composition and writing skills

What Is Composition? Definition, Types, and Examples

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An Introduction to Punctuation
Ph.D., Rhetoric and English, University of Georgia
M.A., Modern English and American Literature, University of Leicester
B.A., English, State University of New York

In the literary sense, a composition (from the Latin "to put together") is the way a writer assembles words and sentences to create a coherent and meaningful work. Composition can also mean the activity of writing, the nature of the subject of a piece of writing, the piece of writing itself, and the name of a college course assigned to a student. This essay focuses on practicing how people write.

Key Takeaways

In writing, composition refers to the way a writer structures a piece of writing.
The four modes of composition, which were codified in the late 19th century, are description, narration, exposition, and argumentation.
Good writing can include elements of multiple modes of composition.

Composition Definition

Just like a musician and an artist, a writer sets the tone of a composition to his or her purpose, making decisions about what that tone should be to form a structure. A writer might express anything from the point of view of cool logic to impassioned anger. A composition might use clean and simple prose, flowery, descriptive passages, or analytical nomenclature.

Since the 19th century, English writers and teachers have been grappling with ways to classify forms and modes of writing so beginner writers can have a place to start. After decades of struggle, rhetoricians ended up with four categories of writing that still make up the mainstream of Composition 101 college classes: Description, Narration , Exposition , and Argumentation .

Types of Composition Writing

The four classical types of composition (description, narration, exposition, and argumentation) are not categories, per se. They would almost never stand alone in a piece of writing, but rather are best-considered modes of writing, pieces of writing styles that can be combined and used to create a whole. That is to say, they can inform a piece of writing, and they are good starting points for understanding how to put a piece of writing together.

Examples for each of the following composition types are based on the American poet Gertrude Stein's famous quote from " Sacred Emily ," her 1913 poem: "A rose is a rose is a rose."

Description

A description, or descriptive writing, is a statement or account that describes something or someone, listing characteristic features and significant details to provide a reader with a portrayal in words. Descriptions are set in the concrete, in the reality, or solidity of an object as a representation of a person, place, or thing in time. They provide the look and feel of objects, a simultaneous whole, with as many details as you'd like.

A description of a rose might include the color of the petals, the aroma of its perfume, where it exists in your garden, whether it is in a plain terracotta pot or a hothouse in the city.

A description of "Sacred Emily" might talk about the length of the poem and the facts of when it was written and published. It might list the images that Stein uses or mention her use of repetition and alliteration.

A narration, or narrative writing, is a personal account , a story that the writer tells his or her reader. It can be an account of a series of facts or events, given in order and establishing connections between the steps. It can even be dramatic, in which case you can present each individual scene with actions and dialog. The chronology could be in strict order, or you could include flashbacks.

A narration about a rose might describe how you first came across it, how it came to be in your garden, or why you went to the greenhouse that day.

A narration about "Sacred Emily" might be about how you came across the poem, whether it was in a class or in a book lent by a friend, or if you were simply curious about where the phrase "a rose is a rose" came from and found it on the internet.

Exposition, or expository writing , is the act of expounding or explaining a person, place, thing, or event. Your purpose is not to just describe something, but to give it a reality, an interpretation, your ideas on what that thing means. In some respects, you are laying out a proposition to explain a general notion or abstract idea of your subject.

An exposition on a rose might include its taxonomy, what its scientific and common names are, who developed it, what the impact was when it was announced to the public, and/or how was it distributed.

An exposition on "Sacred Emily" could include the environment in which Stein wrote, where she was living, what her influences were, and what the impact was on reviewers.

Argumentation

Also called argumentative writing , an argumentation is basically an exercise in comparing and contrasting. It is the methodological presentation of both sides of an argument using logical or formal reasoning. The end result is formulated to persuade why thing A is better than thing B. What you mean by "better" makes up the content of your arguments.

Argumentation applied to a rose might be why one particular rose is better than another, why you prefer roses over daisies, or vice versa.

Argumentation over "Sacred Emily" could compare it to Stein's other poems or to another poem covering the same general topic.

The Value of Composition

A great deal of debate enlivened college theoretical rhetoric in the 1970s and 1980s, with scholars attempting to throw off what they saw were the confining strictures of these four writing styles. Despite that, they remain the mainstay of some college composition classes.

What these four classical modes do is provide beginner writers a way to purposefully direct their writings, a structure on which to form an idea. However, they can also be limiting. Use the traditional modes of composition as tools to gain practice and direction in your writing, but remember that they should be considered starting points rather than rigid requirements.

Bishop, Wendy. "Keywords in Creative Writing." David Starkey, Utah State University Press, University Press of Colorado, 2006.
Conners, Professor Robert J. "Composition-Rhetoric: Backgrounds, Theory, and Pedagogy." Pittsburgh Series in Composition, Literacy, and Culture, Hardcover, New ed. Edition, University of Pittsburgh Press, June 1, 1997.
D'Angelo, Frank. "Nineteenth-Century Forms/Modes of Discourse: A Critical Inquiry." Vol. 35, No. 1, National Council of Teachers of English, February 1984.
Hintikka, Jaakko. "Strategic Thinking in Argumentation and Argumentation Theory." Vol. 50, No. 196 (2), Revue Internationale de Philosophie, 1996.
Perron, Jack. "Composition and Cognition." English Education, The Writing Teacher: A New Professionalism, Vol. 10, No. 3, National Council of Teachers of English, February 1979.
Stein, Gertrude. "Sacred Emily." Geography and Plays, Letters of Note, 1922.
What Is Expository Writing?
AP English Exam: 101 Key Terms
Focusing in Composition
Description in Rhetoric and Composition
Topical Organization Essay
Modes of Discourse (Composition)
The Writer's Voice in Literature and Rhetoric
Understanding Organization in Composition and Speech
A Guide to All Types of Narration, With Examples
Moving Past the Five Paragraph Essay
Paragraph Length in Compositions and Reports
Composition Type: Problem-Solution Essays
Development in Composition: Building an Essay
Definition and Examples of Analysis in Composition
How to Write a Narrative Essay or Speech
Definition and Examples of a Transition in Composition

Basics for GSIs
Advancing Your Skills

Teaching Composition Skills

This page provides a bit of background on ways composition experts have approached the teaching of writing. It then advocates an overall strategy for teaching writing that addresses students’ motivation to improve their writing.

A Brief Introduction to Composition Pedagogy

In the mid-twentieth century the dominant approach to writing pedagogy focused on the written product. The practice required a single, final draft, comprehensive error correction by the teacher on that draft, and summative comments justifying the grade assigned. The teaching of writing was consigned to English and Rhetoric departments; it was assumed that such courses could give students a generic or neutral set of good writing skills to apply to whatever writing tasks they might encounter in other disciplines.

This traditional approach had drawn stiff critique by the 1970s and 1980s. The emphasis on eliminating error seemed adequate for students who were already skilled writers, but instructors working with students who made a lot of errors in Standard Written English found themselves pouring an excessive amount of time into voluminous markings and comments that students were too overwhelmed to learn from. Improvement from one assignment to the next was minimal.

Two important approaches have surfaced in the last few decades. One is process pedagogy, the other Writing Across the Curriculum (WAC) and the closely related movement Writing In the Disciplines (WID).

Process pedagogy emphasizes that good writing is achieved not in a single pass but through a series of activities involving multiple writing sessions and student reflection. The process, as well as the product, is important. Students learn from feedback they receive on their work at different points in the writing process and learn to make improvements on their own. As UC Berkeley’s College of Letters and Science guidelines put it, the R&C courses at UC Berkeley “emphasize the recursive nature of writing.” Developing an idea, crafting a thesis, creating supporting arguments, writing a draft, review, revision, and proofreading — with trips back through these steps as needed — all receive instructional time, review, feedback, and practice in the composition course.

Some critics confuse process pedagogy with affective or experiential pedagogy, in which students focus on their own opinions and lives in their writing. While process pedagogy can involve personal reflection, it is not at all a necessary component or a typical endpoint. Process pedagogy need not exclude working with evidence, reasoning, and disciplinary knowledge.

WAC works from the insight that writing can deepen student learning in any discipline because writing provides opportunities to recall, explain, apply, analyze, synthesize, or evaluate material learned; WAC also supports teaching students to improve their writing in all courses, not just “composition” courses. Excellent resources for a range of learning-by-writing activities for all disciplines include Davis’s Tools for Teaching , Bean’s Engaging Ideas , and the chapters on student writing in McKeachie and Svinicki’s Teaching Tips .

WID , an offshoot of WAC, challenges the assumption in the traditional composition teaching model that any single department (traditionally English) can train students in a generic or neutral set of writing skills. Anthropologists value different aspects of writing from art historians, for example, and the style and formats students learn in their English classes might not be appropriate for their majors in anthropology or art history. WID researchers investigate how writing happens differently in different disciplines, the genres and discourses particular to individual fields, and (most especially) how to orient students to the writing tasks native to a particular field.

At UC Berkeley, R&C courses are given in several different departments, reflecting the WID approach. GSIs in German, Comparative Literature, Anthropology, Art History, African American Studies, and several other departments teach their R&C students to read different sets of texts and to write somewhat different kinds of papers, though they share the goal that students learn to devise persuasive analytical and interpretive arguments based on evidence in their formal essays. WID contextualizes the process of writing within each discipline.

The books listed below are available for use in the GSI Teaching & Resource Center, 301 Sproul Hall.

Bean, John C. (2011). Engaging Ideas: The Professor’s Guide to Integrating Writing, Critical Thinking, and Active Learning in the Classroom , 2nd edition. San Francisco: Jossey-Bass.

Davis, Barbara Gross (2009). “Helping Students Write Better in All Courses.” In Davis, Tools for Teaching . San Francisco: Jossey-Bass, 305–13.

Gottschalk, Katherine and Keith Hjortshoj (2004). The Elements of Teaching Writing: A Resource for Instructors in All Disciplines . New York: Bedford/St. Martin’s.

McKeachie, Wilbert and Marilla Svinicki (2006). Teaching Tips: Strategies, Research, and Theory for College and University Teachers (revised edition). Boston: Houghton Mifflin.

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7 Ways to Improve Your Writing Skills

Writing, like any other skill, is something you can get better at with time and practice. Learn how.

[Featured Image]: A woman with curly hair and wearing a white long sleeve shirt, writing in her notebook, while sitting in front of her computer.

From sending emails to preparing presentations, writing is often a day-to-day task in many professions spanning diverse industries. Writing skills go beyond grammar and spelling. Accuracy, clarity, persuasiveness, and several other elements play a part in ensuring your writing is conveying the right message.

In this article, we'll explore various aspects of writing skills and offer tips for improving yours.

If you'd like to start enhancing your writing skills now, two popular options on Coursera are University of California Irvine's Academic English: Writing Specialization and University of Michigan's Good with Words: Writing and Editing Specialization .

What are writing skills?

Writing is a technical skill that you use to communicate effectively through the written word. Though these may vary depending on what you’re writing, there are several that transcend categories. Writing skills can more specifically include:

Sentence construction

Research and accuracy

Persuasiveness

Each of these components can influence the quality of writing.

Why are writing skills important?

Being able to write well is a form of effective communication , which many employers see as a crucial job skill . In fact, strong communication—spanning written, verbal, non-verbal, and visual—is among the nine common employability skills that employers seek in job candidates.

Regardless of your role, with good writing skills, you can clearly transcribe your thoughts into meaningful messages, enabling you to share your ideas, build relationships, and strengthen your professional image.

Learn more: Important Communication Skills and How to Improve Them

How to improve your writing skills

Writing, like any other skill, is something we can get better at with time and practice. Here are some strategies for developing your own written communication:

1. Review grammar and spelling basics.

Grammar and spelling form the foundation of good writing. Writing with proper grammar and spelling communicates your professionality and attention to detail to your reader. It also makes your writing easier to understand.

Plus, knowing when and how to use less-common punctuation, like colons, semicolons, and em-dashes, can unlock new ways to structure sentences and elevate your writing.

If you’re looking to strengthen your grammar and spelling, start by consulting a writing manual. The Elements of Style by William Stunk and E.B. White has long been considered a staple for writers. You can find similar resources at your local library, bookstore, or online.

2. Read what you want to write.

Knowing what a finished piece of writing can look like can guide your own. If you’re trying to write a humorous short story, read humorous short stories. Writing a book review? Find a few and take note of how they’re structured. Pay attention to what makes them good and what you want to emulate (without plagiarizing, of course). If you’re working on a school assignment, you can ask your instructor for examples of successful pieces from past students.

Make reading a part of your everyday life to improve your writing. Try reading the news in the morning or picking up a book before you head to bed. If you haven’t been a big reader in the past, start with topics you’re interested in, or ask friends and family for recommendations. You’ll gradually begin to understand what subjects, genres, and authors you enjoy.

3. Proofread.

While it’s tempting to submit work as soon as you’re done with it, build in some time to revisit what you’ve written to catch errors big and small. Here are a few proofreading tips to keep in mind:

Set your work aside before you edit. Try to step away from your writing for a day or more so you can come back to it with fresh, more objective eyes. Crunched for time? Even allotting 20 minutes between writing and proofreading can allow you to approach your work with renewed energy.

Start with easy fixes, then progress to bigger changes. Starting with easier changes can get you in the rhythm for proofreading, allow you to read through your work once more, and clear distractions so you can focus on bigger edits. Read through your work to catch misspellings, inconsistencies, and grammar errors. Then address the larger problems with structure or awkward transitions.

If you could say something in fewer words, do so. Being unnecessarily wordy can cloud your message and confuse the reader. Pare down phrases that are redundant, repetitive, or obvious.

Read out loud. Reading out loud can help you find awkward phrases and areas where your writing doesn’t flow well.

Should you use computer spelling and grammar tools?

Many computer-based tools—like spell check on your word processor, or Grammarly — can help you find and fix simple spelling and grammar errors. These tools are not perfect but can help even the most seasoned of writers avoid mistakes. Take note of any frequently highlighted words or phrases so that you can avoid the same mistakes in the future.

4. Get feedback.

Whether you’re writing emails or essays, asking for feedback is a great way to see how somebody besides yourself will interpret your text. Have an idea of what you’d like your proofreader to focus on—the structure, conclusion, the persuasiveness of an argument, or otherwise.

Approach a trusted friend, family member, coworker, or instructor. If you’re a student, your school might also have a writing resource center you can reach out to.

You might also consider forming a writing group or joining a writing class. Find writing courses online, at your local community college, or at independent writing workshops in your city.

5. Think about structure.

Grammar and spelling keep your writing consistent and legible, but structure ensures the big ideas get across to the reader.

In many cases, forming an outline will help solidify structure. An outline can clarify what you’re hoping to convey in each section, enable you to visualize the flow of your piece, and surface parts that require more research or thought.

Structure might look different depending on what you’re writing. An essay typically has an introduction, body paragraphs, and a conclusion. A fiction piece might follow the six-stage plot structure: exposition, rising action, climax, falling action, resolution, and denouement. Choose what’s best for your purposes.

Like many skills, one of the best ways to improve your writing is to practice. Here are a few ways you can get started:

Start a journal or a blog.

Join a class or writing workshop.

Practice free writing.

Write letters to friends or family.

Put together an opinion piece for your local newspaper or publication you like.

7. Know some common fixes.

Even if a text is grammatically correct, you may be able to make it more dynamic and interesting with some polish. Here are some common ways you can sharpen your writing:

Choose strong verbs (for example, “sprinted,” “dashed,” or “bolted” instead of “ran”).

Avoid passive voice.

