IDEAS & Aims For College Writing, MLA Update Solution Manual

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i.Instructor’s Resource Manualto accompanyIDEAS ANDAIMSTim TaylorEastern Illinois UniversityLinda CopelandSt. Louis Community College

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iii.TABLE OF CONTENTSHow toUse Ideas & Aims1Teaching Strategies, Tactics, and Tips5Tips and Guidelines for Professional Writing14Punctuation Pattern Sheet39Designing Your Syllabus& Six Sample Syllabi43Chapter Guides68Chapter 1–What It Means to Be a College Student: Following the Codes68Chapter 2–The Reading Process72Chapter 3–Writing and the Process of Writing84Chapter 4–Writing Paragraphs102Chapter 5–Paragraphs Working Together: The Essay113Chapter 6–Descriptive Writing119Chapter 7–Reflective Writing129Chapter 8–Informative Writing139Chapter 9–Analytical Writing153Chapter 10–Evaluative Writing158Chapter 11–Persuasive Writing169Chapter 12–Working with Sources181Chapter 13–Documenting Sources184Chapter 14–Style Matters204Chapter 15–Handbook for Correcting Sentence Errors213Works Cited andRecommended Resources227

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iv.Developmental Writing Student SupplementsQ: Would your students benefit from additional exercises that offer both practice and applicationof 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.Referencesdirect students to Pearson’s MyWritingLab, the marketing-leading online practice system, for even morepractice.•Volume A: Sentences (0-205-63409-5)At this level, exercises and applications of grammar, punctuation and mechanics stress rules rather thansimply skill and drill.There are many composing exercises that apply sentence skills explained in thestudents’ 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. topicsentences, thesis statements, coherence, unity, levels of development.Analysisexercises give furtherillustration of concepts explained in class and in the primary textbook;Buildingexercises give studentsthe “raw materials” to develop paragraphs and/or essays along the various modes. Revision promptsencourage students to look at specific key elements of their own writing and assess whether they havemet 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 anessay that showcases the writing process from beginning to end, crystallizing the importance of revisionfor all writers.Q: Are your students visual learners? Would they benefit from exercises and writing promptssurrounding 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 stimulatereading comprehension through an authentic perspective of visual imagery. Each assignment challengesthe learner to think beyond the text to the image, expanding their worldview as they navigate throughcomplex or unfamiliar issues. This approach teaches deconstruction, a problem-based strategy that

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v.reveals important social and cultural interrelationships across the curriculum. Instructors will find this apractical guide for assignments directed toward journaling, reflection, argumentative essay writing andmore.Q: Do you require your students to have a portfolio? Would a daily/monthly/yearly planner helpthem 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. Inaddition to the yearly planner, this portfolio includes an assessing/organizing area, daily planner forstudents 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 fromprompts and exercises within the journal to help guide their writing? Would a planner includeddirectly 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 whilealso giving them space tostay organized in the student planner section. The journal portion of thesupplement guides students’ writing through prewriting strategies, suggested themes for their journalwriting, and sample student entries. In the planner section, students can use the monthly, weekly, anddaily 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 practiceexercises 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, andexercises.

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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 andexercises in the most challenging grammar topics for non-native speakers of English. Topics includenouns, articles, verbs, modifiers, pronouns, prepositions, and sentence structure.Q: Do you have yourstudents evaluate their peers’ work? Would you like them to have anevaluation 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 TrimQ: Do you have your students work in groups? Would you like them to have a guide to maximizethe 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 ingroups.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 withopportunities 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 paragraphsrather than using discrete sentence exercises simulates a more natural writing situation, allowingstudents to draw upon their intuitive knowledge of structure and syntax, as well as specific informationfrom class instruction. The booklet makes an ideal supplement to any grammar, sentence, or writingtext. Various editing topics can be assigned to coordinate with class lessons, or they may beassigned individuallybased on problems observed in students’ writing. Students may also completeselected exercises as an enrichment activity, either on their own or in collaboration with otherstudents. Additionally, the variety of topics in the paragraphs themselves can also be used asspringboards for discussion or journaling, or as models for writing assignments if desired.•Online: MyWritingLab APPLY exercisesGet students reviewing and responding to students’ paragraphs. Go towww.mywritinglab.comformore 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 widerange of formats, from expressive to analytical writing.

