professional writing genres use single-
spacing for paragraphs, generally shorter paragraphs, double-spacing between paragraphs, and
shorter sentences.
When doing professional writing, you need to sacrifice your prose to these ideals: clarity and
concision. The reader of an email, memo, letter, or report should not have to guess at what you
mean. A writer needs to be direct and use plain language. In other words, get to the point.
A professional writing genre should have a bottom-line arrangement, meaning that the main point
or points, the thesis of the document, needs to be presented early in the document—typically in the
first paragraph, sometimes even as soon as the first sentence. Then all the details and explanation in
the document need to connect to that bottom line.
In professional writing genres, a writer also needs to use white space effectively by employing
shorter paragraphs; using graphs, tables, numbers, and bullet points when necessary; and not taking
up too much of the reader’s time. An email, letter, memo, or report not only has to make sense and
provide clear points, it also has to look good. It has to look professional.
Concision is key. Professional writing should impart the essential information in the least amount of
words possible, make sure that sentences are tightly constructed, have no ambiguity, and use clear
subjects and active verbs. Active voice is usually preferred because it makes it clear who is doing
what.
Emails
Emails are a writing genre that professionals use all the time. Like other forms of professional
writing, strong emails tend to use short paragraphs because they are easier to read on a screen. Using
frequent paragraph breaks cuts up the information into an easily digestible format. Below are
guidelines for sending emails to professors, but the same principles apply to other situations when
you have to write a professional email.
When you send an email, follow the guidelines below. Emails should:
▪ Have a clear and concise subject line that provides the gist of the email, such as “Question
about This Week’s Reading” or “Availability for a Meeting?”.
▪ Begin with a formal address, such as “Dr. Taylor:” or “Professor Taylor:”.
▪ Use a respectful tone.
▪ Provide questions or information in a succinct manner.
▪ Use paragraph breaks for reading ease and strong organization.
▪ Be edited and proofread effectively so as not to cause confusion.
▪ Refrain from using abbreviations or text-prose.
▪ Close with a short statement followed by a comma and your name, such as “Thanks for your
time,” or “Sincerely,” or “Have a good weekend,”.
.
Tips and Guidelines for Professional Writing Genres
In General
In comparison to the academic writing you do in college, professional writing genres use single-
spacing for paragraphs, generally shorter paragraphs, double-spacing between paragraphs, and
shorter sentences.
When doing professional writing, you need to sacrifice your prose to these ideals: clarity and
concision. The reader of an email, memo, letter, or report should not have to guess at what you
mean. A writer needs to be direct and use plain language. In other words, get to the point.
A professional writing genre should have a bottom-line arrangement, meaning that the main point
or points, the thesis of the document, needs to be presented early in the document—typically in the
first paragraph, sometimes even as soon as the first sentence. Then all the details and explanation in
the document need to connect to that bottom line.
In professional writing genres, a writer also needs to use white space effectively by employing
shorter paragraphs; using graphs, tables, numbers, and bullet points when necessary; and not taking
up too much of the reader’s time. An email, letter, memo, or report not only has to make sense and
provide clear points, it also has to look good. It has to look professional.
Concision is key. Professional writing should impart the essential information in the least amount of
words possible, make sure that sentences are tightly constructed, have no ambiguity, and use clear
subjects and active verbs. Active voice is usually preferred because it makes it clear who is doing
what.
Emails
Emails are a writing genre that professionals use all the time. Like other forms of professional
writing, strong emails tend to use short paragraphs because they are easier to read on a screen. Using
frequent paragraph breaks cuts up the information into an easily digestible format. Below are
guidelines for sending emails to professors, but the same principles apply to other situations when
you have to write a professional email.
When you send an email, follow the guidelines below. Emails should:
▪ Have a clear and concise subject line that provides the gist of the email, such as “Question
about This Week’s Reading” or “Availability for a Meeting?”.
▪ Begin with a formal address, such as “Dr. Taylor:” or “Professor Taylor:”.
▪ Use a respectful tone.
▪ Provide questions or information in a succinct manner.
▪ Use paragraph breaks for reading ease and strong organization.
▪ Be edited and proofread effectively so as not to cause confusion.
▪ Refrain from using abbreviations or text-prose.