Vary sentence length.

Cut unnecessary words.

Replace cliches with original phrasing.

Showing your writing skills in a job search

Your writing skills will shine throughout the job search process , whether or not you intend to show them off. This is because job applications are largely written materials, including your cover letter , resume , and email communications . Use these opportunities to demonstrate your writing skills to prospective employers by submitting clear, accurate, and engaging materials.

Additionally, if you have specialized expertise, such as experience with legal writing, medical writing, technical writing, or scientific writing, you can note that in a resume skills section and further detail that experience within your cover letter or during your interviews .

Getting started

Whether you’re a scientist or a product manager, journalist or entrepreneur, writing effectively will enable you to communicate your ideas to the world. Through practice, exposure, and familiarizing yourself with basic rules, you’ll be able to use your writing to say exactly what you want to say.

If you’re looking for a structured way to expand your writing skillset, explore writing courses on Coursera —the first week is free.

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8 Steps to Write a Good Composition (part 1)

Are you having trouble with your writing skills? Read this and you will find good and simple advice to make things much easier and your compositions much better. Even impressive. Just follow the 8 steps we will show you.

Most people feel somehow at a loss when they have to write a composition or an essay. They think for a moment, and then they start writing and writing and writing till they consider it is time to finish, and so they finish. That is probably the worst approach to composition writing. You must be talented and very experienced if you expect to write good compositions that way. To begin with, you could familiarize yourself with satirical essay examples to understand what your essay should look like. But whatever the topic you need, here you will find instructions for general compositions.

The first thing to consider is that a composition is not simply a piece of writing. It must be composed, it must have a structure and a cohesive organisation. Compare these two examples:

A- My brother’s tall and handsome and with blue eyes and, yeah, well, maybe a bit fat, but not much, you know, something like your cousin, but maybe not that much. And he’s very funny, ha ha, I’ll tell you about what he did yesterday, but not now. And brown-haired. Almost dark. Well, not dark but… well, yeah, dark. Oh, I said funny, but well, when he’s got a bad day, uff, he scares me sometimes…

B- My brother is tall, handsome and has got blue eyes. He is a little fat, but not much. His hair is dark brown. I like him because he is very funny and always makes me laugh. Nevertheless, he can also be quite serious sometimes.

As you can easily perceive, A is a good example of oral English, but it would be totally unacceptable for a composition. On the other hand, B is the right thing to say when writing, with simple, organised ideas. But B would be considered too pedantic and even unacceptable when talking in a normal conversation.

Using a correct language is part of it, but not enough. Both A and B are correct language, but Spoken and Written language are different, they use, to some extent, different vocabulary, different grammar and, especially, a different way to express things!

Many think that planning is a waste of time, especially if you are sitting for an exam and time is limited. But the truth is that planning your composition will not only make the task easy and much better; it will also make it all faster. At least once you have practised a little bit.

First, you have to know what topic you’re going to write about. In most situations you will already know this when you sit down to write. And then, you must start making an outline:

1- opening sentence = topic + approach 2- ideas connected to the opening sentence 3- details about those ideas 4- closing sentence

When you are happy with the outline, it comes the time to do the writing, and here you should follow these other 4 steps:

5- write a title 6- organize ideas into paragraphs 7- write the composition 8- correct your composition

In this article we well help you to make a good outline, which is the basis of this method. We will complete the 8 steps in a second article (see part 2, to be published very soon). So let’s get started.

1- topic + approach = opening sentence (O.S.)

Think of the opening sentence as a little perfume bottle: the topic is the material (the glass), the approach is the shape of the glass, and all the composition will be the perfume inside the bottle. If some perfume falls outside the bottle, it will evaporate (and spoil your composition).

Think of a word or several words that will identify the topic. Think of a word or several words that will identify the approach. The topic is what your composition is about. Your approach is usually what your opinion about the topic is, or just the way you see it, or what you want to say about that topic. When you have the topic and the approach, write the opening sentence with both ideas.

Topic - Life in a village Approach - better than cities Opening sentence - Nowadays, most people prefer living in cities, but I prefer to live in a village because life there is much better and healthy.

Another example of O.S.- Life in a village is very different from life in the city. (topic: life in a village / approach: different from city)

2- ideas (points) connected to the opening sentence

Example of good points:

no pollution
people know each other
friendly people
contact with nature
life is cheaper

Example of bad points:

I live in Rome (not relevant to the O.S.)
Villages in the south of Spain are bigger than in the north (wrong, we must compare life in the village with life in the city, not comparing different villages)
Last year I visited a very beautiful village (not relevant to the O.S.)
Night life is boring (it contradicts the O.S. unless you compensate this with a “but…”)
People gossip and are nosy and messes with your life (modifies or contradicts the idea in the O.S.)
In the 14 th century many villages were created (who cares? We’re not talking about history)
My friend Tom lives in a village (not relevant, unless you use Tom’s opinion to support yours)
My friend Tom, from a village, is very friendly (digression: this idea is not directly connected with the O.S.. It is directly connected to the point “friendly people” and only indirectly connected to the O.S., so it’s no good)

3- details about the points

Each point is the seed of a future paragraph (or section or chapter, if it is a long writing). For every point, think of a few details to explain that idea.

Example: - friendly people

people help you
people talk to you in the streets
people invite you to a drink in the bars

4- closing sentence

1- a restatement of the opening sentence (you say the same idea but using different words) Example: There’s no doubt about it: life in a village is much better than life in a city .

2- a summary of the points (ideas) . Example: With a cheaper life, a close contact with nature, a healthy environment and surrounded by nice people, villages are the ideal place to live .

3- a look to the future . Example: I really think I should leave the city and look for a nice house in a village as soon as possible .

4- a related thought that grows out of the body (usually a conclusion from the points). Example: That’s why our urban societies are more efficient, but its people are less human .

5- mixed type (a combination of several types of conclusions) Example: That’s why I’m planning to move to a village, because life there is much better than in the cities (type 3 + type 1, even the whole sentence can be an example of type 4)

So if you follow this advice, you will find that writing turns easier and the results are much better than when you simply sit and write. Just remember the bottle of perfume:

The glass : The opening sentence. Your first sentence, which will contain all the ideas of your piece of writing inside.
The perfume : All the things you have to say. Don’t let even a drop fall outside the bottle.
The cap : The last sentence in your composition. The one that will close it and make it a finished piece of work.

Once you have a good outline, you must use it to write your composition, essay or whatever you must write. Things are now much easier when you know all the time exactly what you have to say, confident that you’ll never get tangled, blocked or messed up in your writing. We can also guide you in this second phase (steps 5-8), but that will be in our next article:

8 Steps to Write a Good Composition (part 2)

Written by Angel Castaño

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How to Teach

Write Right: Teaching Composition Skills

By Tory Thorkelson

Teaching composition skills

Nine years ago, I found myself having to rediscover how to teach writing to sophomores and higher level students for the first time since I did my teaching license and practicum in 1991. At that time, Whole Language (a cross curriculum and four skills approach to language skills and content) was the focus and – while I did rediscover the power of portfolios – I also had to relearn or rediscover how to teach everything from basic sentences to full blown research papers. Here, in brief, is my approach and rationale for teaching composition skills to my University students.

Start and end with a Writer’s Inventory.

On the first or second day, I hand out a writer’s inventory in each writing class and have the students write about and then discuss their experiences, impressions and fears about writing. They also discuss some common myths about writing like “Great writer’s are born, not made” to help break the ice and clear the air a bit before we get into the process of writing. In the last week of classes before the final exams. I return this to them and they review and reconsider what they wrote with a partner or partners. In most cases, by week 15, they have changed at least some of their opinions for the better but not always. In the end, it is their process of reflection and occasional surprise at what they said that is most important .

Discuss, brainstorm, write

One comment I see over and over is the desire to share ideas with peers. Allowing students to discuss their possible topics with classmates in pairs or groups is almost always a good idea. I occasionally lead this into a brief class discussion when appropriate as it allows for more ideas to be shared. Once this is over, brainstorming is the next step before they write anything else.

Outlining rather than Brainstorming

Having stressed brainstorming above, I quickly move from freestyle or mind-map-style brainstorming to outlining. I find that it helps students organise their ideas much more logically and – once they have done it a few times – it reduces time and the number of errors with the final essay. This assumes that they receive feedback from the instructor, a peer or both in the interim.

Not about (only) Grammar

I have tried many methods to teach grammar over the years, but in every case the explicit teaching of grammar has failed. Therefore, a more implicit approach as part of error correction has worked better for me. For example, I tried worksheets targeting common errors and the students got high scores but failed to transfer what they learned to their own compositions. I used a grammar-focused book one term based on class feedback and got the lowest class evaluation ever for that particular course. Finally, taking examples from anonymous students and going over them in class worked best. It still did not work as well as I would have liked. I have started simply indicating which categories of grammar errors they have made and circle or have them find and fix them themselves. Ultimately, the type and implementation of error correction also made a huge difference in how much their grammar improved – as I will discuss below.

Error correction…the good and the bad

As mentioned above, I have tried a number of ways to give error feedback to my writing students over the years. Explicit did not work. They ignored the changes and focused only on points awarded or comments as an indication of their ultimate grade. Now, I simply circle or highlight errors and give them some areas where they are having consistent problems like articles or verb tenses, for example. While I may do a related exercise if a majority of the class is making the same mistakes, I focus more on structure and content in my feedback since most of them have had years of grammar based instruction accompanied by very little instruction about how to write a good sentence, paragraph or essay. By starting with the sentence, we rebuild their writing from the ground up over 2 or 3 16 week courses and that actually solves most of basic and persistent errors the students make.

Rediscovering the Portfolio

As a student, I loathed the idea of a portfolio but as an EFL Professor I have come to love it. Students start by reviewing their identity as a writer by using the aforementioned Writer’s Inventory. Then, they review between 5 to 8 pieces of their own writing by looking at the original version as well all revised versions provided by their peers or myself. Then, they briefly comment on what they learned from each of the homework samples they selected. The final step is to write a conclusion based on what they have learned about themselves as writers as well as their strategies for becoming better writers for the short and long terms. For some, it becomes a labor of love with original titles and fancy fonts, but it forces both them and me to look at the full scope of their work from early on in the term to close to the end. Very few who do it properly walk away without a sense of pride and accomplishment.

Power of the mini lesson

The longer that I teach, the less value I see in long lessons where I talk and the students listen without doing something directly related to what I am talking about as quickly as possible. In practice, this means that I want to have to talk no more than 10 minutes before the students get to work. The value of a mini lesson is that I can focus on what the students need, like how to write a hook or a thesis properly, as well as what they are having problems with. As mentioned above, this often means a quick lesson on a grammar point they are having problems with. The trick is to connect it to their writing and the writing process as quickly and seamlessly as possible.

Peer feedback…. It can work

While much of the feedback in university classes often comes from the instructor, that does not mean that peers cannot contribute to this process as well. I usually do not do peer feedback until late in the first part of the term as students do not know each other well enough to make it work well. I also alternate between having them exchange with a friend and doing it for a random classmate. This type of feedback often takes 15 to 20 minutes even with a pre-designed feedback form asking for their evaluation of both content and grammar. I encourage them to discuss the feedback one on one with the student who edited their paper. After this process is over, I normally return my own edited version to each student so that they can see what two different people thought of their writing. Totook less time, I might do it more often. As it can take up to 30 minutes, I only do this exercise 3 or 4 times a term so they get this type of feedback once for each essay or related outline

The only way to learn is by DOING

Writing is a slow, painful process even for many native English users. For non-English users, it is one of the most difficult and least satisfying skills to develop unless it is done properly. Students need to build confidence so that they can write effectively. But, they also have to be taken back to the beginning to unlearn many of the shortcuts and bad habit they have learned over the years in order to pass a plethora of exams. With 3 writing courses that last a full term each, we have the time to build up from the sentence level to paragraphs, essays and research papers. This means that – if they take all of the classes in the right order and with no more than a term between courses – they will become better writers of English because they will be writing extensively and intensively in and out of class.

2 Responses

Great article. I like the idea of moving immediately to outlining. Brainstorming can be done mentally while outlining the essay. Thanks!

Thanks, Khalid! I do go through brainstorming once with my students but I have found that outlining works better in the long term.

Warmers for English Lessons

One-to-One Teaching – Managing Time

Total Physical Response and Situational Language Teaching

The IELTS Is Not Academic Writing

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English Composition Writing Manual For Students

Composition writing is an important skill for anybody that wants to excel in the English Language subject. When you learn to compose good texts in English, you will exceed your educators’ expectations in exams.

English is among the most popular languages and subjects. However, writing composition in the English language is not easy. That’s mainly because of the English spelling and grammar rules. It’s, therefore, not surprising that even some native English speakers struggle with compositions that involve some vocabularies.

For international students that pursue English as a second language, even a short written English assignment is not easy to create. Nevertheless, anybody can learn composition writing and excel. They just need training and commitment to excel.

The Basics Of Composition Writing

What is composition writing, types of english composition writing, how to write a composition, more tips for english composition writing, frequently asked questions.

This kind of writing is considered a narrative. That’s because it entails narrating events in a sequence from the plot that a writer creates. Thus, writing a composition is like telling a story. The only difference is that you do it in writing.

The basic structure of a composition comprises the following parts:

Introduction : This is the section where the writer introduces the story setting. They also set a tone for the story to generate the interest of the reader.
Problem/Conflict : The writer presents the crux of a story in this section. Here, the characters try to overcome a problem or conflict that relates to the main theme of a story.
Resolution : Characters resolve the conflict or problem in this part of the composition or story.
Conclusion : This section marks the end of a story. It gives the composition closure.

When you write a composition, you create a written narrative or story. You put your thoughts and words into a readable and coherent text. And you can do this in three different ways or modes.

Poetic mode : This mode of composition is mostly used as an art form.
Expressive mode : This composition mode entails consciousness stream, as well as, free flow of emotions and ideas.
Transactional mode : Writers use this mode to advise or persuade their audiences.

Still asking, what is composition in writing? Well, just like most artists and musicians, composition writers set the tone of their work. And this enables them to accomplish their mission. Composition writers can express anything and take any viewpoint. For instance, they can impassionate anger using cool logic. They can also use simple and clean prose, descriptive passages, flowery, or analytical nomenclature.

Compositions can be categorized into different classes depending on their purposes. In a literary sense, composition in writing means putting together. Therefore, the writer assembles sentences and words to create meaningful and coherent work. It can also mean how a writer structures their piece of work.

Here are the main composition writing examples in English:

Description : Descriptive writing entails providing an account or statement describing someone, something, or a place. This form of writing involves listing significant details and characteristics to provide a descriptive portrayal to the reader.
Narration : Narrative writing involves giving a story or personal account to the readers. The narration can be a story or account of several events or facts presented in chronological order and having connections. The narration can also be dramatic, where the author presents individual scenes with dialog and actions. An author can also include flashbacks or follow a strict order in the narration.
Exposition : Expository writing or exposition involves explaining or expounding a place, a person, a thing, or an event. In this form of writing and composition, the author does more than describing something. They also provide an interpretation and reality. They also express their ideas and opinions about it. In some cases, the writer can lay out propositions explaining the abstract idea or general notion of the subject.
Argumentation : Argumentative writing is basically about presenting two sides of an issue or topic. You compare and contrast two opposing viewpoints in the composition using formal or logical reasoning. The end goal is to persuade your readers that A is better than B. Your meaning of better is what forms the content of the body of your composition.

Most students develop composition writing skills by practicing. But, what is composition writing in English and what does it entail? Well, you already know what a composition is. This section explains the main steps of drafting a composition.

