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Acknowledgments
Text acknowledgments and copyrights appear at the back of the book on pages A-1–A-4, which constitute an extension of the copyright page. Art acknowledgments and copyrights appear on the same page as the art selections they cover.
A Guide and a Reference
Parts 1, 2, and 3 of How to Write Anything make up the Guide. An entirely new opening chapter in Part 1, “Academic Goals and Expectations,” outlines what students should expect in composition courses and encourages them to take advantage of writing centers and faculty office hours. To prompt them to think of themselves as writers, Chapter 1 concludes with a literacy narrative assignment, supported by a model. Six subsequent chapters then briefly outline the specific rhetorical choices they’ll explore within each of the genre chapters in Part 2: Defining Genres and Purpose; Claiming Topics; Imagining Audiences; Gathering Materials; Organizing Ideas; and Choosing Style and Design.
In effect, Part 1 is the overture to the book, explaining how genres define expectations for writers to consider whenever they compose.
For each of the genres in Parts 2 and 3, writers are offered a framework presented as a flexible series of the rhetorical choices first introduced in Part 1. The explanations here are direct, practical, and economical, encouraging students to explore a range of options within genres. If writers do need more help with a particular topic, targeted cross-references make it easy to find in the Reference section. Part 2, “Key Academic Genres,” explores eight essential types of writing in depth, breaking each into its significant subgenres and then walking writers through the process of composing them. Each chapter opens with an annotated example of its genre and closes with
additional models and carefully coordinated assignments. Part 3, “Special College Assignments,” covers nine essential subgenres of writing (and, in some cases, speaking) in the academic and professional world. Each of these chapters is newly introduced with an “At a Glance” overview.
The Reference section (Parts 4 through 8) covers key aspects of the writing process. Writers might turn to these sections to find techniques for generating arguments, improving their sentences, or overcoming writer’s block. The organization of How to Write Anything lets students find preceisely what they need without getting bogged down in other material.
Materials in the Reference section have been reorganized as well, to make better sense to college writers. Part 4, “A Writer’s Routines,” now examines eight essential elements of the writing process. Taken together, the chapters imply a sequence, but they don’t have to be approached that way. Part 5 on “Style” offers strategies for writers to use when composing effective sentences, paragraphs, and more even titles. It leads logically to Part 6 on “Design and Digital Media,” its three chapters presenting options for enhancing the look and power of documents, especially those in electronic environments. The ten chapters in Part 7, “Academic Research and Sources,” provide detailed guidance for students new to college research and a refresher for those who’ve written term papers or research reports before. Finally, a substantially augmented Part 8, reimagined as a “Handbook,” offers separate chapters on MLA documentation, APA
Key Features
A Flexible Writing Process and Design that Works
How to Write Anything works hard to make its materials accessible and attractive to writers accustomed to intuitive design. For instance, “How to Start” questions at the opening of each chapter in Parts 2 and 3 anticipate where writers get stuck and direct them to exactly what they need: One writer might seek advice about finding a topic for a report, while another with a topic already in hand wants prompts for developing that idea.
Similarly, frequent cross-references between the Guide and Reference sections call attention to topics that students are likely to want to know more about. The simple language and unobtrusive design of the cross-references make it easy for students to stay focused on their own writing while finding where related material is located no explanations necessary and minimal clutter on the page. Readings and images throughout the book are similarly highlighted and variously annotated so that writers, once again, find information they need precisely when they require it.
Media savvy students know that learning occurs in more than just words, so this edition preserves one of the favorite design features of How To Write Anything: its context-rich “How To” visual tutorials. Through drawings, photographs, and screenshots, these items offer step-by-step instructions for topics, such as “How to Use the Writing
Center” and “How to Browse for Ideas.” In this fourth edition, the Writing Center graphic has been moved into Chapter 1 where it will get immediate attention. Other tutorials focus on how to revise texts and how to cite selected materials in both MLA and APA formats.
Writing Worth Reading From Professionals and Students
How to Write Anything contains an ample selection of readings, more than twenty in the Guide chapters alone, representing a wide range of genres. Selections illustrate key principles and show how genres change in response to different contexts, audiences, and increasingly important media. Every chapter in Parts 2 and 3 includes complete examples of the genres under discussion, most of these texts annotated to show how they meet criteria set down in How to Write Anything. The assignments at the end of these chapters are closely tied to the chapter readings, so students can use the sample texts both as models and as springboards for discussion and exploration.