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vii.Q: Do you assign a research paper? Would students benefit from brief guides explaining specificaspects of research?What Every Student Should Know About Researching Online(0-321-44531-7)David Munger / Shireen CampbellWhat 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)MichaelGreerWhat Every Student Should Know About Avoiding Plagiarism(0-321-44689-5)Linda SternQ: 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 pagebook includes 175,000 synonyms in a simple A-to-Z format, more than 10,000 entries, extensive wordchoices, 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 bookthat 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 youcan find the right word every time, as well as appendices of valuable quick-reference informationincluding: signs and symbols, weights and measures, presidents of the U.S., U.S. states and capitals, andmore.

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viii.Penguin Discount Novel ProgramIn cooperation with Penguin Putnam, Inc., Pearson is proud to offer a variety of Penguin paperbacks at asignificant 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. Theavailable titles include works by authors as diverse as Toni Morrison, Julia Alvarez, Mary Shelley, andShakespeare. 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) SeriesTheWhat Every Student Should Know About...series is a collection of guide books designed to helpstudents with specific topics that are important in a number of different college courses. Instructors canpackage any one of these booklets with their Pearson textbook for no additional charge, or the bookletscan be purchased separately.What Every Student Should Know About Preparing Effective Oral Presentations(0-205-50545-7)Martin R. CoxWhat Every Student Should Know About Researching Online(0-321-44531-7)David Munger / ShireenCampbellWhat 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)MichaelGreerWhat Every Student Should Know About Avoiding Plagiarism(0-321-44689-5)Linda SternWhat Every Student Should Know About Practicing Peer Review(0-321-44848-0)

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ix.Michelle TrimMultimedia OfferingsQ: Do your students have trouble transferring skill and drill lessons into their own writing orseeing errors in others’ writing? ● Would you like constant awareness of your students’ progressand work in an easy-to-use tracking system? ● Would a mastery results reporter help you to planyour lectures according to your class’ weaknesses? ● Do you want to save time by having workautomatically graded and feedback supplied?MyWritingLab (www.mywritinglab.com)MyWritingLab is a complete onlinelearning system withbetterpractice exercises to make students betterwriters. The exercises in MyWritingLab are progressive, which means within each skill module studentsmove 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 wherestudent have not yet mastered the skill, and an easy-to-use tracking systems enables students andinstructors to monitor all work in MyWritingLab.STATE SPECIFIC SUPPLEMENTSFor Florida Adopters:Thinking Through the Test: A Study Guide for the Florida College Basic Skills Exit Test, by D.J.Henry andMimi MarkusFOR FLORIDA ADOPTIONS ONLY. This workbook helps students strengthen their reading skills inpreparation for the Florida College Basic Skills Exit Test. It features both diagnostic tests to help assessareas that may need improvement and exit tests to help test skill mastery. Detailed explanatory answershave been provided for almost all of the questions.Package item only—not available for sale.Available Versions:Available Versions:

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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. Strategiesfor teaching CLAST preparedness are included.For Texas AdoptersThe Pearson THEA Study Guide, by Jeannette Harris (Student/ 0-321-27240-4)Created specifically for students in Texas, this study guide includes straightforward explanations andnumerous 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 AdoptersPreparing 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 helpstudents prepare for the CUNY-ACT exit test. It includes test-taking tips, reading passages, typical examquestions, and sample writing prompts to help students become familiar with each portion of the test.Thinking Through the TestA Study Guide for theFlorida College BasicSkills Exit Tests: Reading and Writing, without Answers 3/e0-321-38740-6Thinking Through the Test A Study Guide for the Florida College BasicSkills Exit Tests: Reading and Writing, with Answers, 3/e0-321-38739-2Thinking Through the Test A Study Guide for the Florida College BasicSkills Exit Tests: Writing, withAnswers, 3/e0-321-38741-4Thinking Through the TestA Study Guide for the Florida College BasicSkills Exit Tests: Writing, without Answers, 3/e0-321-38934-4