Just like with an essay, the educator can provide prompts for when it comes to drafting composition. But, you still need to think about the perspective to take when writing the composition. Take your time to think about the given prompt and then brainstorm for ideas. This will make you mentally ready to write the composition.

A composition should have three major sections like an essay. These are the introduction, body, and conclusion. The introduction of your composition should have an interesting sentence or hook to grab the attention of the readers. It should make the readers interested in reading the rest of the composition.

The body of a composition in writing should expound on what you hinted at in the introduction. It should have several paragraphs informing readers about the topic. Each paragraph in the body should be unique in terms of the information it provides.

The conclusion of the composition should give your write-up a sense of finality. Readers should not feel like you have left them hanging after reading your composition.

Your choice of tone and voice is one of the most important things that educators consider when marking compositions. Therefore, chose the right tone and voice for your composition. This should depend on several factors. For instance, the topic of your composition should influence your choice of tone and voice. Similarly, your composition type should dictate the tone and voice you use. Nevertheless, choosing the wrong tone or even voice can lead to a poor grade in your composition.

Most people see composition as a rite of passage. That’s because they were required to write them at some point during their academic career. However, most people don’t know that they should maintain consistent tense and viewpoints. This is essential because it makes your story flow consistently.

A major reason for writing is to test your English language skills. Therefore, one of the most important tips on how to write a composition in English is to use as many vocabularies as possible. However, you should use the right vocabulary. Don’t use words whose meaning you don’t know.

Don’t submit your composition after writing without editing. This is very important because simple mistakes can ruin your otherwise brilliant composition. If possible, ask somebody else to read the composition for you. That’s because you’re likely to miss some of the mistakes since you’ve been working on the same write-up.

Now that you know the steps for writing your English composition, you should learn tips that can enhance your skills. Here are tips that will help you write better English compositions.

Think about your composition topic carefully : You won’t write a good composition if you don’t understand your topic. Therefore, take your time to think about the topic. What does the educator want you to write about? If the topic requires you to describe something, think about the best way to do that. If it requires you to analyze something, think about the best way to do it. Once you’ve understood what the topic expects you to do, brainstorm the information to include in your composition.
Take time to outline your composition : Creating an outline will enable you to come up with a coherent and logical composition. Outlining a composition is about planning your writing process. Therefore, draft an outline showing the main parts of your composition before you start writing.
Write a catchy introduction : The complexity of this section makes many learners ask, how do you write a composition introduction? How you introduce your topic to the readers will influence their first impression of your composition. Therefore, come up with a catchy introduction for your composition to capture the reader’s attention and make them want to read the rest of your write-up.
Maintain flow in the body : Some students ignore the flow of their ideas and arguments in the body of their compositions. However, this can make your readers lose interest in reading the rest of the write-up. To avoid this, maintain a consistent flow of ideas and arguments in your composition.
Summarize your composition properly : Your conclusion should summarize the main ideas of your composition. It should also state your viewpoint about the topic.

Q: What is a good composition?

A: A good composition depicts the ability of the writer to present ideas, information, or concepts in a captivating way that makes readers follow the story from the introduction to the conclusion . It also leaves the readers with a sense of finality.

Q: What is the difference between a composition and an essay?

A: A composition creates literary pieces like prose, drama, novel, and poetry. On the other hand, an essay elaborates on a place, an event, or a person.

Q: What is writing composition?

A: In writing, composition refers to the act or process of putting sentences, ideas, or information together to create a meaningful text. It can also refer to the way a writer structures their text.

Drafting a composition shouldn’t be a difficult task. You just need to understand the prompt, come up with a good topic, and understand what it requires you to do. Draft a good introduction, body, and conclusion then proofread or edit your work before submitting it to score a better grade.

Get on top of your homework.

Initial Thoughts

Perspectives & resources, what should ms. lin know in order to provide effective writing instruction.

Page 1: Understanding Difficulties with Written Expression
Page 2: Prerequisites for Written Expression

What could Ms. Lin do to help her students learn to write persuasive essays?

Page 3: elements of the writing process.

Page 4: POW+TREE Writing Strategy
Page 5: POW+TREE Applications
Page 6: References & Additional Resources
Page 7: Credits

Editing and revising

Planning refers to the use of a deliberate and organized approach to tackling a writing task and includes a writer’s first thoughts or basic ideas about the topic. Students who struggle with writing generally do not plan ahead; rather, they compose their text as they write. During the planning process, students should ask themselves who their readers will be and what the essay’s purpose is. Planning ahead helps students to form more complete thoughts and to produce more cohesive essays.

Elaborate on the ideas that were generated for them during the planning process
Determine what information, if any, is still needed in order to fill in the gaps
Gather that information
Arrange their ideas so that they flow together and make sense

In the initial writing stage, students will produce a rough draft incorporating the ideas that were generated during the planning stage and subsequently arranged in the organization stage. This initial writing phase requires students to coordinate ongoing cognitive demands, such as:

Combining planned ideas with new thoughts
Remembering the purpose of the paper
Using appropriate grammar rules
Considering the intended audience

Editing and Revising

Instruct students to write their drafts on colored paper to help them remember that this is not a final product.

Though the editing and revising stages are usually thought of as one step, they are, in fact, two interlinked steps. It is important for students to distinguish between the editing and revising steps in the writing process. For example, students need to learn that writing is a process that requires them to apply editing marks as they revise their essays. The revising stage, however, may also require changes in content or organization.

During the editing stages of the writing process, students will:

Check their grammar
Check their spelling
Check their punctuation
Ask whether their ideas are clear
Ask whether their purpose has been met

Other than teacher-editing, there are two ways editing can occur: self-editing and peer-editing.

The bulletin board below displays example statements that students can be taught to use when they edit a peer’s paper.

Adapted from S. Graham (personal communication, September 20, 2006)

Description

A bulletin board holds two papers. One is a transcript entitled “Peer Editor.” The other is a transcript entitled “Writer.”

Peer Editor :

Tell your partner what you like most about his or her paper.
Tell your partner another thing that you liked.
Tell your partner a third thing that you liked about the paper.
If you did not understand some part of the paper, ask your partner what he or she was trying to do.
Your suggestions should be specific.
Listen carefully to what your partner has to say.
Don’t interrupt your partner as he or she speaks.
Remember, your partner is trying to help you make your paper better.
Only use the suggestions that you think will be most helpful.
Be sure to say “thanks” for his or her help.

As was discussed above, it is important for students to distinguish between the editing and revising stages. Revising allows the writer to consider the content, quality, and clarity of his or her composition. When students revise their work, they should look at the editing suggestions made by their teachers and peers, and that they themselves arrived at during self-editing, to determine how the edits and comments can help to improve their papers. For example, they might:

Utilize comments and suggestions
Rearrange the order of the text
Make corrections
Expand ideas
Rewrite their papers

Writing In College: From Competence to Excellence

(44 reviews)

Amy Guptill, SUNY Brockport

ISBN 13: 9781942341215

Publisher: Open SUNY

Language: English

Formats Available

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Learn more about reviews.

Reviewed by Olga Gould, Assistant Professor Reading/Literacy, Eastern New Mexico University on 2/16/24

Comprehensiveness rating: 5 see less

The book Writing in College: From Competence to Excellence by Amy Guptill is written in the easily comprehensible for Higher Education students language. This publication targets college-level learners. In a very reader-friendly, engaging, and informative style, this study-guide explains to the beginning writers the most essential aspects of writing for academic purposes. Every chapter and each section of it focuses on a specific question, which also adds to comprehensiveness of the information discussed and clarified by the author. Guptill addresses her reading audiences in a friendly and inclusive manner which may also contribute to the college students' ability to engage with this reading and deeper comprehend the meaning of the conveyed ideas.

Content Accuracy rating: 5

This publication appears to be accurately written. Moreover, this book is composed in a very good academic English language. Additionally, it includes an entire chapter on proofreading, editing, and mechanics. The author does not seem to be biased in her discussion of the issues with the academic writing. On the contrary, this author's role may be viewed as a liaison between a beginning, struggling student-writer and faculty. Guptill attempts to balance the professor to student communication on writing within academe. The rich information she is providing is accurate and up to date. Thus, Writing in College: From Competence to Excellence can be considered a reliable source of information.

Relevance/Longevity rating: 5

Guptill refers in her current book to the recent research publications most of which were published during the first two decades of the 21st century. As anticipated, the topics this author addresses will stay relevant to the field of teaching students the academic writing strategies and skills for quite a long time. The content of Guptill's publication is not expected to become obsolete in a short period of time as a large number of students enter colleges and universities with their underdeveloped writing skills. Additionally, it seems quite natural and explainable that the first-year(s) students might have never had any sufficient exposure to the knowledge on the expectations of the academic writing, such as literature review, research report, etc. So, it may be concluded that the book Writing in College: From Competence to Excellence by Amy Guptill will not become outdated and will not need too many updates soon.

Clarity rating: 5

Guptill's text presents a very clearly written and well-explained piece of college reading. This author supplies every chapter with the examples positioned within the adequate contexts. All the terminology used in the classes concerning with writing for academic purposes is thoroughly explained. The author exemplary demonstrates the difference between the everyday spoken English language, texting, and professional and academic writing. This book is written in lucid and accessible prose the purpose of which is to make the complicated ideas easy to understand. So, the clarity of all the detailed notions seems to be outstanding.

Consistency rating: 5

Writing in College: From Competence to Excellence by Amy Guptill is internally consistent in terms of its framework. Many significant attributes and terminology used in the field of college writing are consistently present throughout this entire publication. The tone of this text is steadily even within the selected by this author frame. So, Guptill not only explains how to write but also demonstrates it via her publication.

Modularity rating: 5

One of the best features of this publication is its modularity. The author divides her text into chapters, sections, and subsections. Importantly, these smaller sections frame is consistent and makes it easy for audiences to read while knowing what to expect in every following, similarly structured chapter. The chapters, sections, subsections, and blocks with the supplemental information have headings and subheadings. The additional information aligns well with the content of the chapter or section it supplements without causing interruptions in the reading process. So, the modularity of this publication seems to be very thoughtfully streamlined.

Organization/Structure/Flow rating: 5

Organization of this publication is outstanding. The topics are presented in a logical and clear fashion. The book chapters and sections are evenly distributed in terms of their volume and content load. Focusing on a beginning writer, including the first-generation in college student, this text is mindfully organized.

Interface rating: 5

Thanks to the modern days' affordances of the internet-based reading, the book by Guptill contains the links to the additional sources mentioned within its chapters or in connection to their content. This feature allows the audience to easily navigate between the different reading platforms and choose the appropriate time for doing so. For example, different readers might prefer to explore the provided links prior, during, or after reading basing their preferences on the level of their interest in each of the discussed aspects. Adding the links, rather than chunks of the texts, facilitates the flow of the reading process in the audience and minimizes or eliminates the distracting effect.

Grammatical Errors rating: 5

Guptill's book presents a well-written text without grammatical errors. It may serve students as an example to follow.

Cultural Relevance rating: 5

The book Writing in College: From Competence to Excellence by Amy Guptill does not contain any culturally insensitive or offensive language. This reading seems to be highly welcoming and inclusive for both the Domestic and International students from diverse backgrounds.

With the publisher's and author's kind permission, I will add this book as supplemental resource for my students in my Writing courses. P.S. I truly loved reading this book and will use its content in my instruction with salient reference to its author, full APA citation, and the link to this text. Thank you. Sincerely, Dr. Olga Gould

Reviewed by Vivian Chin, Instructor, Hawaii Community College on 12/13/21

The nine chapters of this book cover material ranging from what college professors might expect to how to avoid informal speech patterns in writing. The titles of the chapters seem straightforward and not confusing. Although this textbook does not include a section specifically aimed towards English Language Learners, the chapter, "Getting the Mechanics Right" seems helpful for ELL students and for students who must code-switch into so-called standard English.

I would only note that in an example in the chapter, "Getting the Mechanics Right," it is highly unlikely that anyone would text with an accent on the e in cafe: "INFORMAL: u shd go 2 café b4 wrk bc coffee, and that this error might alienate students." I question the author's reliability simply because of this trivial point. On the other hand, one might use autocorrect while texting and one's phone would automatically put an accent on the e in cafe.

The material in this book seems very useful to students. I have downloaded this book so that I will remember to use it! I do think that the language may be a bit elitist at times, However, the chapters are thoughtfully titled and seem to contain sufficient information for students to follow and to do well in a college composition course.

Students with developing reading abilities may have trouble comprehending this book, however, much of the possibly unfamiliar vocabulary is useful for students to learn, e.g., "substantive."

The language of this book does seem to be consistent. The voice does not talk down to the reader. The word choice is appropriate for the audience.

The exercises at the end of the chapters seem useful. I think that a summary or a bullet point list of important points would be helpful at the end of each chapter.

I appreciate the organization of this textbook as it begins with possible expectations and ends with a chapter on diction. It follows a logical pattern, moving from general to specific.

With the help of my students I was able to navigate this book. Unfortunately it was a bit counterintuitive for me as one needs to expand the Main Body of the book to be able to access chapters. Students were able to figure this out, however.

I did not notice any grammatical errors. :)

Cultural Relevance rating: 2

This book seems to be blind to the writing and experiences of people of color. Because of this weakness or omission, it avoids the token representation or cursory inclusion of people of color, which can be just as offensive as our erasure.

A useful book.

Reviewed by Kate Nolin-Smith, Senior Lecturer, University of Wisconsin - Superior on 9/20/21

This book covers most of the basic components of a first year composition course in terms of expectations, general researching, and academic writing. There are clear sections dedicated to forming a thesis, writing paragraphs, and structuring an... read more

Comprehensiveness rating: 4 see less

The information in the text is accurate and presented in an unbiased manner.

Most of the information presented in the text is up to date and could easily be updated if needed.

This text is written in a straightforward manner and avoids complicated or wordy explanations.

The text has a consistent "voice" throughout.

The text has clearly marked topics and subsections in each chapter.

The organization of information is easy to follow and structured in a logical way.

This text is free of any obvious interface issues.

There were no obvious grammar errors in the text.

The text is not culturally insensitive in any way.

Reviewed by Julie Mainka, Adjunct Instructor, Butler Community College on 5/31/21

I am not sure if comprehensiveness is the main goal. The chapters which are present are quite strong, but discussions of cultural competency were largely missing. In my teaching, critical thinking about cultural contexts is far more important than having a perfect paragraph, mechanics, etc. This book largely seems to cover the basics of writing in a college-context, but there does not seem to be much explicit discussion of how to critically think by incorporating intersecting communities, identities, schools of thought, etc. In other words, more emphasis on critical thinking and how scholars use cultural lenses to critically think would be useful.

Content Accuracy rating: 4

The content is accurate concerning the basics of entering a scholarly conversation, but it leaves out a large part of the academic conversation: navigating intersecting cultural contexts. If you plan to supplement heavily, this a great book to get accurate information on basic information.

Relevance/Longevity rating: 4

The book is largely relevant to today’s students. It would be helpful to be more explicit about the diverse backgrounds of the students coming into a first-year composition course, however. There are up-to-date examples and some discussion of contemporary pronoun usage. The inclusion of real student comments are great as well! This shows how the skill at hand is directly relevant to a real person.

In general, I loved the authorial voice most of the time. The author is often warm and inviting. She attempts to welcome the student into the academic conversation rather than slamming them with rules or scaring them into “writing well”. The explanations and examples are usually very clear and blend a colloquial and academic style well.