▪ Close with a short statement followed by a comma and your name, such as “Thanks for your
time,” or “Sincerely,” or “Have a good weekend,”.
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15
.
Letters
Letters are one of the oldest professional writing genres, and they should follow the general
guidelines provided above, but a professional letter has a specific format at the beginning and end.
An example is given below.
22 Ingram Avenue < This is the sender’s address.
Tuscaloosa, Alabama 35401
August 28, 2015 < The date needs to be provided.
Tom Tyler < Here you provide the person’s name you are sending it to with address.
311-C Cedar Crest Apts.
Tuscaloosa, Alabama 35401
Dear Mr. Tyler: < The formal address uses a professional address—Dr., Mr., Mrs., or Ms.—
followed by a colon.
After the introductory, body, and concluding paragraphs are provided flush-left (no tabs) and single-
spaced with double-spacing between paragraphs, the letter should end with some kind of formal
parting such as “Sincerely” or “Respectfully,” or other options. An example is below
Sincerely, < Parting words are followed by a comma.
< Spacing is here for the sender to write his or her name.
Jacob Wilson < The sender’s name is written.
Memos & Reports
Memos and reports get work done in businesses, communities, and organizations. They can be
informational, persuasive, evaluative, and other purposes or aims. These genres follow the same
principles covered in the “In General” section above.
For both memos and reports, there is a strong emphasis on bottom-line arrangement, clarity, and
organization. At the top of both, there is transmittal data as shown below:
To:
From:
Date:
Subject:
.
Letters
Letters are one of the oldest professional writing genres, and they should follow the general
guidelines provided above, but a professional letter has a specific format at the beginning and end.
An example is given below.
22 Ingram Avenue < This is the sender’s address.
Tuscaloosa, Alabama 35401
August 28, 2015 < The date needs to be provided.
Tom Tyler < Here you provide the person’s name you are sending it to with address.
311-C Cedar Crest Apts.
Tuscaloosa, Alabama 35401
Dear Mr. Tyler: < The formal address uses a professional address—Dr., Mr., Mrs., or Ms.—
followed by a colon.
After the introductory, body, and concluding paragraphs are provided flush-left (no tabs) and single-
spaced with double-spacing between paragraphs, the letter should end with some kind of formal
parting such as “Sincerely” or “Respectfully,” or other options. An example is below
Sincerely, < Parting words are followed by a comma.
< Spacing is here for the sender to write his or her name.
Jacob Wilson < The sender’s name is written.
Memos & Reports
Memos and reports get work done in businesses, communities, and organizations. They can be
informational, persuasive, evaluative, and other purposes or aims. These genres follow the same
principles covered in the “In General” section above.
For both memos and reports, there is a strong emphasis on bottom-line arrangement, clarity, and
organization. At the top of both, there is transmittal data as shown below:
To:
From:
Date:
Subject:
Loading page 29...
16
.
The bottom-line of the memo or report should sum up the whole document, the whole purpose and
point of it. The paragraphs after the bottom line’s paragraph (first paragraph) support, detail, and
clarify the point of the memo or report.
Reports are usually longer in length than memos and often use headings to break up large chunks of
information.
.
The bottom-line of the memo or report should sum up the whole document, the whole purpose and
point of it. The paragraphs after the bottom line’s paragraph (first paragraph) support, detail, and
clarify the point of the memo or report.
Reports are usually longer in length than memos and often use headings to break up large chunks of
information.
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17
.
Methods for Effective Peer Review/Draft Workshops
Mark Twain is often attributed as saying this about the weather: “Everybody talks about the weather,
but nobody does anything about it.” To an extent, we could say something similar about peer review
in the writing classroom: “Many people complain about peer review, but few do anything about it.”
This part of the Instructor’s Manual provides some guidance about how to make peer review an
effective and transformative practice in your classrooms. In other words, we’re doing something
about it.
Activity Based on Woods’ “Moving Students Beyond ‘This is Good’ in Peer Response”
To set the stage for effective peer review sessions in your classroom, we recommend you using or
modifying an activity Peggy M. Woods discusses in her article “Moving beyond ‘This is good’ in
Peer Response.” In her essay, she argues that one issue with peer review is that students are not
properly trained to do peer review and they “also have limited experience as responders” (188).