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xi.Developmental Writing Instructor ResourcesPearson is pleased to offer a variety of support materials to help make teaching developmental Englisheasier on teachers and to help students excel in their coursework. Many of our student supplements areavailable free or at a greatly reduced price when packaged with a Pearson writing textbook. Contact yourlocal 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 Linesis 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 ofdevelopmental writing in a nation with over 1,000 community colleges. Instructors will be walked throughthe process of preparing a syllabus; structuring the classroom experience; appealing to different learningstyles; teaching with technology; constructing and evaluating assignments; and conferencing withstudents.This accessibleguide alsoencourages instructors to look outside the classroom--tofamiliarizethemselves with campus resources and policies that support the classroom experience--and to lookahead for their own professional development opportunities.Given the debates on developmentaleducation and the importance of first-year experience initiatives to assist with student transition andretention, there is a monumental amount of weight placed on the shoulders of instructors ofdevelopmental writing.On the Front Linesrespects the instructor’s role in the developmental writingclassroom and offers practical, straightforward guidance to see the instructor through the preparation ofclasses 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 PowerPointresource provides overviews on all the elements of writing an effective essay. This pedagogically soundPowerPoint guide will provide instructors and students with informative slides on writing patterns–classification, cause/effect, argument, etc.–and common grammatical errors, with questions andanswers included.The Pearson Test Bank for Developmental Writing (Print Version) by Janice Okoomian withcontributions 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 extensivegrammar practice, the test bank covers paragraphs and essays, including such topics as the writingprocess and documentation. Instructors simply log on to the Instructor Resource Center (IRC) todownload 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 paragraphingthrough essay writing, research, anddocumentation.Through this instructor friendly program instructorsare able to edit these questions and tests to suit their classroom needs and are also allowed moreflexibility to manage assessments at any time.

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xii.Diagnostic and Editing Tests with Exercises, 9/e (0-321-41524-8)This collection of diagnostic tests helps instructors assess students’ competence in standard writtenEnglish to determine placement or to gauge progress.The Pearson Guide to Community Service-Learning in the English Classroom and Beyond byElizabeth Kessler Rodriguez (0-321-12749-8)Written by Elizabeth Rodriguez Kessler of the University of Houston, this monograph provides a definitionand history of service-learning, as well as an overview of how service-learning can be integratedeffectively into the college classroom.

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xiii.Instructor Resource CenterGETTING REGISTEREDTo register for the Instructor Resource Center(IRC), go towww.pearsonhighered.comand click“Educators.”1.Click“Catalog & InstructorResources.”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 instructorcode will be emailed to you. Please use this code to set up your Pearson login name and password. Afteryou have set up your username and password, proceed to the directions below.DOWNLOADING RESOURCES1.Gotohttp://www.pearsonhighered.com/educator,signinusingyourPearsonloginnameandpassword.Under“Download Resources”search for your book or product by either entering theauthor’s last name or keyword.2.Select your textfrom the provided results.3.After being directed to the catalog page for your text, click the“InstructorResources”link locatedunderthe“Resources”tab.

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xiv.Clicking the “Instructor Resources” link will provide a list of all of the book-specific print and digitalresources for your text below the main title. Items available for download will have aicon.4.Click on the“ShowDownloadable Files”link next to the resource you want to download.A pop-up box will appear showing which files youhave selected to download. Once you select thefiles, 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 clickthe“Submit”button.6.Read the terms and conditions and then click the“I accept, proceed with download”button to beginthe 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 ouronline catalog.Please“Sign Out”when you are finished.

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1.How to UseIDEAS & AimsWe wroteIDEAS & Aimsto servea growing need in college writing classrooms.Whether thecourse you are teaching is a studio basic writing course, an accelerated learning program, a stretchdevelopmental writing course, an integrated reading-writing course, or a college composition course,IDEAS & Aimsemphasizes the following:▪Rhetorical purpose(aim)▪College-level reading skills▪Critical thinking skills▪Academic, professional, and personal writingThe Advantage of an Aims-Based ApproachIDEAS & Aimsgives special emphasis to theareasmentioned above, but it does so withanaims-orapurposes-based approach. The textreflects the reality that most people do not sit down andthink,“I need to write a division/classification paper.”Instead,writers are better off consideringtheirrhetorical purpose (theaimof the writing)and crafting that prose witha specific audience inmind.From our interactions with colleaguescoupledwith our years of teaching and administrativeexperience, wehave found many instructorsare not satisfied with textbooks organized by the modesof 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’spurpose and how paragraphs work toward that overarching goal. Chapters 4 and 5 explain andillustrate the traditional methods of paragraph development—process, comparison and contrast,andso 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 studentmay be asked to write acomparison/contrast paper in a writing course, but later on in her collegecareer, she may have to write a lesson plan in an education course, a research paper based on thegenre of IMRD (Introduction, Methods, Results, and Discussion) in a psychology course, oramarketing plan in a business course. Rather than drawing from her knowledge of the modes shelearned inawriting course, she can direct her writing more effectively by focusing on the purposesof those types of documents and using the appropriate rhetorical moves that connect to thatpurpose as it connects to a specific genre of writing.If you we want to teach for transfer,asmany experts in composition studieshave argued for,thinking abouttheaim or purpose ofa piece of writing andusing a rhetorical mindset are major keysfor 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 thatexemplify how a writer’s purpose plays out in professional settings. In addition, the textbookconsistently interweaves examples of the workplace writing into the chapters.