The text is very consistent in terminology and framework and is, in fact, explicitly linked in multiple places. Each chapter is implicitly and explicitly connected to other chapters.

The chapters are short and sweet. Since this book does not include a reader, this is one of its best features. Each chapter functions well alone and as a complete guide. I had so many ideas for which readings to pair with each chapter! The way the book is structured is also wonderful. The author focuses on why one writes, the purpose of writing, gathering information, and THEN putting everything together.

Organization/Structure/Flow rating: 4

This is related to my comment above. The basic organization is wonderful. I would add more concerning critical thinking and cultural competency, but this can be added into almost every chapter instead of presenting a separate section for it.

I used an older generation iPad and had no issues with the text or links. In fact, I loved that there were so many links in order to clarify or offer more insight.

I found a couple of insignificant typos, but that’s it! This book was clearly edited and proofread several times.

Cultural Relevance rating: 3

I did not find anything to be intentionally malicious, but there were only small attempts to be inclusive. In general, there seems to be an effort to avoid explicitly discussing intersectional identities. As much as I loved the book, this seems to be a severe oversight. In all of the composition courses I’ve taught, I assign students current issues to research, analyze, and process. Doing this kind of work requires an ability to find the intersections of identities and be able to complicate the issue at hand through various lenses. Although this book strongly advocates for this type of thinking, there is little attempt to put it into practice. Sometimes this is manifested as something seemingly small, like assuming that most college students are traditional students. However, this can have a large impact on students. In general, I would advocate for explicit discussions of (dis)abilities, ethnicities, socioeconomic statuses, etc. Staying silent and hoping that the material is universal can cause some students to feel excluded. In other words, I feel everyone benefits from an explicit appeal to intersectionality. I would like to end on a positive note, however. There were some attempts at inclusivity (e.g. pronoun discussion, non-standard English discussion, etc.). These are excellent inclusions, there just needs to be a far more explicit attempt at diversity and inclusion.

One thing I loved was the humanizing of professors. Guptill explained how many professors have little professional training in HOW to teach and how grading is a very difficult part of being a professor. She added some longer discussions as well as many small references throughout the text. I think introductory students often do not know what a professor does, so this helps to demystify the professor (and their job) and show the students that we are just fellow humans who struggle just like they do. We ultimately have the goal of helping them as much as we can, but we are also people.

Reviewed by Martha Ucci, Professor of English, Bristol Community College on 5/26/21

As a reader for a first year composition course, this is an excellent choice. Guptiill strikes the perfect balance between composition rhetoric and good old fashioned advice. Indeed, her lens is squarely focused on the user, which is the student. There are live links to articles and bold boxes that reveal student's perspective and experiences that will certainly resonate with students who want to see themselves represented in the text. The content covers a brief examination of the vernacular of higher education to the mechanics of writing. Topics such as vetting research articles and paraphrasing content is especially pertinent to the novice research paper writer.

The content is accurate and offers humor at times to invite the student writer to embrace the often arduous task of academic writing. For example, there is a reference to a video on how to conquer writer's block, followed by a witty Sponge Bob Square Pants video. Students need levity and so many texts are one dimensional. However, that is not the case with Guptill's book.

The purpose of the text is very clear and Guptill incorporates data from employers who are seeking strong written communication skills, as well as critical thinkers. She also recognizes the role faculty play in shaping how students write and think about writing from their own scholarship. One of the exercises includes interviewing a faculty member about their process for writing and how that in turn leads to generating articles for publication. In fact, she refers to faculty (kiddingly) as "egg heads." Student's will gravitate to the witty elements in the text.

Guptill's prose and examples of writing are very concrete. She breaks down the process of writing into manageable parts, while encouraging students to break free form the conventional 5-paragraph essay. Her chapter on paraphrasing is especially effective. She provide examples of successful introductory paragraphs and some not-so successful paragraphs. She addresses being concise in writing, as well as the importance of cohesiveness.

The text is very consistent. The basic format of each chapter remains same throughout, lending consistency for the user.

One of the best features of this text is that the chapters are very digestible. They are not too long for students to lose focus. The exercises at the end of each chapter really reinforce the concepts presented and allow students to gain greater practice in achieving their writing goals. There are several articles that Guptill refers to throughout the text which invites more depth and credibilty to the topic being covered. I was especially pleased to see the AAC&U Written Communication Rubric used and explained in the text..

The text is neatly organized and very adaptable for student use.

The interface is great.

The grammatical elements are well done. The footnotes are very rich with articles and Guptill's own observations. Lots of fun to read.

Cultural Relevance rating: 1

The text is not culturally insensitive. I would say the the students quoted in the text may not represent the diverse body of student writers in college, especially the community college.

I think this is a great text to incorporate in a first year writing course. Students will really engage with the text and it offers a variety of concepts suitable for the "reluctant" writer.

Reviewed by Ann Pelelo, Professor of English, Clarke University on 12/18/20

There is not an index or a glossary, but all areas and ideas listed within the Table of Contents are covered well for the intended audience—high school writers who are transitioning to college writing. The explanations are, at times, brief, but the author supplies numerous ancillary links to augment the information presented. Given the generality of the topics, this book could be used within and outside of composition classes; that is what I find most attractive about it.

Some of the content in Chapter 1 is “cringe-worthy.” For example, “Most of your professors have had little to no formal training in pedagogy (the science of teaching). They’re extensively trained in their scholarly or creative fields, well versed in relevant theories, methods, and significant findings. Many taught during graduate school, but most come to their jobs relative novices about teaching.” This generalization can be a misleading and/or inaccurate description of many institutions of higher learning. The author continues: “Even those who spend a majority of their time on teaching think of themselves as scholars or artists who also teach.” She also writes: “Your professors—immersed as they are in their own fields—may forget that you have such varied demands, and they may not take class time to explain the particular conventions of their field.” Although I understand, as a person who has spent 25 years teaching full-time at the college level, what the writer is trying to convey about the “college environment,” these generalizations put forth in the beginning of the book make me uneasy, and I worry about how students will receive them. I loved, however, that also in this chapter the message is clear that in college students “drive their own learning.” The content of the remaining chapters is on-point for the intended audience, and it echoes many of the important lessons about writing that I’ve been trying to convey to students throughout my teaching career.

The content is up-to-date. Some things like paragraph unity and development of argumentative thesis sentences will remain static over time. Nuances about contemporary writing are touched upon in the last chapter. In fact, that chapter includes a discussion of gendered language—a hot topic of debate today. The exercises found at the ends of chapters were useful and in-tune with “the real world.”

The text is written in lucid and accessible prose. It also consistently provides adequate context for the ideas discussed. I especially appreciate how the author takes the reader through the rhetorical situation in an authentic and practical manner—this will be attractive and useful to students. I also appreciate how, in Chapter 3, the author explains the distinctions between high school and college writing and how to write an effective “college’ thesis statement. In addition, Chapter 4 includes a helpful overview of what makes a source “good.” The simple and usable chart that explains different levels of quality sources, their uses and how to find them will be useful to students. And Chapter 5, “Listening to Sources, Talking to Sources,” relates well how sources should function in student writing. The explanations are clear and logical.

The text’s framework is consistent. Each chapter ends with “exercises.” And each chapter includes many links to ancillary resources. In addition, footnotes are used frequently and consistently.

It is easy to imagine using specific chapters of this text in a variety of different classes. One doesn’t necessarily have to have read Chapter 3 in order for Chapter 4 to be useful. However, if the author does refer to information found in a previous chapter, she provides a link to it.

The organization of ideas is logical and clear throughout each chapter and among the chapters themselves. Each chapter begins with an overview of its contents and the “why” of its significance. Therefore, students encounter early in each chapter the importance of the information that will follow and how that information connects to their future college experiences.

Interface rating: 3

The book contains many helpful embedded links. However, when using the pdf version of the text, once a link was accessed, “going back” took one back to the beginning of the book—not where one had left off. In addition, I found many “dead links.” Furthermore, some links were labeled in misleading ways. For example, on page 12 a link is named “assignment prompt,” but it takes one to the main page of the Purdue Writing Lab. Given that the publication date is 2016, I wonder how often the author should check the links included in this text.

Grammatical Errors rating: 4

I frequently encountered clunky sentence structures and clunky transitions between sentences and between ideas, but that clunkiness did not take away from the content. There are a few typos as well (“than” instead of “then,” for example). I also noticed some punctuation errors.

Cultural Relevance rating: 4

Cultural sensitivity is a complex subject. However, in my review of this text, I did not encounter culturally insensitive language or examples, other than the frequent use of “mastering.” Furthermore, the tone and language are accessible for many ELL students. Some of the statements that are meant to be humorous may be lost on those learners, but losing out on the humor has a negligible impact on the important content.

Reviewed by Tasha Williams, Instructor, Leeward Community College on 7/28/20

The text does a great job of anticipating possible student perspectives and addressing them in a way that appeals to students. Its inviting tone stands to benefit first-year writing students greatly because it covers key concepts. In addition, I was pleasantly surprised by the discussion of instructors' professional duties. I believe the effective discussion demystifies the instructor role, thus rendering us more approachable. The second chapter focuses on the importance of knowing the audience and what teachers expect from assignments, which is a good topic that is seldom addressed explicitly. Understanding the assignment is essential to successfully achieving the goals of the writing assignment. The discussion of the three story thesis is very helpful and written in a non-condescending tone. It is strategically placed as a foundation for subsequent chapters. The remaining chapters help students develop paragraphs and address technical issues in their writing.

The author is accurate and unbiased. It is refreshing to encounter a text that provides practical guidance for students with regard to topics that teachers sometimes discuss with fellow practitioners. She does a good job of addressing these topics with a down-to-earth approach to students.

I look forward to sharing this text with my students because of its relevance to their experiences. The author incorporates a discussion of how writing has increased due to technological needs which is current with the times. With the increase in online classrooms due to the Covid-19 pandemic, online classrooms will benefit from resources that spark conversations in an online format.

Clarity rating: 4

One of the best features of this text is its ability to discuss the content in an accessible manner and break down information.

The text is internally consistent in terms of terminology and framework.

The chapters are relatively short and easy to comprehend.

The information in the text is logically organized. The text does a good job of building upon key concepts. While the chapters stand alone, each chapter reinforces important skills that are covered in previous chapters.

There are no significant interface issues. The text refers to chapter numbers, but the chapters could also be numbered for consistency.

The grammar does not interfere with the reader’s grasp of the content.

While the text does not appear to be culturally insensitive, it could be more inclusive of more students’ experiences. Chapter one begins with a discussion of why writing is important in terms of enhancing one’s professional career, but students who belong to underrepresented groups may feel that they are learning to write for other peoples’ purposes rather than their own. In addition to discussing how writing has the potential to enhance students’ careers, it could also address how writing may enhance other important aspects of students' lives such as family and community.

Reviewed by Nicholas Papas, Professor, Middlesex Community College on 6/25/20

This text would work well as a first-year writing text. While it does not cover "all areas and ideas of the subject," it provides a fairly comprehensive (and readable) discussion of important concepts and ways of thinking. I would add that one of... read more

The views presented in the text are well-grounded and nuanced. Having said that, because the text tries (and succeeds) to talk to student in a "real" way, there are certainly some statements, because of their clarity and boldness, that may ruffle some feathers. Again, I see this as a positive aspect, providing opportunity for discussion and, yes, critical thinking.

The content itself is likely to remain relevant, though it is certainly a product of the times. Many of the links to outside content don't work (already). This is unfortunate because the links that do work are useful.

The style is clear and engaging.

I noticed no problems with internal consistency.

The text is divided into nine fairly short chapters. There are clearly labeled sub-sections within each chapter. The short chapters lend themselves well to being assigned individually at different points in the course. The sub-section titles would make it easy to refer students to a particular section for review.

The chapters are organized in a logical way. The same is true for the sections within each chapter.

Interface rating: 4

I read this as a PDF file on an iPad. As such, the interface is pretty simple. The only intra-text navigation is done through the table of contents--which works fine.

A few typos. No major concerns.

One of the strengths of the text is that it addresses a fairly specific audience. This allows the author to speak to the concerns and assumptions of this audience. This strength could also be a weakness when the text is assigned to non-traditional students--students who may not have "mastered [American] high-school level conventions of formal academic writing," but who may have an academic background that would transition just as well, if adequately scaffolded, to successful demonstration of the course's stated learning outcomes.

I actually enjoyed reading this "textbook."

Reviewed by Regina Daus-Haberle, Instructor, Bridgewater State University on 6/19/20

Writing in College: From Competence to Excellence, while brief, addresses the key concerns of incoming first year students as they transition from high school writers to college-level academics. With that focus in mind, Amy Guptill prepares students for the metamorphosis in writing and analysis that occurs in first year writing classrooms and in introductory subject-matter classrooms. Guptill identifies the most critical steps involved in producing high quality college-level writing, and her lessons demystify the writing process so that students can follow concrete steps towards achieving mastery and gaining confidence.

Guptill's approach to writing is both accurate and approachable--great qualities for a first-year writing text. She explains concepts clearly, and more importantly, she explains why and how students should be thinking about the writing process in clear, concise, understandable terms. Guptill also explains concepts of audience in a bias-free manner, emphasizing that there is a difference between standard written English and more informal language. Identifying that distinction and explaining why it's important to be able to switch between registers of speech is a valuable way to frame ideas of appropriate rhetoric.

This text provides time-honored and time-tested explanations for how to master the art of communicating effectively in writing with an updated and upbeat twist. Its lessons will certainly remain relevant.

One of the greatest strengths of this text is its accessibility and clarity. It is written in a conversational style which students will find readily accessible and engaging. Moreover, Guptill addresses concerns and difficulties students are likely to encounter. She then explains strategies for mastering discrete elements of the writing process in easy-to-understand language.

The style, structure, and tone of this text are all consistent throughout. The chapters are short and retain a common structure: Guptill introduces the chapter's concept, intersperses her explanation with student testimonials which are engaging, offers additional resources, and finally provides follow-up exercises. This model works well and enables the student to grow in familiarity with the text.

This text is remarkably well organized and lends itself to easily assigned and utilized chapters. It is quite short, but that works incredibly well since it provides the necessary content without being overwhelming for the student.

The text is well-organized as it breaks down the writing process into a logical procedure--with each chapter building on those that came before. It is very easy for a student to follow.

There are no interface problems with this text.

The text contains no grammatical errors.

This text is not culturally insensitive or offensive.

I am excited to introduce this text into my first-year writing courses! It will become my primary "how-to-write" text, and I think my students are going to really find it helpful.

Reviewed by Jamie Parmese, Adjunct Assistant Professor of English, Raritan Valley Community College on 4/13/20

For the intended audience of this text, I would say that this text does cover areas and ideas of the subject appropriately considering that students in ENGL 111 or even ENGL 112 would seem to be the ones who might be able to benefit a lot from this text. This textbook does not claim to cover all ideas relevant to composition, but again, considering its intended audience, I think it does a fair job. Although I was unable to find an index or a glossary, students would appreciate the sections of information that define concepts like how to build a thesis part by part, offering alternative forms of communicating potentially annoying questions with professors, etc.

I found the information in this text to be accurate. I appreciated its honesty in the beginning that professors have different preferences and that getting to know a professor's preference of writing is just part of the world of academia. I know from anecdotal experience how stressed students are each semester that they come into my own ENGL 111 and ENGL 112 courses worrying about whether or not they will meet my expectations on the first day as I hear over and over again, "Each professor is so different." I think students would appreciate confronting that reality head-on through the tips of communication that this textbook offers.