Just as important, the models in How to Write Anything are approachable. The readings—some by published professionals and others by students reveal the diversity of contemporary writing being done in various genres. The student samples are especially inventive chosen to motivate undergraduates to take comparable risks with their own writing. Together, the readings and exercises suggest to writers the creative possibilities within a wide range of genres and sub-genres.
New to This Edition
How to Write Anything was designed from the outset to be a practical, highly readable guide to writing for a generation used to exploring texts actively. The fourth edition adds many new features that enhance its practicality and accessibility:
A new opening part on “Strategies for College Writing.” Seven lean and carefully cross-referenced chapters describe what goes on in college writing courses with appealing frankness. The tips and advice, including don’t make writing harder than it is; take advantage of office hours; and use the writing center, provide an encouraging roadmap to the writing process for writers. A sample literacy narrative in Chapter 1 introduces students to a common first assignment.
A stand-alone chapter on genres. Genres and subgenres are now explained in a chapter of their own. Chapter 2, “Defining Genres and Purpose,” explains why learning about genres really does make composing easier. It’s not just theory.
Brainstorming is now explained upfront. Because writers need advice about finding and developing ideas right away, techniques of invention are now explored in Chapter 3, “Claiming Topics.” It includes a visual tutorial.
Organization is now explained upfront. College writers struggling to organize papers too often fall back on the fiveparagraph essay learned in middle school. Chapter 6, “Organizing Ideas,” explains why that’s not the best strategy even
much more than correct errors. They set questions about grammar, mechanics, and sentence rhetoric in fuller contexts than before, with many more topics addressed. There’s even a brief chapter on “troublesome pairs” explaining the differences between words often confused, such as its and it’s, affect and effect, and rein and reign.
A new Student’s Companion for How to Write Anything, authored by Elizabeth Catanese (Community College of Philadelphia), offers thorough support for students in ALP/corequisite courses. The text includes coverage of college success strategies; activities to help students develop thoughtful, college-level essays; and additional practice in correcting writing problems, from revising topic sentences and developing paragraphs to correcting fragments. This handy resource is available at a significant discount when packaged with the book, and it can be found in the book’s LaunchPad.
Rash, Caldwell Community College & Technical Institute; Brian Reeves, Lone Star College-University Park; Arleen Reinhardt, John Tyler Community College; Alison Reynolds, University of Florida; Karin Rhodes, Salem State University; Courtney Schoolmaster, South Louisiana Community College; Marilyn Senter, Johnson County Community College; Patrick Shaw, University of South; Guy Shebat, Youngstown State University; Hailey Sheets, Southwestern Michigan College; Joyce Staples, Patrick Henry Community College; Alabama; Jennifer Steigerwalt, University of Pikeville; Joel Thomas, Ancilla Domini College; Shelley Tuttle, Lakeview Christian Academy; Mari-jo Ulbricht, University of Maryland - Eastern Shore; Stephanie Williams, University of Arkansas at Little Rock; and Marilyn Yamin, Pellissippi State Community College.
All textbooks are collaborations, but I have never before worked on a project that more creatively drew upon the resources of an editorial team and publisher. How to Write Anything began with the confidence of Joan Feinberg, co-founder of Bedford/St. Martin’s, that we could develop a groundbreaking brief rhetoric. She had the patience to allow the idea to develop at its own pace and then assembled an incredible team to support it. I am grateful for the contributions of Edwin Hill, Vice President of Editorial for the Humanities; Leasa Burton, Executive Program Director for Bedford/St. Martin's English; and Laura Arcari, Senior Program Manager. I am also indebted to Kerri Cardone, Senior Content Project Manager. For her marketing efforts, I am grateful for the guidance offered by Vivian Garcia and, of course, for the efforts of the
incomparable Bedford/St. Martin’s sales team. For her contributions to the fourth edition, I thank Christina Gerogiannis, Executive Development Editor. Christina has given thoughtful attention to every corner of the book, helping to ensure that this edition is tight, lively, and imaginative. It has been a pleasure to work with her, as well as with Molly Parke, Jill Gallagher, Stephanie Thomas, Stephanie Cohen, Suzanne Chouljian, and Annie Campbell.