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2.Overall,IDEAS & Aimsshows students how an aims-based approach can support them in theircollege, workplace, civic, and personalwriting.TheReading-Writing ConnectionAs one could expect,IDEAS & Aimsdiscusses the writing process at length. However, thistextbook also discusses the reading process. Chapter 2covers analytical reading strategies and howstudents should use a process of reading to get the most out of their writing course,as well asothercourses.The textbookreflects the reality that writing teachers also have to teach reading skills. The bookchallenges students to become critical thinkers who engage in deep analytical reading and writing.Students will be guided to look atanauthor’s assumptions, evidence, and presentation of material,andthen tothink about their own assumptions and evidence. This textbook’s strong focus onconnecting analytical reading, writing, and critical thinking strategies addresses the importantreading-writing connection in our classrooms.In addition,a way to foster strong reading skills is throughtheIDEAStemplate (Interest,Details,Explanation,Audience, andStyle), which isdetailedinChapter 2and 3. Students can use this easy-to-remember and useful tool in productive ways.They can use the IDEAS templateas a tool toexamine, analyze, and critique the diverse reading selections in thetextbook.Followingresearch fromreading pedagogy, when readings are provided,theyareprefaced by pre-reading questions and are followed byquestions for discussionthat usually connectto the IDEAStemplate.In turn, instructors can use those reading selections and springboards for writing viajournals and essays.OverallStructure of the TextbookIDEAS & Aimshas five parts. Part One focuses on college expectations and codes, readingstrategies and the process of reading, and writing and the process of writing. Part Two teachesstudents 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 isdescriptive, reflective, informative, analytical, evaluative, and persuasive. Each chapter showcasesdiverse 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, thetext concludes with Part Five. Chapter 14:Style Matters,whichprovides important sentence-levelinformation and exercises;and Chapter 15:Correcting Sentence Errors, which is similar to ahandbook, concludes thetextbook.

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3.Internal Structure oftheAims-Based ChaptersIn the aims-based chapters (6-11),the chapters are organized in a consistent manner:▪Learning ObjectivesEach chapterprovidesclear learning objectivesaboutthe principles and skills the chaptercovers.▪Succinct InstructionThe beginning of every chapteroffers concise instructionand adviceabout writing for thatpurpose.▪ExercisesShortexercisesare providedthat link directly to concepts presented in the early part of thechapters.▪Examples/Student ModelsThere are examples ofhow students have gone through the process of writing a paper for acollege class—their brainstorming and then the final product, the paper. These“Put IDEASto Work”sections providepositive modeling for whatstudents can do.▪Reading and Writing: IDEAS in ActionTofurtherreinforce the IDEAS template,thechaptersalsooffer professional essays that areannotated via IDEAS to model analytical reading.▪Accessible ReadingsThe chapters provide amix of readings that clearly connect to the rhetorical purposedetailed in each chapter. All readings are prefaced by pre-readingpromptsto stimulatecritical thinking about topics. After the questions, there are typicallytwo differentassignmentsinstructors can use for directed journal assignmentsor for larger assignments.▪Additional Writing AssignmentsThe chapters close with three larger writing assignments: a smaller paragraph-lengthassignment, an essay assignment, and a mock professional writing case that has studentswrite in a specific genre (letter, memo, among others).▪Visuals for Critical ThinkingEach chapter uses visual aids (photographs, comics, etc.) throughout to stimulate analyticalthinking related to the learning goals of each chapter. Sometimes serious or sometimeshumorous, they reflect the focus of each chapter and make students look beyond theobvious for critical thinking.▪Chapter at aGlanceAt the closeof each chapter, there is a visual that reinforces the learning objectives of thechapter.Types of Writing AssignmentsIn all of the aims-based chapters (6–11) and in earlier and later chapters, the bookprovidesnumerous and varied writing assignments or short writing prompts that can be turned into somesort of directed journal to be turned in or a major paper.