I think the content is up-to-date and not in a way that will quickly make the text obsolete within a short period of time. Not only does this textbook obviously focus on writing and composition, but it also effectively markets to students the value of communication. Too often, professors hear complaints from students about how our particular course will help them even though they are in a different X major. For instance, the fact that employers' most highly valued skill from prospective employees is communication is valuable and encouraging, as well as possibly motivating, for students to know. I doubt that the high value of communication will change.

Overall, I found this text to be written in accessible prose. The varied use of capitalization, italics, bold font, etc. signals to the student that certain pieces of information are important - particularly in the boxes of quotes containing valuable advice. Not only do the boxes of tips offer clarity, but they really do evoke a warm, inviting tone for students to feel that professors are truly on their side. Too often, just from anecdotal experience, I find that it takes a long time to earn the trust of students who feel that they have been "tricked" or "cheated" by past professors. The inviting tone of this text makes not only the advice clear but helps students to consider the content.

Consistency rating: 4

The text is internally consistent in terms of framework. I think the terminology could have been a little more consistently framed in terms of all important words being bold, for instance. Instead, there is a variation of fonts throughout the text, which yes, as I mentioned before, is important in signaling to the reader that these terms and concepts are important, but I think that a little more consistency in how that information is signaled could possibly benefit readers in helping them keep track of these terms and concepts. The more consistent a text is in signaling important concepts, the easier it is for students to go back and refer to them for more study.

Modularity rating: 4

I do think that one drawback of this textbook is that there is not much color, along with the fact that there are long sections of black text on white background. I have found other open textbooks to be a little more visually engaging, and I think that this textbook could have benefited from that a bit, especially since the content is solid. Because of the lack of visual engagement, I do think that the long sections of black text on white background with few graphics, images, etc. could be overwhelming and possibly create a boring experience for readers - not all will want to have the discipline to keep themselves engaged in reading such a long, uniform text.

I think this text has great organization. Just from the chapter and section titles, it is clear that the authors took into careful consideration students' very real concerns and worries that they have when they start to enter the world of college writing. I think the fact that the textbook is under 100 pages also helps in not having the text be overwhelming to an unmanageable point for the reader. I have seen one open textbook that was over 500 pages, which I think would be a turn-off for the student reader. I think that how this textbook is organized by phrases that students use, such as "correctness" in writing really makes it effectively inviting for them.

I had zero problems navigating this textbook, which is definitely a strength there. Thanks to its clear organization, navigating around this textbook is simple and accessible. I did not have any problems with the links, and in fact, I found them very useful that again, I found tapped into students' real concerns - for instance, in Chapter 9, how employers hesitate to hire - or might not hire at all - prospective employees who write with incorrect grammar. I think this is a challenge for teachers to address, too, by the way - so often, professors are encouraged to consider grammar as the least area of concern, when in reality, it might make or break a hiring chance.

I did not find any grammatical errors in this text.

To be honest, I found one of the opening lines of the textbook to be a bit insensitive to diverse academic backgrounds. This line was, "You may have performed so well in high school that you're deemed fully competent in college level writing and are now excused from taking a composition course" on page 1. I understand the author's point in trying to market the value and importance of good composition, which I think is done very well overall, but many students - especially first-year ones - come into class on the first day feeling very insecure already about their writing skills, and I'm not so sure that reading this opening line will help too much with that.

Overall, I think this textbook would make an excellent companion to the standard ENGL 111 and even ENGL 112 textbooks that we use in our English department, and that is only because the standard textbooks we use are really anthologies that contain literary or non-fiction pieces for the students to write about. This textbook reminded me very much of a popular book on writing that a professor at my undergraduate university referred me to when I started taking writing intensive courses, and it changed my outlook and confidence in my writing skills for the better. I think that this textbook could do the same for students beginning college and beyond.

Reviewed by Kevin Zepper, Professor, Minnesota State University System on 3/7/20

I appreciate Guptill's approach in this textbook. In the previous textbooks I've reviewed for my composition courses, I've never seen anything quite like the first two chapters in Writing In College. In the first chapter, "Really? Writing? Again?" there's the justification for the new college student to adjust to more writing and seek improvement. Maybe this is something assumed or left unsaid, but Chapter one dishes out the reality of writing for students. Chapter Two, "What Does the Professor Want? Understanding the Assignment," is another important message left out of many of the writing texts I've examined. On a side note, I appreciate the explanation in the section regarding what a "professor does." The remaining chapters are all direct and focus on the positive aspects of developing a writing process.

After reading through the text twice, I feel the information is at least as accurate as other readers or college composition writing texts I've read in my twenty years of teaching. Given the audience, I feel the language is appropriate for incoming first-year students.

The reason I am rating this category a 4 is I was hoping for some sample essays as models for students. In my experience, some students learn new material in this fashion. Of course, there is the cost factor of selecting anything outside of the author's own contributions. (I would like to point out a typo on page fifteen, first line of the sentence. Shouldn't the word be "it" instead of "if?")

Writing doesn't change much. Philosophies of content and literary theories are added to on a regular basis. I feel Guptill's ebook is quite relevant given what's out there.

I never had the feeling that Guptill was trying reach beyond the first-students level of reading comprehension. For me, it was a reasonable fast read and manageable for creating assignments.

The appearance and layout appear reasonably uniform. Though not a deal breaker, the bold boxes did break up the text, but were distracting in some ways. I was hoping for quotes from experienced writers, tips on how to approached a specific issue, like free writing or revision. It's a small quibble!

In my personal opinion, this is an easy text to negotiate, simple to assign sections for further discussion through the writing process.

The chapters almost mirror the importance of each step in the process of writing. There is nothing I've read which deviates from the set chapters or content therein.

I read my download of Guptill's text on a fourth generation iPad. It was readily available t read through my iBooks app. There were no issues with the interface whatsoever.

(I would like to point out a typo on page fifteen, first line of the sentence. Shouldn't the word be "it" instead of "if?")

I didn't detect anything considered malicious or offensive.

I am seriously considering this as a text in future sections of composition. If I can feed a reader of some kind, hopefully open source, I would have the perfect combination to continue my next twenty years teaching college composition!

Reviewed by Bradley Hartsell, Adjunct English Professor, Emory & Henry College on 11/1/19

This textbook does a really good job of walking the reader (i.e. the student) through the process of writing effectively in higher education, starting with demystifying writing (which is sneakily really important; writing can often be perceived by students and young writers as an imposing ivory tower, of sorts) and on through feet-on-the-ground strategies for improving writing (e.g. the three storied thesis is a great tidbit that can stick with students). The one thing slightly holding back the textbook's comprehensiveness is Chapter 9 is comparatively skimpy, trying to cram fundamental grammar lessons (e.g. 'affect' vs. 'effect'; 'definitely' vs. 'defiantly') into an otherwise bite-sized chapter, in a text that is ostensibly for high-level writing students who would've either already mastered these elements of grammar (reminders are helpful, sure, but a whole chapter seems superfluous) or should be reading a composition-focused textbook, not a rhetorical-based one.

The information is well-sourced, and to my eyes, is accurate and error-free. Some hyperlinks no longer work, but I feel that's more a relevant in the 'Interface' category than 'Accuracy.' The thing that slightly gives me pause is much of the first chapter characterizes an ideal professor, and while 'biased' feels too strong an accusation, it seems aimed to heavily prepare young writers for a particular, almost idyllic style of professor. I'm not sure of the better way of conveying this to a student (you certainly wouldn't portray an ambivalent or constricting professor), but Guptill's form in Chapter 1 does bring the issue of 'unbiased' into question.

Barring unforeseen shifts on language and our current understanding of written communication, this textbook seems relevant for quite some time. Again, however, the few out-of-date hyperlinks hurts the text's relevance. All of the in-text material, however, appears perfectly relevant, barring the glaring issue that the first two chapters are strangely miscast. Guptill demystifying writing and conveying the attitude of a modern professor works well rhetorically and philosophically, an effective motivational tool to the reader, but presumably, the professor assigning this book is having Guptill explain his or her own motivations and pedagogy, which would theoretically be conveyed by the professor themselves during class meetings and/or in their syllabus.

Guptill breaks down fairly loft ideas and ideals down to prose that's actually fairly accessible. End-of-chapter exercises do a good job of reframing the lessons in the corresponding chapter. I do wonder if some of the in-chapter exercises could be slightly more explained, like the three-story thesis lesson, for instance, does a good job, by using real examples, of building basic statements of fact (level 1) into more complex argumentative statements (level 2) and into the ultimate level (3) of assessment, analysis, and arguability. However, sometimes it's not totally clear what separates Level 2 from Level 3, besides more words. Despite this small critique, the text's clarity is one of its strongest qualities.

Each chapter settles into welcoming patterns of introduction, tiered pedagogies, examples, student testimonials, a graphic or two, and exercises. This being solely written by Guptill seems to be the reason for such strong consistency.

Well-broken down into digestible pieces in what is ultimately a very digestible, 85-page textbook. Clickable chapters in the index is convenient, plus the nature of Guptill's rhetoric means much of this book could be arranged in pretty malleable ways by the professor (i.e. Chapter 7 (Intros and Outros) this week, Chapter 3 (Constructing the Thesis and Argument) next week).

Organization/Structure/Flow rating: 3

The strengths found in part in the textbook's modularity hurt it in its organization. Chapters 1 & 2 are well-placed but it's unclear Back to Basics: The Perfect Paragraph comes in at Chapter 6, after two chapters regarding sources, which themselves came over the thesis/argument chapter. Similarly, Chapter 9 being the grammar crash-course chapter feels slightly out of place and then the book ends all of the sudden with a (very) brief conclusion that still feels attached to the grammar chapter 9, and 3 exercises that feel like an afterthought. It feels like a more appropriate conclusion would restate the early chapters' demystification of writing and/or reflecting on the process of building theses and arguments.

The text is clean and unobstructed, with graphs/figures well-placed within the text. Again, the issues are with the hyperlinks, both the aforementioned broken links, but also, some of the links go to seeming-placeholder AAC&U/database pages that are likely to leave the reader feeling like they wasted time; not enough of the links/references link out to beefy articles/resources that could lead to further, relevant reading.

The textbook does not appear to contain any grammatical errors, not to my eye, at least.

Other than the odd footnote in the first chapter encouraging a sect of students to become tradespeople, Guptill's writing is middle of the road (though lively, not boring) and sensitive; the text's examples, while relevant, don't seem politically or socially-charged.

Overall, I appreciate the digestibility and the tenor of Guptill's book. As stated in the relevance category, it's not sure how a professor is supposed to assign the first couple of chapters; if I were a composition instructor (which I am), I don't know what my students get out reading Chapter 2: What a Professor Wants when I am the professor and I can just tell them. I really like this book in breaking down what makes effective theses, arguments, intros, and using sources, which is what I feel is the strongest part of this text. Like I said, the first 2 chapters are well-written and well-meaning but awkwardly, and I wonder about the linear progression of this book (it seems better served to be taught from out of order). And I wouldn't use this book as my composition, grammar-base, even for high-level writers. I find this textbook, ultimately, to be a good supplemental piece of a writing-intensive college course, but not to be used as a primary text.

Reviewed by Adam Pope, Assistant Professor, Writing Program Administrator, University of Arkansas on 11/1/19

Comprehensiveness rating: 3 see less

The text covers the general gist of the writing process in a classroom in college. This text would be well-suited to a WID or WAC course where writing is simply a part of the class that needs some special guidance. The text works as a style manual for writing in academic contexts and does this well. It doesn't serve well as a Writing Studies course textbook, but I don't think that was the intent of the author. Because of this I would say it does what it does very comprehensively, but it doesn't cover everything a Writing Studies book would.

The textbook is accurate in what it covers. It does not cover the field of Rhetoric and Composition's traditional stomping grounds, but instead focuses on providing a stylistic handbook to students of writing. The advice is internally consistent and stands upon sources that make sense in usage. It does not, however, interact with field-specific knowledge from writing studies. This is a practical choice, and the book stands alone just fine.

Relevance/Longevity rating: 3

This book is relevant to writing studies courses, though I would argue it is particularly useful for those teaching a WID or WAC approach. The text doesn't hew to traditional Rhetoric and Composition approaches, borrowing instead a form-based approach that treats writing as a schema that can be replicated and tweaked with formulas. While this can be effective to scaffold writing into a course that isn't within the realm of Rhetoric and Composition, I find the lack of engagement with Composition and Rhetorical theory to limit its use in a classic writing studies application. This lack, however, makes it a stronger fit for an instructor looking to add writing to their course without learning the terms of Rhetoric and Composition.

The book is clearly written. The author distinguishes between sources, original text, ideas, and suggestions very well. The formatting the text uses allows lists and other examples to pop out visually. The text is very direct and plainly written for a student audience and doesn't convey a sense of superiority or putting on airs.

Sections are consistent. The text references itself and other ideas on a regular basis, creating a unified whole that functions as a single book rather than a collection of articles and essays that happen to belong in the same binding. This shared vision is effective, though the downside is that the sections all speak to a larger focus on the goals of the book. This is not a choose your own adventure text. It is a very specific way to teach writing.

The text has a useful level of modularity if you wish to cover the major ideas of the author. However, the particular sections don't have a navigational hierarchy within them that leads to an easy transition between different sections. The sections are very much a single argument with sub-points rather than something that can be picked apart easily.

The book has a clear flow and directionality. It references its own flow and direction on a regular basis and is internally in conversation with its own ideas and structure. The structure moves from a simple introduction to more complex concerns and then closes with style. This is a normal move for a style manual or writing manual, a category I would apply to this particular text.

Some links do not work and result in a dead end. The lack of sub-sections within the major chapters is problematic for easy access to new areas, especially for folks with limited access to scrolling, such as those using a screen reader.

The text is clear, functional, and has no issues I find.

This text is not culturally offensive in my reading. It focuses entirely on the cultural migration from high school to college and focuses on the need to understand the culture of college courses and the way that academics and faculty work.

This is a very interesting book that tackles writing from the angle of a style guide or writing manual rather than a rhetorical text that one would find in a Rhetoric and Composition program. The text mirrors treatises on style and writing like Strunk and White and other classics such as They Say/I Say. While it would not be my first choice for a Composition course, I think it has a great potential to bridge writing for students in a WID or WAC setting where writing needs to be covered in a clear and direct way.

Reviewed by Lucas Street, Director of the Reading/Writing Center and Instructor of English, Augustana College on 7/31/19

For a slim, 84-page text, Writing In College is indeed comprehensive. Guptill provides practical, student-centered advice on transitioning from high-school writing to college writing. Yet this advice is couched in context, both theoretical and experiential. Guptill wants students to know the “why” behind academic writing, even when that “why” isn’t necessarily flattering to the genre. I expect her honesty will give this text credibility among students and faculty alike.

Writing In College doesn’t pretend to be a compendium of every possible academic genre. It focuses on only one: the academic argumentative essay, as assigned in and written for undergraduate courses around the U.S. Each step of the process is covered here: from understanding the assignment to putting the finishing touches on sentence-level edits.

Unfortunately, the book provides no index or glossary.

Guptill’s text has a strong basis in writing theory, from seminal theorists like Peter Elbow and Joseph Williams to more recent scholarship from AAC&U. She also leans on contemporary cognitive theorists like Daniel Kahneman. And as a sociologist as well as writing instructor, Guptill brings a strong WAC background to her text.

The text is very up-to-date, referencing Google and Wikipedia extensively in the “Secondary Sources…” chapter, comparing them to academic databases, and advising students how they are and aren’t useful. I also appreciated how some of the end-of-chapter activities ask students to put online essay mills to the test by evaluating the samples found there.

