Writing Programs Worldwide

WRITING PROGRAMS WORLDWIDE offers an important global perspective to the growing research literature in the shaping of writing programs. The authors of its program profiles show how innovators at a diverse range of universities on six continents have dealt creatively over many years with day-to-day and long-range issues affecting how students across disciplines and languages grow as communicators and learners.

PERSPECTIVES ON WRITING SERIES, EDITED BY SUSAN H. MCLEOD - Emerging from the International WAC/WID Mapping Project, WRITING PROGRAMS WORLDWIDE: PROFILES OF ACADEMIC WRITING IN MANY PLACES is meant to inform decision-making by teachers, program managers, and college/university administrators considering how writing can most appropriately be defined, managed, funded, and taught in the places where they work. WRITING PROGRAMS WORLDWIDE offers an important global perspective to the growing research literature in the shaping of writing programs. The authors of its program profiles show how innovators at a diverse range of universities on six continents have dealt creatively over many years with day-to-day and long-range issues affecting how students across disciplines and languages grow as communicators and learners. - In these profiles, we see teachers and researchers relying on colleagues and on transnational scholarship to build initiatives that are both well suited to their specific environments and can serve as regional and often global models. Their struggles and achievements offer insights to colleagues in similar locales and across borders who seek to establish, enhance, and assess their own work as designers of writing programs. - An introduction and three section essays by the editors illuminate themes that inform this collection. Growing networks of initiators and scholars and survey results from the International WAC/WID Mapping Project exemplify the argument of this collection for transnational exchange and collaboration. - CHRIS THAISS is Clark Kerr Presidential Chair and Professor in the University Writing Program at the University of California, Davis. GERD BRÄUER directs the distance-learning program for teachers at the Writing Center at the University of Education in Freiburg, Germany. PAULA CARLINO is a researcher with the National Council of Scientific and Technical Research, CONICET, at the University of Buenos Aires. LISA GANOBCSIK-WILLIAMS is Head of the Centre for Academic Writing at Coventry University. APARNA SINHA is pursuing her PhD in Education at the University of California, Davis, with designated emphases in Writing Studies and in Second Language Acquisition.

Emerging from the International W.A.C./W.I.D. Mapping Project, this collection of essays is meant to inform decision-making by teachers, program managers and college/university administrators considering how writing can most appropriately be defined, managed, funded and taught in the places where they work. Writing Programs Worldwide offers an important global perspective to the growing research literature in the shaping of writing programs. The authors of its program profiles show how innovators at a diverse range of universities on six continents have dealt creatively over many years with day-to-day and long-range issues affecting how students across disciplines and languages grow as communicators and learners. In these profiles, we see teachers and researchers relying on colleagues and on transnational scholarship to build initiatives that are both well suited to their specific environments and can serve as regional and often global models. Their struggles and achievements offer insights to colleagues in similar locales and across borders who seek to establish, enhance and assess their own work as designers of writing programs. An introduction and three section essays by the editors illuminate themes that inform this collection. Growing networks of initiators and scholars and survey results from the International W.A.C./W.I.D. Mapping Project exemplify the argument of this collection for transnational exchange and collaboration.

WRITING PROGRAMS WORLDWIDE offers an important global perspective to the growing research literature in the shaping of writing programs. The authors of its program profiles show how innovators at a diverse range of universities on six continents have dealt creatively over many years with day-to-day and long-range issues affecting how students across disciplines and languages grow as communicators and learners.

For readers who love Bolaño, a new voice of Latin American fiction, winner of the Mario Vargas Llosa Prize. Recurring blackouts envelop Caracas in an inescapable darkness that makes nightmares come true. Real and fictional characters, most of them are writers, exchange the role of narrator in this polyphonic novel. They recount contradictory versions of the plot, a series of femicides that began with the energy crisis. The central narrator is a psychiatrist who manipulates the accounts of his friend, an author writing a book titled The Night; and his patient, an advertising executive obsessed with understanding the world through word puzzles. The author shifts between crime fiction and metafiction, cautioning readers that the events retold are both true and manipulated. This is a political novel about the financial crisis and socio-political division in Venezuela from 2008 to 2010. The title of the book, originally also in English, is a gesture towards Chavism's failure to resist US influence. Yet, the form is unapologetically literary, a reflection on the depiction and distortion of reality through storytelling. Blanco Calderón said about the potential of language, "I am convinced that all the evil in the world begins in them: in words" (Caracas, 2010).