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4.End-of-the-Chapter Writing AssignmentsEach purpose-driven chapters (6–11) hasthree types of writing assignments at the end of them:▪Paragraph-focusedAssignmentThe first prompt isa paragraph-levelthat usually demandsone to four paragraphsofwriting. Becauseinstructorssometimesstart small and move to larger assignmentsduring asemester, these prompts serve the purpose of shorter assignmentsusedearlierin a semesteror quarter.▪Essay AssignmentInstructors can use the second promptanytimein the semester depending on how oneconfigures his or her syllabus. These are larger papers.▪Professional Writing CaseThe third prompt ismodeled on how some instructors teach professional, technical, orbusiness writing courses. Rather than assigning a paper that is written for the teacher andpeers,students have to take on the role of a certain individual, consider a very specificreader, and usea professional writing genre in response to a rhetorical situation.They aregiven an interesting and detailed rhetorical situation, and then students have to write inresponse to itby using aletter, memo, report, and othergenres.Ideas for WritingPromptsandHow to Use ThemAfterthediscussion questions that followthereadings in the text’s chapters, there are typically oneor two“IDEASforYour OwnWriting”assignments that you can use for smaller or larger writingassignments. To model careful, deep reading, instructors can use these prompts for writingassignments to support strong discussion and thinking about the writers’ideas and moves in theirpieces.Becausea lot of college writing is based on writing in response to reading, you can modifythe prompts in a couple of ways:▪Expand &ArticulateYou can turn them into larger assignmentsby providing clear directions aboutaudience,purpose,organization,and how they will be evaluated.▪Provide Choices forJournals orShort PapersYou can use these prompts as choices for students to write in response to that unit on aspecific 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 fordiscussion. After students have read a specific piece of writing, you can use some of the“IDEASforYour OwnWriting”prompts in these ways:

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5.▪Use as Additional Discussion QuestionsThose writing ideas often connect to the analytical questions after the readings, soinstructors can present them as ways to further connect with the authors’ideas and points.▪Have Studentsdo an In-Class Writingto Discover Their ThoughtsKey to becominga stronger writer ispractice, and in-class writing can show students that, asJanet Emig relates,“writing is a mode of learning.”Having students write in response to theprompts and then having them share their written response or ideas based on the responsescan help students understand the messiness of writing and how writing helps them discovertheir thoughts.Teaching Strategies, Tactics,andTipsThe following section provides a number of ways you can useIDEAS & Aimseffectively along withsome helpful discussion of how to use peer review and comment/evaluate student work.The IDEAS Template in Your ClassroomAs Chapters 2 and 3 detail, students can use the IDEAS template for both analytical reading and as aheuristic, a tool for generating content, for their papers. Below is more information about how touse the IDEAS template.Reading from a Writer’sandReader’s PerspectiveOne of the most significant challenges writing instructors face is helping students become strongerand more discerning readers. As weknow from our own education, there’s a connection betweenreading and writing. To become a good writer, you need to become a strong reader. What theIDEAS template can do for students is give them an easy to remember mnemonic device thatfocuses their attention on writers’moves.To that end, the“Questions for Discussion”after each major reading offer questions tied to thetemplate to imprint that mindset for students, to make them think about a piece of writing from awriter’s and reader’s perspective. Too often students read selections in textbooks as though they arehallowed 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 aimof writing and a topicthatstudents might enjoy discussing, but they are not without flaws. Whendirecting discussion about a piece of writing, we recommend that instructors strive to go beyondinitial 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 aresome typical ones, many of which are followed by the simple and very important question of“Why?”that makes students explain their reasoning:▪InterestoWhat did the author do at the start to spark a reader’s interest in the topic? Why?oHow could he or she done that more effectively? Why?oHow would you have started the essay? Why?

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6.oWhat would entice people to read on? Why?oHow does the author maintain interest throughout the piece of writing?oWhat could have been cut or added to maintain interest? Why?▪DetailsoLook 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 doingthat? Why? What effect does it have on the reader?oWhereare there places that might confuse the reader? Why?oWhat are places that need moredetails to show the reader? Why?oWhere are there places that didn’t need to be as detailed as they are currently? Why?●ExplanationoExamples persuade. What examples work in this piece of writing for readers? Why?oWhat examples aren’t as strong? Why?oWhat examples or further explanation would you have used if you were the writer?Why?oLooking at the overall organization of the piece of writing, would a different order ofexamples and explanation worked more effectively? Why? How?oWhat choices in explaining matters would you redo if you were the author? Why?How?▪AudienceoWhat’s the tone and attitude of the writer? How does that tone and attitude connector distance readers? Why?oWhere in the piece of writing does the author clearly connect to readers? How?oWhere does the writing not take into account different perspectives? Why?oHow might someone hostile to the author’s points react? Why?▪StyleoLook at the individual sentences of the piece of writing. How does the writer varythe types and lengths of sentences? What effect does that have on the reader?oPick 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 sentencestructure have on meaning?oLook closely at transitions. Where are they artfully used, and what can you learnfrom those examples? Where are stronger transitions needed? Why?