However, while I appreciate the number of hyperlinks included in the text, I imagine it will take some doing to make sure they’re updated as websites come and go in years to come.

The prose is very student-friendly: breezy, conversational, but not dumbed-down in the slightest. It’s enjoyable to read and not at all dry. Guptill frequently includes "personal experience" sidebars from five very diverse student writers, whom she credits as co-authors. Jargon is always explained. The tone is pitched just right to engage students.

This is a single-author text (except for the "student experience" sidebars mentioned above), so it’s very unified.

Chapters are short (8-10 pages each), self-contained, and include section headings. Although these chapters do refer (and link) to each other, they can be assigned and read independently. In my composition classes, I did assign all nine chapters, since none seemed superfluous.

The book is very well-organized, providing a logical, pedagogically sound progression from higher-order concerns like thesis construction to lower-order concerns (“Getting the Mechanics Right”).

As mentioned above, the text contains numerous links (3+ per page). All footnote citations also link to the sources online. Other than some charts and diagrams, though, the layout is fairly barebones. Images might have been nice to include--although they could have also cluttered things. Both the PDF version and online version are easy to read, with attractive typefaces and layout.

Grammatical Errors rating: 3

There are a handful of typos and a few major errors, including at least two comma splices. I also noticed some minor punctuation issues such as an occasional missing hyphen, comma, or apostrophe.

The text is culturally sensitive. The five students from whom Guptill solicited quotations about the writing process seem a diverse group.

Writing in College demystifies the most important elements of college writing via useful heuristics and a highly readable, accessible (and at times cheeky) style. Guptill’s slim text helps students new to academic writing avoid common pitfalls.

I’ve assigned the entire text in my composition classes this year and it’s worked well as a student-friendly guide to not only the “how” but the “why” of academic writing.

Reviewed by Cleatta Morris, Instructor, LSUS on 4/11/19, updated 5/6/19

The book takes a refreshing, atypical approach to freshman rhetoric and composition. It’s neither a writing handbook nor a reader and doesn’t pretend to be. Instead, it gives practical advice to new college students on how good writing can help them throughout their college careers and beyond. It explores the expectations that college professors have of their students before moving on to the fundamentals of academic writing beyond the five-paragraph essay. The book offers footnotes, hyperlinks to sources and supplemental readings, and clear examples throughout. It also offers two or three exercises at the end of each chapter. It does not contain an index or a glossary. An index would be useful, however. This book is an interesting way to help students understand the importance of developing their critical thinking and writing skills, but it’s not as comprehensive as it could be. It could touch on more than one pattern of organization, and it could use more examples and more exercises, particularly in the last two chapters; faculty must depend on handbooks and supplemental readings to serve as writing models.

The book seems unbiased and accurate in its approach to the subject matter, college-level writing. On the downside, it contains an uncited quote from a television series and at least one dead hyperlink.

The sources are fairly up-to-date (most 2007 or newer). The topic doesn’t call for constant revisions except for those areas that intersect with online technology, and the book could be revised easily enough.

The book is accessible to its audience; the tone is conversational without being too informal. The student anecdotes add to the accessibility.

The text is consistent in its approach, tone, and layout.

The chapters are fairly short, have clear headings, and are fairly self-contained. The instructor would have no trouble assigning chapters or even parts of a chapter as needed.

While I might have organized the text slightly differently, the author’s approach works fine.

There are no issues with the book’s interface/appearance.

The text contains numerous grammatical and mechanical errors: a spelling error, a redundancy, multiple sentence fragments (semicolon issues), and agreement errors. The author doesn’t see the pronoun-antecedent errors as an issue, however; she explains her preference for using they/their with a singular subject in a section about gendered language. I suspect she has a similar attitude toward her use of semicolons and sentence fragments.

The text is culturally sensitive and straightforward.

The first three chapters are the strongest and most relevant to freshmen-level writing students. They discuss the importance of clear written communication and explain the differences between high school- and college-level writing. Chapters four and five are good for addressing multiple aspects of outside sources. Chapters six, eight, and nine are the weakest: they skim the surface of grammatical and mechanical issues and could be eliminated without undercutting the rest of the text.

Reviewed by Chris Werry, Associate Professor, San Diego State University on 3/27/19

This textbook provides a broad and welcoming introduction to academic writing. It is an excellent general introduction to academic culture and composition, containing smart tips for thinking about why professors assign writing, how they tend to evaluate it, and how students should approach writing in a university context. The comprehensiveness of the text is a definite strength, and I imagine many students could profit greatly from reading this before coming to university. Depending on the class you are teaching, it could also be a potential limitation. For example, there is little on the specifics of argument analysis. That may not matter if argument analysis is not a focus of the class being taught.

Accuracy and formatting are excellent.

Because the text is a general introduction to writing and academic culture it is likely to age well. It also covers broad areas such as understanding what professors want, decoding assignments, constructing a thesis, finding and managing sources, etc., that are likely to remain current for a long time.

The writing is consistently clear, engaging, and inviting. It includes many comments by students. These are invaluable. They provide excellent tips and are very reassuring.

Terms, categories and concepts are consistent.

The page design of this textbook is simple but strong. Many chapters are also self-contained and so could be mixed and matched. There are sections on academic culture and expectations, constructing a thesis and argument, sources, pargraphing, building an introduction and conclusion, cohesion and clarity, and mechanics. A student who wanted to focus on one of these areas could easily read a chapter without needing to have read all the preceeding ones.

The text moves from introductory sections on academic culture, differences between writing in academic contexts and high school, to constructing a thesis and argument, managing sources, pargraphing, building an introduction and conclusion, and tackling cohesion clarity, and mechanics. This is a useful organizational structure for a general guide to academic writing.

The textbook is easy to navigate.

No grammatical errors.

The references are fine. A number are from sociology ( the author's home discipline). Again, a major strength are the reflections, tips and observations from students that are woven into each chapter.

I was particularly impressed by the sections at the start that help students understand why writing matters, its intellectual value, its relationship to critical thinking, professional success, and to academic development. This was inviting, instructive and motivating (it could easily have been hectoring). I also enjoyed the section explaining differences between writing in high school and university, and the section explaining academic culture and glimpse into professor's training and approaches to writing.

Reviewed by Jane Garrard, Dr. Jane Garrard, Professor, Chemeketa Community College on 2/4/19

The text is extremely comprehensive and extensively covers all the major areas in college writing, such as research writing, critical thinking, and mechanics, just to name a few. After each thorough and easy to understand chapter, there are... read more

From my experience as a college writing professor for seventeen years, the text is both thorough and accurate. It covers the main and most important areas in writing. Nothing was omitted and it all rang true.

It was definitely current and relevant. It wasn't too dated, and it addressed topics of relevance in the introduction, such as Facebook and texting. It also made the immediate point that learning to write will help students in various facets of their lives.

The text was well- written and easy to understand. The jargon was appropriate for the college reader. Explaining some of the terminology, such as literature review and peer review, was quite helpful, so that students are familiar with all the relevant terms.

The text was internally consistent. There were no noticeable variations in terminology and framework.

The text was structured in a way that was easy to follow and made sense. After wading through a couple chapters, I knew what to expect going forward. There was definitely comfort in its predictability. Each chapter contained just enough information. It was informative without being overwhelming.

The topics were definitely arranged in a logical, clear fashion that made sense. The mechanics section, however, might be placed closer to the front of the book.

The only thing that I found difficult was that the text was small. I would have liked to have seen it larger with more spacing .

There was no mechanical errors that I could detect.

There was nothing that was culturally insensitive as far as I could tell, nothing that I would deem offensive. It seemed pretty objective.

I liked that the book was packed with useful and relevant information. I particularly liked the follow up exercises at the end of each chapter which encourage students to think critically and become more interactive in terms of their own learning. I also enjoyed the section on what professors want. That would definitely pique student interest.

Reviewed by Elizabeth Stearns, Lecturer, The Ohio State University at Newark on 6/19/18

One of the strengths of this text is its thoughtful treatment of specific elements of the writing process, but it is not as comprehensive as other writing textbooks. Chapter 3, for example, discusses how to craft a complex, compelling thesis statement using a “three-story” model, and this is certainly something that developing writers will find helpful. However, there isn’t a discussion of the pre-thesis stages of the writing process that writers can use to *arrive* at a thesis. In many college classes, students are given prompts asking them to develop arguments that demonstrate mastery of a particular concept or subject, and so the very process of taking the course may supply the opportunities for preliminary thinking required to formulate a thesis. However, Guptill says that the textbook “is well suited to composition courses or first-year seminars” (“About the Book”). As a first-year composition instructor, I find that many of my students aren’t sure about how to find a suitable topic and work their way toward discovering what they think about it, so more guidance on these early stages would be a welcome addition. On pp. 11-12, Guptill does discuss briefly how free-writing can be a useful strategy to try after receiving an assignment, and I would like more of this kind of material.

That said, the textbook does a great job of providing practical and helpful guidance on the writing elements it covers, including the thesis statement, introductions and conclusions, paragraph structure, how to handle college-level research, and considerations of style and mechanics. Also helpful are the introductory chapters that give students a broader view of the role writing plays in the academic world and what professors expect of their students’ writing.

As I read the textbook, I did not come across any sections where I questioned the accuracy of the guidance being offered.

The writing advice, tools, and examples that Guptill offers in the text probably won’t expire any time soon. Her guidance on using electronic databases and navigating resources like Google Scholar would only need updating if the technology, or means of accessing it, changes, but there doesn’t seem to be much danger of this in the very near future. If changes are required, I think that they would be easy to implement. One nice feature of the textbook is that the provided examples showcase effective instances of writing across a variety of topics that won’t become outdated. For example, rather than referencing examples from current popular culture, Guptill includes excerpts from essays and books on broad topics such as “the cold fusion controversy of the 1980s” (ch. 6), embodied cognition, and 12th-century theologian Peter Abelard (ch. 7). I think that these are representative of the types of topics students might encounter in a college classroom and are more accessible than examples in other writing textbooks that I’ve read.

No complaints here. The writing is very accessible and would, I think, strike students as friendly. Guptill writes clearly, modeling the style that she advocates students adopt.

Each chapter of the text focuses on a key feature of college-level writing and can be used separately. In addition to this helpful modularity, there are some ideas reinforced in multiple chapters. For example, Guptill stresses the importance of students approaching their writing tasks consciously and taking an active role in the learning process. Another thread is the comparison between how students might have approached writing prior to college (namely the “five-paragraph essay”), and how Guptill is proposing students approach higher-level writing assignments. This is helpful because it draws from the knowledge students already have while showing them new ways of thinking.

As I read the textbook, I had thoughts like, “Oh, this chapter would be a nice supplement when I teach introductions and conclusions.” The textbook could be used on its own or employed as an accompaniment to other texts, either as a whole or in chapters. There are instances where the text refers to something from an earlier chapter, but these references aren’t so numerous or essential that lacking the earlier sections would impede a reader’s understanding.

The textbook is well organized and arranged logically. I like that the chapter on introductions and conclusions follows the chapter on paragraphs, since this reflects the order that I use when I teach these components. The only critique that I have is what I mentioned in the first part of this review, that I would have liked to see a much lengthier discussion of pre-thesis brainstorming and idea-development strategies.

I did not encounter any difficulties navigating or using the text. All the links that I clicked on worked.

I noted only a few instances (5 or so) of small errors, primarily sentences that were missing minor words. Also, there is one paragraph excerpt that is supposed to have parts emboldened, but doesn’t (p. 53).

This text does not have any problems with cultural insensitivity and I don’t think that readers would find any aspects of it offensive. There is an assumption that the primary audience has recently graduated from high school, which might be a bit problematic for non-traditional students. I have one admittedly picky little issue with a sentence on page 5: “By the end of high school you probably mastered many of the key conventions of standard academic English such as paragraphing, sentence-level mechanics, and the use of thesis statements.” I understand that this phrasing is in line with the overarching concept of the textbook, which is that it’s helping move students from “competence” to “excellence.” However, I think that many competent first-year writing students would not identify with the suggestion that they’ve “mastered” anything about writing. This is the only instance where this type of phrasing appears, but it comes early in the text, and might make some students feel a bit inadequate. Like I said, I’m being picky!

I like the presentation of ideas in this textbook and think that students would find the concepts, illustrations, and examples useful. I think that I could pull chapters from it to supplement other materials, and that it would provide students with helpful overviews of topics that I cover in class. Periodically, there appears advice and encouragement from students who contributed to the textbook, and this provides positive sentiments of “you’re not alone, writing IS challenging” that readers might find reassuring.

Reviewed by Chad Judkins, Adjunct Professor of English, Portland Community College on 8/15/17

I think this is a wonderful little book for teaching writing, since it delivers what is so rare in writing texts: well-lived context. It gives the students perspective and a holistic view of what they need to accomplish in writing, and it does it... read more

The entire book is only 91 pages, which makes it easy to digest. It will work as an excellent metacognitive text for a writing course, although it will need to be supplemented with more examples of good essays and a rhetorical guide that discusses persuasion, logic, and writing for different audiences. There are, however, links to resources at the end of every chapter that can be found online. This book also does a fine job of discussing writing as a student and for academic purposes and greatly helps to contextual that unique position.

Like the commonly used _They Say, I Say_ (Gerald Graff and Cathy Birkenstein, They Say/I Say: The Moves That Matter in Academic Writing, (New York: W.W. Norton & Co, 2009), this book offers students a look at "how writing works" in college and academic life and it encourages them to enter the conversation. The main advantage in this book is that it is a bit faster to read than TS/IS, but it is not so comprehensive in terms of offering templates for the students to use. Instead, it is a more perspective-based text, which offers advice on the key areas of thesis, paragraph structure, punctuation, and other requirements to do well in college and in writing critically. The two books could be easily used together, in whole or as excerpts.

One of the other big advantages to this book is its tone: it is friendly, humorous, and down to earth. It favors the practicality of "what do I have to do to succeed" that students tend to use in approaching college courses and it addresses why writing is something that matters in their lives. It also clarifies why students need to think for themselves in their writing and explains how universities favor individual thought over regurgitation and repetition. It has a kind, but no nonsense approach that will appeal to students and keep them reading it, even if they don't have to.

The text itself is also a good example of academic writing for students, implementing quotations, footnotes, and other citations throughout its text in a way that is less evident among other textbooks. As a result, it can be studied as an example of style on its own.

The content is accurate and error-free, with the exception of some hyperlinks that do not function. The material can generally be found with a Google search, however, so it's not critical.

Overall, I find the analysis of writing and argument to be well written, accurate, and timely. For a 91-page textbook, this is very well done. It is true that more could be added to the examples, but that is something an instructor can supplement on their own.

The content here is up to date and should endure for at least a decade, and probably longer, as long as expectations for writing in college courses remain the same.

This book is very clearly written. Clarity and brevity are its main advantage, along with the pleasant tone and humor.

This book is very consistent in its presentation of material, its accuracy, and its general framework.

It would be very easy to use this modularly, and in fact the first chapter is something that I think will apply in nearly every college course, since it offers writing advice at the same time as it introduces students to the expectations of the college environment. The later chapters on thesis statements, punctuation, etc, can also be excerpted and used as modules.

The overall organization is very good. It begins with a broad explanation of the conceptual underpinnings of the college environment, moves into an explanation of why writing is important in academics and in life, and then proceeds through relevant subareas.

Included throughout are excerpts from student contributors, authors, and other relevant material that provide insight into the topics under consideration.