She advocates an exercise that sets the stage for helping students “recognize the importance of being
specific as well as the importance of focusing on the text rather than making judgments about the
writer” (189). In other words, she provides an activity that makes students think about the types of
comments they want to receive and what types of comments they should give to their peers.
In the classroom, you can either assign Woods’ questions as homework and then discuss their
responses during class on the next day, or you can ask the questions during class and generate
discussion right away. The key is that you will have devoted significant class time to exploring and
discussing what are helpful peer review comments that make writers do strong revision.
Here are the questions, taken verbatim, that Woods presents in her article:
1. List three comments/responses you have ever received on a piece of writing.
2. List three comments/responses that if you ever received on a piece of writing you would be
so discouraged you would never write again. Be creative. These may or may not be
comments you have ever actually received. Hopefully they are not.
3. List three comments/responses that if you ever received on a piece of writing you would be
so encouraged you would keep writing forever. Again, be creative. And again, these may or
may not be comments you have actually received. Hopefully they are.
4. Look over all the comments/responses on your list and rank them in terms of effectiveness
for revision—1 being the most effective for revision, 9 being the least. (189–90)
5.
We have used this activity for years, and it has worked well. It’s usually best to shorten the directions
a bit and emphasize the “effectiveness for revision” prompt (question 4). Through the sharing of
real or imagined responses, students always have figured out that specific and detailed comments
about positives or places for improvement for papers work the best for actually revising a paper, not
just editing it. Also, the point about making concrete suggestions about what a writer could change,
cut, modify, and add in papers is crucial to moving papers past the first draft stage of the writing
process.
When doing this exercise in class, we often end with what are called “Principles for Peer Review”:
.
Methods for Effective Peer Review/Draft Workshops
Mark Twain is often attributed as saying this about the weather: “Everybody talks about the weather,
but nobody does anything about it.” To an extent, we could say something similar about peer review
in the writing classroom: “Many people complain about peer review, but few do anything about it.”
This part of the Instructor’s Manual provides some guidance about how to make peer review an
effective and transformative practice in your classrooms. In other words, we’re doing something
about it.
Activity Based on Woods’ “Moving Students Beyond ‘This is Good’ in Peer Response”
To set the stage for effective peer review sessions in your classroom, we recommend you using or
modifying an activity Peggy M. Woods discusses in her article “Moving beyond ‘This is good’ in
Peer Response.” In her essay, she argues that one issue with peer review is that students are not
properly trained to do peer review and they “also have limited experience as responders” (188).
She advocates an exercise that sets the stage for helping students “recognize the importance of being
specific as well as the importance of focusing on the text rather than making judgments about the
writer” (189). In other words, she provides an activity that makes students think about the types of
comments they want to receive and what types of comments they should give to their peers.
In the classroom, you can either assign Woods’ questions as homework and then discuss their
responses during class on the next day, or you can ask the questions during class and generate
discussion right away. The key is that you will have devoted significant class time to exploring and
discussing what are helpful peer review comments that make writers do strong revision.
Here are the questions, taken verbatim, that Woods presents in her article:
1. List three comments/responses you have ever received on a piece of writing.
2. List three comments/responses that if you ever received on a piece of writing you would be
so discouraged you would never write again. Be creative. These may or may not be
comments you have ever actually received. Hopefully they are not.
3. List three comments/responses that if you ever received on a piece of writing you would be
so encouraged you would keep writing forever. Again, be creative. And again, these may or
may not be comments you have actually received. Hopefully they are.
4. Look over all the comments/responses on your list and rank them in terms of effectiveness
for revision—1 being the most effective for revision, 9 being the least. (189–90)
5.
We have used this activity for years, and it has worked well. It’s usually best to shorten the directions
a bit and emphasize the “effectiveness for revision” prompt (question 4). Through the sharing of
real or imagined responses, students always have figured out that specific and detailed comments
about positives or places for improvement for papers work the best for actually revising a paper, not
just editing it. Also, the point about making concrete suggestions about what a writer could change,
cut, modify, and add in papers is crucial to moving papers past the first draft stage of the writing
process.
When doing this exercise in class, we often end with what are called “Principles for Peer Review”:
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