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7.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.DiscussionandGroup WorkUsing the questions above or ones similar, you can base discussion within your classroom on whatstudents can learn from the essays and authors and how they can transfer that knowledge to theirown writing. Being explicit about what students can learn from the reading will accomplish thesetasks:1)You can connect what published authors are doing in their writing to what students need todo in their writing. Being explicit about what works and what does not is a learningexperience for their writing assignments.2)You can show that they should not read passively. They have to engage in the reading andactively 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“slowmotion”will reinforce that you have to read carefully.4)You can get them past the obsessive search for the“right answer.”Many of students seemto think discussion is focused on the right answer to questions. By opening up discussion todiverse perspectives, they can see that there are multiple answers as long as thoseperspectives are supported by logical reasons. To move students beyondthe mindset of“Everyone has a right to their own opinion”, discussion can reinforce that opinions withoutlogical 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 dothe work of breaking down a reading selection. The key though is properly arranging and monitoringsmall groups.While it’s helpful to put students in pairs for a number of activities, we suggest small groups need tobe betweenthree or fourpeopleor in pairs. If you have over fourpeople in a group, some studentscan hide from offering their ideas just like they do in a large-group discussion. The advantage thatsmall groups have is that the introverts, the students who usually have good points but rarely speakin large groups, are more likely to contribute. It’s a safer space for them than a large-groupdiscussion.One way to use the IDEAS template is to assign each small group one part of the template, such asGroup 1 has“Interest,”Group 2 has“Details,”and so on. This can be easily done with thediscussion questions after readings.Youcan assign each group a set of questions organized by parts of the IDEAS template, and thenthey can report their findings to the large group. Instructors often ask one group member to be thespokesperson for the group (the person who presents their points), and another group member actsas asecretary for the group to write down their ideas. At the end of class, the groups then turn intheir 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 agroup is saying. It becomes an exercise in the group reporting to the teacher. One method to guard

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8.against that happening is using apresenter-respondent format. In this format, a group orindividual expresses their ideas related to the IDEAS questions, but then they have to pick someoneor multiple people to respond to what they just said—to agree, to disagree,orto offer a differentviewpoint and why they think that way. In the presenter-respondent format, groups have to activelylisten to what others are saying because they might get called on by their peers (or instructor) torespond to what was said during class. Once students get used to the format of discussion that hasthem talking to each other (and not exclusively to the instructor), often students will volunteer to berespondents, and discussion ensues.PrewritingandInventionAs detailed in the chapters through student examples, students can use IDEAS as a way to generatecontent for theirpapers. The examples in the chaptersmodel how students can use IDEAS as a wayto get the messy writing out of the way in order to move them toward drafting their papers.Using IDEAS in this way worksas simple brainstorming on paper or screen,withwhich writinginstructors 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 templateabout points for their papers. To many students who have a fear of writing, simply talking tosomeone about their ideas based on the IDEAS template can free them fromanegative mindset andprovide a reader’s perspective on what they should do in the paper. To students, sitting down andtalking 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 closelymonitor the conversations and get students on track when they need it. You should move fromgroup 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 aguide to talk about what you’ll write about in your paper. Your partner should give you ideason what will work and what won’t. I’ll moveamongyou to take any questions and see howyou’re doing. You’ll have five minutes for each pairing, and we’ll do three or four rounds ofthis, 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 toinclude in your papers. Take turns presenting your ideas. After someone has presented his orher ideas, your peers should provide feedback on how to generate interest, provide gooddetails, explain things better, offer examples, and think about audience. Think about whatyou would want as a reader.▪In this first group, just focus on Interest. What can the writer do to make this topicinteresting to the reader? After five minutes, we’ll move to a second group of differentpeople where you’ll talk about details to use, examples to provide, and explanation that willbe needed.If you’ve created a supportive classroom environment for students, using the IDEAS template inthis way could be done as a large group activity. Each student could present his or her ideas, and