The only issue is the occasional broken hyperlink, but it is minor.

The text contains no apparent grammatical errors.

Cultural relevancy is high, since it is a good introduction to college itself. It applies equally to every student. It is, of course, targeted at American universities and written from that perspective, but this is not something that can be faulted, since that is where it is going to be used.

Overall, an excellent gem of a little book. I put it right up there with many of the other compact introductory guides to college writing and college expectations.

Reviewed by Laura Beadling, Associate Professor, Youngstown State University on 6/20/17

The book does a really thorough job of discussing working with sources. The chapter on thesis statements was also very good. Later in the book, there is a "Back to Basics" section which could have either been eliminated (since this book assumes competence) or could have been expanded (to offer support to students who still need to work on some of these topics - introductions, paragraphing, etc.). There is no discussion of genre or different kinds of research writing. No index included.

Text is accurate, error-free, and unbiased.

The majority of links still work, but I found 10 or15 that were dead. I imagine this will be a continuing problem. There is also some discussion of social media, which will have to be checked to maintain relevance.

Very readable without being simplistic or overly complex for undergraduates. Accessible and engaging. Good use of examples and details throughout.

Very consistent throughout.

I think this book is extremely modular and would be easy to use various parts and chapters in a stand-alone manner. The chapters on working with sources could be useful in a variety of writing contexts, as could the chapter on thesis statements. The chapter on understanding assignments could also be very useful in a variety of courses.

The structure mirrors the writing process, which would make it useful in a course with several writing projects or one longer research project.

Very easy to navigate. Images and charts were readable. Nice interface overall.

No grammatical errors that I saw. Very clear and engaging prose.

The book emphasized the need for care in writing about and researching various groups.

This book does assume that the student is competent in writing, and thus would not be a good choice for a beginning or remedial course.

Reviewed by Ellen Polansky, Adjunct Instructor, First Year Writing, Rhode Island College on 4/11/17

This text might be well suited to first year writing seminars (typically writing intensive courses taught by faculty from the disciplines). For a straight-up first year writing class that isn’t anchored in a thematic or disciplinary area, however, it might serve as a solid complement to other teaching materials that cover a wider array of genres, conventions and rhetorical practices.

The author presents college as a time for students to shed fixed ideas about their perceived weaknesses. This book offers simple strategies that put many students’ earlier experiences into this new context. Amy Guptill demonstrates eloquence when she explains how certain familiar concepts -when used in a college writing context-- take on more nuance and therefore deserve a second, deeper look.

One strength is the book's emphasis on presenting strategies for college level writing while also reminding student readers that no model or framework will fit every writing situation.

Accuracy seems fine.

The author thoughtfully takes into account the range of issues college writers may bring to their courses. Hyperlinks to on-line resources that reinforce or extend the material in the text are used frequently. Many of these websites - especially those linking to college writing program sites -- appear to be maintained and kept current. The text focuses primarily on "standard" written essays with less attention paid to new genres of writing such as blog posts and multi modal formats.This is something that could be updated at some point.

The author addresses students directly with a reassuring, no nonsense (sometimes self-effacing) voice. Student voices interpreting or re-framing the material are sprinkled throughout the text. This is a nice touch as it offers reassurance to novice college writers while reinforcing concepts.

While the explanations are often clearly and efficiently worded, the written examples are sometimes based on topics that are too technical or arcane. As a result, a student reader might get caught up doing the work of figuring out the content rather than absorbing the concept being illustrated. One can imagine many student readers becoming intimidated by the written examples and then tuning out.

The author introduces terminology and sticks with it to reinforce concepts throughout the book.

Many chapters stand alone without needing to refer to preceding or following sections. Chapter and section titles model how to grab the reader’s attention. (“Listening to Sources, Talking to Sources”) Chapters and sections offer an engaging twist on what may seem like familiar concepts to novice college writers (i.e. “Some sources are better than others”).

The chapters and sections are ordered strategically. Sentence level concerns come towards the end of the book while the notion of academic writing as entering a conversation comes first. This sends an important message to beginning college writers that mechanics are legitimate concerns, but the bigger shift they will see in college involves the more global aspects of their writing.

Some hyperlinks are perfectly curated to enrich or expand the chapter content. Others might send a student reader off on a confusing or possibly irrelevant detour. Good links are those that connect to online writing resources that explain new concepts such as “meta discourse.”

The author has clearly taken great care since this is a writing text!

While the intended readership seems to be wide ranging and inclusive, some of the writing examples - while not in any sense offensive or insensitive -- could be a bit more inclusive.

This text offers a nice take on a vexing concern for both students and instructors alike: building strong revision habits. The author devotes a chapter to making a strong case for revising rough drafts. She carefully describes how writing and thinking are intertwined and also how precision (rather than elegance) should be the goal for academic writing. Most importantly, she provides a useful framework for students to use as they take a second look at their writing.

Reviewed by Jenfier Kurtz, Associate Professor, Virginia Western Community College on 2/8/17

This text offers a nice overview of the basics that writers need to consider when developing college level essays. The chapter on analyzing an assignment offers a useful discussion of the different types of writing that may be requested from students, examining terms such as analyze and critical thinking. The chapter on developing an effective thesis statement which focuses nicely on a thesis driven essay as a type of argument. Beyond the explanations of concepts, the book also includes some exercises that give students an opportunity to apply the concepts. These exercises dive into some depth, asking students to truly engage with the concepts rather than the easy types of comprehension questions often found at the end of chapters.

This information seems not only accurate and error-free but open-minded in its discussion of the techniques needed for effective college level writing. All borrowed information is borrowed from reputable sources with clear credit to the sources provided through footnotes.

The content is not only up to date, but written in a way that it remains relevant despite MLA updates or other changes. The topics are covered from a concepts focus, discussing the overall concepts needed for effective writing. The section on using sources does refer specifically to academic articles from databases, but does so in a way that eliminates the need for changes if database formats change.

This book is a bit text-heavy, with lengthy paragraphs for the explanation. While this does offer clear context for the content (and does avoid unnecessary jargon) there is value in conciseness. Sometimes the explanations take on more of a second person reference that I prefer, with statements such as "If you suspect that you're in a quoting rut, try out some new ways of incorporating sources" (45). While this is useful information, it can be confusing to students who are being taught to avoid the second person in their essays.

This text remains consistent in its format and organization. The use of terms is consistent, and the tone (which is rather casual and conversational) is consistent throughout.

The text does seem like it could be broken into sections and/or used piece-meal if an instructor so desired. Each chapter can function as a stand alone feature, which makes this a text that can be used section by section throughout a course.

Each chapter stands alone, yet is also organized in a manner that flows logically from the first chapter, which talks about the role of writing in academic and work pursuits, to the final chapter, which reviews the importance of correctness in writing.

I had no difficulty navigating the text, and found that the presentation of the content on the page was familiar. There were no distracting features, although there are a few links that could become problematic in terms of maintaining access to the linked pages.

I noticed no glaring grammatical errors within the text. However, I did not read it specifically seeking grammatical errors.

This book offers references and quotes from a variety of texts. This makes the content all inclusive, avoiding any specific cultural of racial bias. The textual references are related to general concepts from history, science, and literature. These should remain relevant for a long time.

Overall, this is a well structured and comprehensive book that can assist students as they write college level essays. It is not specifically focused on "English" types of content, and thus can be a resources for a variety of courses.

Reviewed by Kimberly Fahle, Coordinator of Writing Services, Virginia Wesleyan College on 2/8/17

This text covers a lot of important topics related to college writing. The background on higher education generally was an interesting and helpful background not found in many other writing or composition textbooks. One area that I felt this text lacked, however, was a discussion of rhetorical situation and genre. Concepts such as audience, medium/mode, purpose and genre are key to my writing pedagogy, but weren't covered in the text. While the text lacked in those areas, the discussion of organization, argument, and source use was very thorough and helpful. Drawing on Graff and Birkenstein's They Say/I Say provided an excellent framework for students to approach the use of secondary sources.

The content of this book is accurate and adheres to the principles of writing and writing pedagogy central to the field of composition.

The text is up-to-date and has potential for longevity in terms of helping students complete traditional essays. One area not covered in the text which may negatively impact its longevity is its complete privileging of traditional alphabetic texts to the exclusion of multimodal composition, which is becoming more and more prevalent in college courses across the curriculum.

The language of this text is very clear and engaging. The tone is friendly, yet still authoritative. It seems ideal for incoming college students.

The tone and structure of this text is consistent, creating a very coherent text.

This text makes good use of subheadings, blocks, and boxes to support clarity and engagement. The only thing that might make the text more successful in this area is the use of visuals.

The organization of this text is logical and effective. I particularly appreciated the placement of sections related to grammar placed at the end of the text with an accompanying explanation of why it was there within the text and how this relates to a successful college writing process.

The interface is easy to use, but hyperlinks within the table of contents and within each page to subsections would be helpful.

Not only does this text appear to be free of grammar errors, it has a nuanced and thoughtful discussion of grammar and debates over "correctness" that I believe is important for a college composition course.

In terms of cultural relevance, I appreciated the discussion of gendered language and issues to consider relating to it. One aspect missing from this discussion, however, was issues of gender identity and pronoun preference. I also appreciated the discussion of informal and formal language and its relation to background, identity, and class.

The excerpts from students found in each chapter were a great mechanism for students to get the perspective of other students, not just teachers and "experts."

Reviewed by Mary Boyes, Assistant Professor, Virginia Commonwealth University Honors College on 2/8/17

This text does not seem to be designed as a rhetoric manual or handbook, rather it is a general introduction to any kind of college/academic writing. This text would be a great companion resource for composition courses but is not comprehensive enough to stand alone. This text would also be ideal for summer institutes or “bridge” classes. As an introduction to college writing, the text is comprehensive. The text does not have an index or glossary, which would be useful.

This text appears to be unbiased and accurate. The author goes out of her way to be inclusive in her examples of student's backgrounds.

This text is relevant and up-to-date. Guptill includes references to technology and social media that are contemporary. Guptill’s links and sources are also current and relevant. Because the text is hyper-linked, the text will require frequent updates/checks on those links. Some of those links are already broken. The chapters covering research will also bear scrutiny over time as how we find sources (via databases or Google Scholar) is likely to change.

The book is written in a clear, conversational style with students as the intended audience. All terminology and jargon are more than adequately explained.

Tone, terminology, and logical framework are all very consistent in this text. Guptill builds from the idea of finding something to write about/figuring out assignments to addressing the actual structure of writing. Guptill's style and the content she addresses in each section is very patterned and clear.

Modularity rating: 3

This is the weakest area for this text. While the sections of this book are clearly organized with headings and sections, the layout and design of the text could be improved upon greatly. The book’s arrangement is very text heavy with few graphics and illustrations. Even though the writing is super clear and accessible, students who are used to accessing information via the web, may find the walls of a text a bit daunting. Additionally, some of the hyperlinks could use more contextualization/instruction so that students aren't just wandering off the page to marginally relevant sources.

Again, Guptill's style and structure is logical. An instructor could easily follow Guptill's organization or could jump around the text without any trouble. Because each section focuses on a specific skill set---creating clear paragraphs, for instance--an instructor could easily use this book as a whole or in parts.

There were no interface issues in the PDF or the online version. I did not try to the ePub version, so I cannot speak to that. The book would benefit from having an interactive glossary and index.

This text contains no significant errors in grammar, except where intended to illustrate poor grammar. There are a couple of typos, though.

Guptill's text is culturally sensitive and inclusive. She addresses how geographic and cultural backgrounds can effect writing and speaks to the ways that students can identify and avoid "nonstandard" or informal English in their writing.

I am definitely going to include this book as a companion text for my research writing course. Guptill's sections on writing paragraphs and getting mechanics right are especially inviting and clear. Additionally, the length of this book is spot on. Students don't want a 300-page tome, they need this kind of pocket guide to get started. I appreciate how Guptill truly kept her audience in mind when she created this book.

Reviewed by Rachel Morgan, Instructor , University of Northern Iowa on 2/8/17

Writing in College: From Competence to Excellence is an excellent supplemental text to a freshman writing course. In nine chapters, the book covers expected material from a first-year writing course: expectations of college writing, evaluation of research, incorporation and utilization of research, a focus on cohesion and mechanics. The book approaches the student as a "junior scholar joining the academic community," and takes great care focusing on clarity and concision, including chapters on improving topic sentences and theses. The text engages contemporary college students, understanding that OWL Purdue, Google Scholar, and even Wikipedia are part of the conversation in a current composition classroom. Overall, the book delivers on its promise to take the well-prepared high school student and introduce the student to introductory college writing.

A great benefit of the book is its hyperlinks, which link to academic articles, AAC&U rubrics and commissioned studies. In regards to teaching college writing, the book shows both adherence to time-tested standards of practice (attention to mechanics, organization, and fluency), yet it incorporates a contemporary conversation that addresses writing as a skill employers are seeking and the need for a new college student to learn discipline specific writing.

"They Say / I Say" and "The Nuts of Bolts of College Writing" are two contemporary, popular texts that introduce college writing and research in plain speak, and "Writing in College: From Competence to Excellence" references both these texts and appears very much to translate the college-level writing assignment from professor to student in open and clear communication. Hyperlinks in the texts and footnotes (there are no end notes) take the student to relevant articles, studies, and information that support contemporary writing practices. The book's clear organization would allow for easy updates as necessary.

The book's use of graphic organizers and images create great clarity, and no doubt easily aid visual learners. Chapter 3, with images, debunks the shape of a traditional five-paragraph essay, and shows an essay, that through research, reveals more questions and answers, moving past the five-paragraph model. Chapter 4, "Secondary Sources in Their Natural Habitats" opens with a table that evaluates sources from academic journals to websites. The author understands students should see complex concepts, such as evaluating research, in several digestible formats.

The book's main concern is scaffolding the college writing experience to a new college student, and therefore does not first approach the subject of writing through terminology. For example, the first two chapters, respectively, outline the expectations of professors and students, and walk a student through developing and understanding a writing assignment. Standard terms are used to describe writing, but the book is more concerned with students using and mastering the task of writing rather than recognizing terminology. The framework of the book is extremely consistent and follows the pattern and organization typical of most composition handbooks.

Chapters such as "Listening to Sources, Talking to Sources" would make excellent out of class reading to accompany a lecture or activity on academic sources. Students who might need more guidance at the sentence-level will find the second half of the book helpful as it discusses common problems in writing such as comma usage and awkward word choice. This book is adaptable and could easily be included at various points in a typical composition course, but it could also be recommended independently as a resource for a student who needs more structured guidance.

From chapter to chapter, the book is extremely organized. Clear examples are provided, often in images and tables. Each chapter ends with a useful section of resources and exercises. Unlike more lengthy books, the exercises are curated and easily adapted for in or out of class use. Students should be able to navigate the text easily, particularly the last three chapters, which address issues like writing a more effective introduction or conclusion paragraph. Often the examples progress in a series of three, so the student can see which specific clauses or sentences improve a paragraph's cohesion or a thesis' development.

The text is easy to read, with the majority of hyperlinks being easy to navigate between outside material and returning to the text. However, a few links to publisher produced material or articles are broken. At 85 pages, the book is easy to digest and use as a reference. The images and graphic organizers, while not plentiful, are well-chosen, clear, and apt. The section on mechanics is easy to follow, marking its sentence examples as "informal" and "formal" as well as "incorrect" and "correct."

The text is largely free of grammatical errors, and shows good attention to editing and design.