Finally, I am extraordinarily grateful to my former students whose papers or paragraphs appear in How to Write Anything. Their writing speaks for itself, but I have been inspired, too, by their personal dedication and character. These are the sort of students who motivate teachers, and so I am very proud to see their work published in How to Write Anything: Ellen Airhart, Alysha Behn, Marissa Dahlstrom, Manasi Deshpande, Micah T. Eades, Laura Grisham, Wade Lamb, Desiree Lopez, Cheryl Lovelady, Soup Martinez, Matthew Nance, Lily Parish, Heidi Rogers, Kanaka Sathasivan, Leah Vann, Scott L. Walker, Susan Wilcox, and Ryan Young.
John J. Ruszkiewicz
Choose from Alternative Formats of How to Write Anything
Bedford/St. Martin’s offers a range of formats. Choose what works best for you and your students:
Paperback To order the paperback edition, use ISBN 978-1-31905853-1 Popular e-book formats For details of our e-book partners, visit macmillanlearning.com/ebooks.
Version with readings To order the version without readings, use ISBN 978-1-319-10397-2.
To package with A Student’s Companion to How for Write Anything, our new ALP supplement, use ISBN 978-1-319-22810-1.
To package with LaunchPad for How to Write Anything, use ISBN 978-1-319-22188-1.
Instructor Resources
You have a lot to do in your course. We want to make it easy for you to find the support you need and to get it quickly.
Resources for Teaching How to Write Anything is available as a PDF that can be downloaded from macmillanlearning.com. Visit the instructor resources tab for How to Write Anything. In addition to chapter overviews and teaching tips, the instructor’s manual includes sample syllabi and classroom activities.
responding to a variety of situations and contexts, calling for purposeful shifts in voice, tone, level of formality, design, medium, and/or structure.
advice on responding to a particular rhetorical situation, from arguing a claim and proposing a solution to writing an e-mail or a résumé.
See “Choosing a Style and Design” sections in Part 1 chapters, and the “Getting the Details Right” sections in Part 2 chapters for advice on situation-specific style and design.
Part 5 features chapters on “Levels of Style” (33); “Inclusive Writing” (35); and “Clear and Vigorous Writing” (34).
Understand and use a variety of technologies to address a range of audiences
Chapter 40 covers digital media, including blogs, social networks, Web sites, wikis, podcasts, maps, and videos. Chapter 41 covers creating and using visuals to present data and ideas
Each assignment chapter includes at least one visual example of the genre that the chapter focuses on, and several of the reference chapters include Visual Tutorials featuring photographs and illustrations that provide students with step-by-step instructions for challenging topics, such as using the Web to browse for ideas This emphasis on visuals, media, and design helps students develop visual and technological literacy they can use in their own work.
Chapter 21 covers e-mail; Chapters 24 and 20 address portfolio and presentation software; and Chapters 45 and 46 cover finding, evaluating, and using print and electronic resources for research.
Match the capacities of different environments (e.g., print and electronic)
The text and LaunchPad include a wide range of print and multimodal genres from essays and scholarly articles to photographs, infographics, Web sites, and
to varying rhetorical situations
audio and video presentations. Rhetorical choices that students make in each genre are covered in the Guide chapters and appear in discussions of the writing context and in abundant models in the book.
Critical Thinking, Reading, and Composing
Use composing and reading for inquiry, learning, thinking, and communicating in various rhetorical contexts
The assignment chapters in the Guide emphasize the connection between reading and writing a particular genre: Each chapter includes model readings with annotations that address the key features of the genre. Each Part 1 chapter shows students the rhetorical choices they need to consider when writing their own papers in these genres and offers assignments to actively engage them in these choices.
Chapter 26, “Critical Thinking,” explains rhetorical appeals and logical fallacies.
Reference chapters in Parts 4 through 8 cover invention, reading, writing, research, and design strategies that work across all genres.
Read a diverse range of texts, attending especially to relationships between assertion and evidence, to patterns of organization, to interplay between verbal and nonverbal elements, and how these features function for different audiences and situations.
Each assignment chapter in the Guide includes three texts in a wide variety of genres. In addition, the Reader includes more than 40 more texts for student analysis.
Each of the Guide chapters also includes sections on understanding audience, creating a structure, finding and developing material (including evidence), and choosing a style and design that best reflect the genre of writing.
Chapter 25, “Smart Reading,” helps students read deeply and “against the grain,” while in Chapter 26, “Critical