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9.then peers and instructor can respond by focusing on what really needs to be detailed, furtherexplanation that is needed, and examples that could be used.By doing activities like the ones mentionedabove,you are ensuringthe focus of the classroom is onstudent learning and student writing.Peer ReviewPeer review is ahallmark of writing classrooms that focus on the writing process. Methods of peerreview are detailed later(page 18), but using IDEAS to formulate peer review questions canexplicitly address what you expect for a paper. Below is a basic example of content-based peerreview 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 onehelpful 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 forproviding stronger details.4.What needs to be explained better and why? What are some examples or further support thatwill 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 suggestionabout audience.6.Describe two glitches in style or grammar that need to be addressed before the final draft isturned 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 yourstudents are working on.Grading CriteriaandRubricsKey to explaining what you expect in a paper is providing grading criteria or a rubric to students, sothey know what they have to do in a given paper. When you provide an assignment sheet, you canexplicitly address what a paper should do by providing grading criteria and/or a rubric. An exampleof grading criteria for abook review is below. Behind each bulleted point, we have tied each to apart of IDEAS.A Successful Book Review▪Provides a concise,accurate, and interestingbackgroundfor and description of the book atthe beginning of the review.Interest▪Offers a thesis that directs the action of the evaluation andreflects the whole reviewby theend of the first paragraph.Explanation▪Has a thesis that is assertive, one that clearly makes a judgmentabout the merit of the bookconsidering its possible audience.Explanation▪Gives solid reasons why someone should or should not read this book.Details,Explanation, & Audience

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10.▪Offers strong support for its thesis by using specific and concrete details along withanexplanation to support the evaluation.Details, Explanation, & Audience▪Has focused and unified paragraphs that relate specific details connected to criteriaappropriate 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 bookeffectively, smoothly, and ethicallythrough appropriate introductory phrases and in-text citations inMLA Style.Details▪Can use third person voice and first personvoice to evaluate the bookbut not secondperson (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.StyleThe boldfacing of IDEAS could be a bit heavy-handed to some, so another option is an instructorexplaining each bullet to students and casually connecting the IDEAS template to the detailedgrading criteria of the paper.Another approach to showing students how they are going to be evaluated is creating a gradingrubric that allots points to specific aspects of the paper. Below is an example of a rubric organizedby IDEAS with 20 points allotted to each part. Instructors could obviously adjust point distributionsas theydesire. The example on the next page uses simple check marks to note the effectiveness ofthe paper based on those components, and the comments section provides a spot for instructors tobe text-specific about what needs to be addressed when the student revises the paper.

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11.QualityExcellentEffectiveAdequateNeedsImprovementWeakPointTotalInterest20 pointsX15Details20 pointsX12Explanation20 pointsX12Audience20 pointsX18Style20 pointsX15GrammarMechanicsSpelling[negativepoints only]X-10Point Total:10062Comments:

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12.Similar to an instructor’s specific and well-written commentary about a paper, rubrics like the one onthe last page make it transparent what’s working and what’s not and what needs to be addressed ifstudents 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 eachaspect of IDEAS,such as the example below. In the rubric below Details and Explanation are puttogether to highlight how they workas a teamand how support and evidence are crucial for a strongpaper.CriteriaCommentsPointsInterest15 pts.Details&Explanation50 pts.AudienceAwareness20 pts.Style15 pts.The second rubric looks less scientific because it is simply a comment sheet broken down byIDEAS. Regardless, one advantage of using any of these (that is not often talked about) is thatinstead 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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13.Also, if you save comment files/rubrics for each student and put them in a folder related to thecourse, you can return to those comments if you need to assess where writers have grown and havebeen challenged throughout the term. The comments/rubrics for each student offer a glimpse ofwhat they’ve done that semester or quarter.Professional Writing AssignmentsIn each of the aims-based chapters,the final assignment is always a professional writing case.Thesecases providemock rhetorical situations in whichstudents have to take on a certain role andwrite toa fictitious audience. However,the situation is realistic to real writingsituations they mightencounter. The cases are similar to how professionals in various fields practice their craft and criticalthinking 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 LetterIn addition, the casesshowstudents how writing is important to their careers. Too often studentstake writing courses with the misguided notion that they won’t have to write often once they get ajob. Most of them find outlater onthat they have to write all the time in their careers. So rather thattellstudents that writing is important in their professions, the professional writing cases in chapters6–11showthem.Using a Case MethodThe cases in chapters 6–11 can be used as is, or instructors are welcome to modify them as they sochoose. What you will likely have to do is give students information about specific genres and theirformats during class time.One way of actively helping students learn about professional writing genres is by having studentsgo 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). Theassignment would be something along the lines of a“search and share”activity where each studenthas to report on the documents and talk about what they discovered about the piece of writing. Thestudents would have to talk about the what the document is about and then discuss what moves thewriters made to connect to the principles detailed in the aims-based chapter and how the documentis similar and different than the academic papers they write in college. Also, the instructor canspecifically ask about the strengths and weaknesses of each piece of writing and have students givedetailed, 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 anddistribute to students. This handout works nicely with the search and share activity outlined above.