Everything You need to Write and Sell Your Work This is the ultimate crash course in writing and publishing! Inside you'll find comprehensive instruction, up-to-date market listings, a CD featuring recorded live webinars with industry professionals, an all-access pass to WritersMarket.com, and more. Writer's Digest University is the perfect resource for you, no matter your experience level. This one-stop resource contains: • Quick and comprehensive answers to common questions including: "How do I write a successful novel?" and "How do I know if self-publishing is right for me?" • Instruction and examples for formatting and submitting fiction, nonfiction, articles, children's writing, scripts, and verse. • Advanced instruction on business-related issues like marketing and publicity, using social media, freelancing for corporations, keeping finances in order, and setting the right price for your work. • A detailed look at what agents want and how to get one that best fits your needs. • Market listings for publishers and agents open to unsolicited work and new writers, contests and awards, and conferences and workshops. • A CD with recordings of 4 popular WD webinars: How Do I Get My Book Published?, How to Land a Literary Agent, How Writers Can Succeed in the Future of Digital Publishing, and Freelance Basics.* • A scratch-off code that gives you a one-year subscription to WritersMarket.com and a 20% discount on the WritersDigestUniversity.com course of your choice.* Get started now with everything you need to build a thriving writing career. Whether you're starting from scratch or have a bit of experience, you'll find the tools you need for success. *PLEASE NOTE: CDs and one-year subscription are NOT included with the ebook version of this title.

Teaching Writing in the Twenty-First Century is a comprehensive introduction to writing instruction in an increasingly digital world. It provides both a theoretical background and detailed practical guidance to writing instructors faced with novel and ever-changing digital learning technologies, new approaches to access needs and usability design, increasing student diversity, and the multiliteracies of reading, alphabetic writing, and multimodal composition. A companion volume, Administering Writing Programs in the Twenty-First Century, considers the role of administrators in addressing these issues. Covering all aspects of teaching online, various composition genres, and the technologies available to teachers, Teaching Writing in the Twenty-First Century addresses composing processes and approaches; designing and scaffolding assignments; providing response, feedback, and evaluation; communicating effectively; and supporting students. These strategic and practical ideas are prefaced by a history of the relation between composition and rhetoric and a guide to diversity, inclusion, and access. The volume ends with a chapter on envisioning the future of composition.

The authors report research that considers writing in all levels of schooling, in science, in the public sphere, and in the workplace, as well as the relationship among these various places of writing. The authors also consider the cultures of writing—among them national cultures, gender cultures, schooling cultures, scientific cultures, and cultures of the workplace.

Writers write—but what do they do for money? In a widely read essay entitled "MFA vs NYC," bestselling novelist Chad Harbach (The Art of Fielding) argued that the American literary scene has split into two cultures: New York publishing versus university MFA programs. This book brings together established writers, MFA professors and students, and New York editors, publicists, and agents to talk about these overlapping worlds, and the ways writers make (or fail to make) a living within them. Should you seek an advanced degree, or will workshops smother your style? Do you need to move to New York, or will the high cost of living undo you? What's worse—having a day job or not having health insurance? How do agents decide what to represent? Will Big Publishing survive? How has the rise of MFA programs affected American fiction? The expert contributors, including George Saunders, Elif Batuman, and Fredric Jameson, consider all these questions and more, with humor and rigor. MFA vs NYC is a must-read for aspiring writers, and for anyone interested in the present and future of American letters.

One of the Greatest Poems in American Literature Walt Whitman (1819-1892) was considered by many to be one of the most important American poets of all time. He had a profound influence on all those who came after him. “Song of Myself”, a portion of Whitman’s monumental poetry collection “Leaves of Grass”, is one of his most beloved poems. It was through this moving piece that Whitman first made himself known to the world. One of the most acclaimed of all American poems, it is written in Whitman’s signature free verse style, without a regular form, meter, or rhythm. His lines have a mesmerizing chant-like quality, as he sought to make poetry more appealing. Few poems are as fun to read aloud as this one. Considered to be the core of his poetic vision, this poem is an optimistic and inspirational look at the world in 1855. It is exhilarating, epic, and fresh in its brilliant and fascinating diction and wordplay as it tries to capture the unique meaning of words of the day, while also embracing the rapidly evolving vocabularies of the sciences and the streets. Far ahead of its time, it was considered by many social conservatives to be scandalous and obscene for its depiction of sexuality and desire, while at the same time, critics hailed the poem as a modern masterpiece. This first version of “Song of Myself” is far superior to the later versions and will delight readers with the playfulness of its diction as it glorifies the self, body, and soul. “I am large, I contain multitudes,”