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14.TipsandGuidelines for Professional Writing GenresIn GeneralIn comparison to the academic writing you do in college, professional writing genres use single-spacing for paragraphs, generally shorter paragraphs, double-spacing between paragraphs, andshorter sentences.When doing professional writing, you need to sacrifice your prose to these ideals:clarity andconcision. The reader of an email, memo, letter, or report should not have to guess at what youmean. A writer needs to be direct and use plain language. In other words, get to the point.A professional writing genre should have abottom-line arrangement, meaning that the main pointor points, the thesis of the document, needs to be presented early in the document—typically in thefirst paragraph, sometimes even as soon as the first sentence. Then all the details and explanation inthe document need to connect to that bottom line.In professional writing genres, a writer also needs to use white space effectively by employingshorter paragraphs; using graphs, tables, numbers, and bullet points when necessary; and not takingup too much of the reader’s time. An email, letter, memo, or report not only has to make sense andprovide 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 ofwords possible, make sure that sentences are tightly constructed, have no ambiguity, and use clearsubjects and active verbs. Active voice is usually preferred because it makes it clear who is doingwhat.EmailsEmails are a writing genre that professionals use all the time. Like other forms of professionalwriting, strong emails tend to use short paragraphs because they are easier to read on a screen. Usingfrequent paragraph breaks cuts up the information into an easily digestible format. Below areguidelines for sending emails to professors, but the same principles apply to other situations whenyou have to write a professional email.When you send an email, follow the guidelines below. Emails should:▪Have aclear and concise subject line that provides the gist of the email, such as “Questionabout 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 yourtime,” or “Sincerely,” or “Have a good weekend,”.

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15.LettersLetters are one of the oldest professional writing genres, and they should follow the generalguidelines 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 35401August 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 CedarCrest Apts.Tuscaloosa, Alabama 35401Dear 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 formalparting such as “Sincerely” or “Respectfully,” or other options. An example is belowSincerely,< 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 & ReportsMemos and reports get work done in businesses, communities, and organizations. They can beinformational, persuasive, evaluative, and other purposes or aims. These genres follow the sameprinciples covered in the “In General” section above.For both memos and reports, there is a strong emphasis on bottom-line arrangement, clarity, andorganization. At the top of both, there is transmittal data as shown below:To:From:Date:Subject:

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16.The bottom-line of the memo or report should sumup the whole document, the whole purposeandpoint of it. The paragraphs after the bottom line’s paragraph (first paragraph) support, detail, andclarify thepoint of the memoor report.Reports are usually longer in length than memos and often use headings to break up large chunks ofinformation.

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17.Methods for Effective Peer Review/Draft WorkshopsMark 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 reviewin 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 aneffective and transformative practice in your classrooms. In other words, we’re doing somethingabout 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 ormodifying an activity Peggy M. Woods discusses in her article “Moving beyond ‘This is good’ inPeer Response.” In her essay, she argues that one issue with peer review is that students are notproperly 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 beingspecific as well as the importance of focusing on the text rather than making judgments about thewriter” (189). In other words, she provides an activity that makes students think about the types ofcomments they want to receive and what types of comments they should give to their peers.In the classroom, you caneitherassign Woods’ questions as homework and then discuss theirresponses during class on the next day, or you can ask the questions during class and generatediscussion right away. The key is that you will have devoted significant class time to exploring anddiscussing 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 beso discouraged you would never write again. Be creative. These may or may not becomments 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 beso encouraged you would keep writing forever. Again, be creative. And again, these may ormay 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 effectivenessfor revision—1 being the most effective for revision, 9 being the least. (189–90)5.Wehave used this activity for years, and it has worked well. It’susuallybest toshorten the directionsa bit and emphasize the“effectiveness for revision”prompt (question4). Through the sharing ofreal or imagined responses, students always have figured out that specific and detailed commentsabout positives or places for improvement for papers work the best for actually revising a paper, notjust 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 writingprocess.Whendoing this exercise in class, weoften end with what are called“Principles for Peer Review”:

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