The text is not culturally insensitive or offensive in any way. The examples used show a wide variety of subjects, scholarship, and time periods.

Reviewed by Keryn Neary, Adjunct Professor, Concordia University - Portland on 12/5/16

This book covers a wide range of topics addressed in the writing classroom in a way which is through and clear. The division of chapters to reflect the writing process works well for students moving from high school to college level writing. The subject matter is clear and allows for direct connections. I really appreciated this text as I use They Say/I Say in the classroom, and this text made connections to that which I was able to highlight with my students.

I found this text to be accurate in the way that it address the subject matter. It followed conventions and pedagogies which are currently being taught in the writing classroom.

The material here is fairly standard and should be considered relevant for a long while.

The writing and examples provided are very clear and easily accessible to students. I tested a chapter of this book on a freshman level writing class and was very pleased with their understanding.

Throughout this text the writing is consistent and easy to navigate. The framework of the chapters is clear and terminology used is defined and easy to understand.

I was able to pull one chapter out of the whole in order to develop a lesson and it seemed that it would be easy to do that throughout this text. While the book works well as a whole, the division of chapters allows for teachers to adjust what would be needed with the particular group of writing students they're working with.

The flow of the text led clearly from one concept to the next in a logical fashion which reflected the writing process. As this is just one way to address the teaching of writing, and personally the way that I prefer, I found it very useful and clear, but I could see that with some methods of writing instruction the structure may not work as well. Nonetheless, this text offers chapters which could be easily reorganized to achieve a number of different goals.

Interfacing with this book worked very well and I found the text easy to navigate. The headings were clear, the few images in the text were easy to understand and the hyperlinks worked well.

Thankfully, as this is a book on writing, the grammar was spot on.

Writing is a way to bring equality to groups with diverse backgrounds. This text does not address issues in a way which would be considered offensive or insensitive and works to encourage students toward developing stronger academic writing skills.

I am looking forward to using this text with my future work with college writers. I was glad that my students reactive positively to the text when I tested it in class and really appreciated the connection to the text we were already using.

Reviewed by Anthony Edgington, Associate Professor, University of Toledo on 8/21/16

Overall, the text is good but could be improved on comprehension. The text is divided into chapters that model the writing process, making it easy for both students and teachers to use throughout a writing project. The text contains a good discussion of argument, offering specific examples and hypothetical situations to explore during classroom discussions. The text is also strong when it comes to discussions on research writing, devoting a few chapters to the topic and looking at research from multiple perspectives (though a stronger focus on researching in an online environment would be useful in the text). The book is not as strong when it comes to introducing students to genres, as the book leans to a "one size fits all" approach to writing at times. For programs that stress an awareness of genres, teachers will need to supplement the text with additional information. Finally, there is little information on writing in technological environments or a discussion of the importance of visual literacy in writing.

The text is highly accurate in the information presented on the writing process, research writing, argument, and other key areas. The citations offered are up to date and recognizable in the field of writing studies. The only concern is information presented on citation (i.e. MLA and APA) as this information undergoes rapid change at times (as of the writing of this review, the MLA has just announced sweeping changes in how sources will be cited in the future). Make sure that this information is continually up-to-date will be necessary going forward.

The content provided in the text is mostly up-to-date, with the aforementioned citation information the only major concern. The content provided is highly relevant and useful for a first year writing course and may be useful in a second semester research writing course as well. The course would not be as useful to an upper-level writing course, business or technical writing course, or WAC course. Information in the research chapters may need to be updated as new forms of sources and new citation methods emerge in the field.

The text is well written for a student audience; terms and ideas are clearly defined and examples are offered to help student writers understand the information. The book is text heavy (with little visual information) which could lead to a lack of attention or interest among students. The exercises offered at the end of the chapters are clear and understandable and help to reinforce the main points from the text. The book also uses bullets and numbering effectively to help organize the information presented.

The book is consistent in the information presented to readers. The structure of the text into chapters based on different areas of the writing process helps with this consistency. The vocabulary and tone of voice throughout the text is also consistent. The use of subheadings helps readers follow the organization within the text.

The text is well organized into clearly marked chapters that focus on separate, yet connected topics. One drawback is that the text is currently one PDF; having the chapters available as separate PDFs may help instructors to make better decisions on what to use from the book and may be easier to organize the book within the course. As currently designed, students will have to do a lot of scrolling through the text to find different chapters and/or topics. No self-referential material was noticed.

The book is organized well into chapters with subheadings. Chapter topics are clear and connect well to the field's views on the writing process. The book is not written in a way that will be confusing to teachers or students.

The text is mostly in a PDF format, so it is easy to navigate. Visual are clear and readable. The text includes hyperlinks to outside sources, which will be useful to teachers and students. The need to continually check hyperlinks for disabled or moved links will be necessary.

No significant grammar errors were noticed.

The text does not contain any apparent issues related to cultural insensitivity. Issues of race, ethnicity, gender etc are rarely discussed in the text, which can be seen as a possible problem, as the book does not discuss the social aspects of writing to a great extent.

Reviewed by Stephen Maley, Lecturer, University of Washington on 8/21/16

The text does not cover all of the topics included in most writing manuals or guides to college writing. Rather, it aims to cover those writing skills and practices that will enable students with a solid high school preparation to “join the... read more

The text does not include an index.

I found one error in the text. On page 53, a paragraph is revised to improve coherence, with “relevant parts emboldened.” But, in the relevant paragraph there was no bold typeface, either in the PDF or online version.

I did not find any political bias in the text.

The text is up-to-date. To illustrate the spreading usage of they/their for the third person singular pronoun, the text cites posting instructions from Facebook, ie, “write on their timeline.”

The text will likely need to be updated regularly to maintain relevance, and to update web links.

The text is easy to read. Terms like cohesion and coherence are explained and illustrated well.

The framework used throughout the text is that academic writing is part of a conversation. This framework is obvious in the title of Chapter 5: “Listening to Sources, Talking to Sources.” The first two chapters also fit into this framework as students are encouraged to ask for clarification from their professors if an assignment is not clear. The later chapters on writing organization and mechanics discuss the impression these have on readers, again fitting into the framework of a conversation.

I could imagine using any of the latter chapters on a stand-alone basis. The chapter on paragraph construction is particularly helpful for its concise explanation of topic sentences, cohesion, and coherence.

The text begins by addressing student motivations and possible misconceptions regarding college writing. The middle chapters explain how to engage with sources when writing a research paper. And the latter chapters explain principles of good writing.

All of the hyperlinks that I tried worked. The text includes no images or charts.

The only grammatical errors I found in the text were those meant to illustrate certain grammatical errors.

In the context of gendered pronouns, the text emphasizes the importance of respecting differences among people.

I enjoyed reading the text!

Reviewed by Amy Friedman, Asst. Professor, Temple University on 8/21/16

The book has a good, broad approach to many aspects of composing first-year college essays. The examples used throughout clearly indicate the author's awareness of the intricacies of a Writing Across the Curriculum approach, as they draw on many disciplines. It seems that it would be difficult for a student who reads this book not to make some self-aware improvements in approaching college-level work.The text does a thorough job of considering how college-level work requires specific skill sets, and requires labor to advance from high school level writing, reading, and analysis.

I found no major errors, and applaud an error-free text. There is at least one weird superscript -- see "etiology" in Chapter 6 -- the superscript comes at an odd place -- before the word is used. I'd review to make sure those superscripts appear at the best place for the student reader.

This book will be useful for a while. It deals in depth with the obstacles students perceive in learning how to construct decent college-level pieces of writing - and that situation will obtain for the foreseeable future. The references to ideas about college composition are up-to-date ones, and reflect very current approaches and discussions.This book references _They Say, I Say_ , which is a quite standard text for these courses, and this book absorbs and discusses how this text works, making it a post- _They Say, I Say_ composition work, which makes it pretty modern from an insider's standpoint. Students will continue to journey from high school to college writing assignments, and will need to understand the nuances of what is being asked of them in this new, collegiate environment. This book serves that need well.

This book is pretty clear and easy to follow. Some examples are dense and might scare students, though. Here is one, from Chapter 6: "Both versions convey a topic; it’s pretty easy to predict that the paragraph will be about epidemiological evidence, but only the second version establishes an argumentative point and puts it in context. The paragraph doesn’t just describe the epidemiological evidence; it shows how epidemiology is telling the same story as etiology." At this point, students will be terrified by this parade of big words! And the author does not define "etiology" until the next sentence, at which point many students will have shut down and shifted back to "skim" mode. Don't scare the students! Define the hard word the first time it appears. And if you don't define it then, use that as a teaching moment also -- indicate that this is exactly what occurs in college reading, and one should breathe, and go look up a definition, and get used to doing that all the time. The effort is being made by this author to represent many types of future college writing, which is good. Many disciplines are represented.

Overall, it is reasonably consistent. I do wish the author had avoided the overuse of "flow" in a way that undercuts consistency, however. The author includes a specific application of the term from contemporary psychological work, and also uses the term when discussing what is more aptly called "logic.' The psych reference is in chapter 2: "those times when we’re pleasantly absorbed in a complex activity (what psychologist Mihaly Czikszentmihalyi calls “flow”12)". This describes a brain state, and is used aptly here in the text. Later, in chapters 7, 8, 9, and especially 6, she emphasizes "flow," as in "sentences need to flow." It is arguable that it is not even a genuine concept, this "flow," as what is being argued for is internal logic to each paragraph, a logically-constructed argument, logical sequences of sentences, and so on. It is really quite useless for an instructor to tell a student that her sentences do not "flow."

The target of modularity has been addressed really well by this author. The sections are cogent and logical, and the text is broken up with useful examples. The Resources section is a particularly strong feature of each chapter -- they are specific enough, and have a good variety of sources to try out. The chapter length is great -- not too long, but a decent amount of depth.

Oh dear heavens, there is that term again: "flow." The text is structured logically, if that is what you mean. It does not have to "flow" -- these are discrete chapters on elements of essay structure, and one might use them in a multitude of orders in a teaching syllabus. The topics are clear, and the evidence in each chapter is presented in a way that makes sense.

I'd rate the interface as good. I wish I could more easily go from chapter to chapter -- it seems that typing in a number in the search bar is the most direct way to go from Chapter 6 back to Chapter 3. I'd really like an interactive Table of Contents, and an Index for searching for concepts and key words. Since these don't exist, it feels a bit clunky when moving around the text. The letter "B" is weird in this font: it seems overly serif-ed and curved.

The grammar is fine -- the author hits a good level of interesting, scholarly, clear, and challenging in the overall level of the prose.

I think the text foregrounds cultural sensitivity in its thoughtful recommendations to avoid gender-specific usages, in particular. Overall the book violates no standards of sensitivity, and draws on many types of examples. On the other hand, the discussions of cultural sensitivities could extend to considering cultural standpoint when writing in a more general way; not making assumptions about audience, finding out how to name and discuss racial and ethnic groups in correct terms, and so on. Or the book could include such information as a Resource in the already-excellent Resource sections.

This one thing bothered me a lot. There are somewhat disparaging comments about the professors who will be teaching this material and reading students' work. Example from Chapter 7: " Charitable and well rested instructors just skim over that text and start reading closely when they arrive at something substantive. Frustrated and overtired instructors emit a dramatic self-pitying sigh, assuming that the whole paper will be as lifeless and gassy as those first few sentences." There are other times the author takes this tone or stance. This is negative and unhelpful. As this is a book aimed at first-year students, such examples reinforce old high-school-level attitudes like "my teacher hates me." Quite the contrary ! How about ditching the stereotypes, or at least letting professors exist in the text as neutral, or as earnest readers of student work. These negative comments are inconsistent with the earlier explanations about how professors work: from chapter 2: "Professors don’t assign writing lightly. Grading student writing is generally the hardest, most intensive work instructors do." Just don't make us seem like an obstacle to students doing well or learning.

Reviewed by Kate Michaelson, Visiting Instructor of Composition, University of Toledo on 8/21/16

Though I've only rated the book as a "3" in this category, I do think it's a valuable addition to a writing class. While I would not select this book as a standalone text in a first-year Composition class, it offers a great perspective on the college culture versus high school that I haven't often seen in other textbooks. It covers the ideas of argumentation, source integration, style, organization, and assignment analysis quite thoroughly, and the interactive table of contents in the online version is very helpful.

Where I find it lacking for my own classes would be in providing sample essays, explorations of specific genres, or in-depth examples of students following the writing process. To be fair, this does not seem to be the particular purpose of this text--I see it almost more as a high-level Strunk and White for new college writers--however, I would not feel comfortable teaching college freshmen without those supplemental materials and readings. Fortunately, I can use this book as a supplement to other materials that are readily available elsewhere or that I've prepared myself.

I found the writing very on-point in terms of describing what professors are looking for and articulating some of the common pitfalls first-year college writers should be sure to avoid as they analyze assignments, create arguments, use sources, and revise. The advice for beginning writers was appropriate for setting their expectations in Composition classes but could also be easily applied to other disciplines. Finally, the advice on finding and using sources is very much in line with recommendations in other writing textbooks I’ve used and draws on some of the more widely used concepts like “sandwiching” sources and entering academic conversations.

The text is very up-to-date in framing students' previous writing experiences on standardized tests and referencing their immersion in written communication through social media. Likewise, it does a nice job of describing the context of academia today, the different roles that professors take on, and the expectations of students. The models for writing that it draws on, as well as the stylistic guidelines, are pretty timeless. While the many links are helpful in potentially adding content for students, one concern I had was that they might become outdated or links might break before long if they aren't frequently monitored, but the same could be said for most e-texts.

While I found the book and the messages very clear as an instructor myself, I felt there may have been points when it could potentially be a bit over the heads of some first-year writing students. For instance, Chapter 5 opens by saying that "Everyone knows that a thorough analysis and persuasive argument need strong evidence." Well, unfortunately, I don't know if everyone entering my classes knows that, so at times this text seems to be geared more toward the very well-prepared college student rather than those who might need a bit more guidance. At the same time, I appreciate that the book acknowledges that students come to college with some writing experience and does not attempt to reinvent writing but rather rethink existing skills. Fortunately, though I sometimes worry about the context of the material, ideas are presented very engagingly, draw on concrete situations, and appeal to the student's perspective.

The chapters consistently drew on the idea of students modifying their existing writing skills to meet college expectations. The tone, guidelines, and formatting remained consistent throughout.

Modularity rating: 2

Though at some points the book references ideas from previous chapters, I plan to use it in modules and believe it will lend itself well to that use. For instance, each chapter tackles a specific skill that students will need at a certain point in the semester. I plan to start with the chapters that introduce college writing and analyzing assignments. The nicely titled "Intros and Outros" chapter will be useful early in the writing process as well. The chapters on argumentation, using sources, and "talking to" sources will be great to weave in next in that order. Finally, some of the chapters dedicated to more stylistic elements of writing will be useful when students enter the revision process.

While I plan to jump around a bit, the overall structure of the book makes sense. It begins with an introduction to college culture and how that affects the writing process and progresses into how to respond to assignments. My description of the modular nature of the chapters speaks to the thought put into the rather distinct skill sets each chapter covers.

I didn't have any difficulties reading the book, and I appreciated that it was available in multiple formats. For instance, the interactive table of contents is a nice feature in the online version, but I love having the PDF for my own annotation and printing. The call-out boxes in certain parts of the text are a nice touch and break up the blocks of text somewhat. My one critique would be that there could be a more attention to the visual layout overall since many of the students will be reading the text on screens. While the large chunks of text are quite accessible when printed out, they might appear a bit overwhelming to students scrolling down a screen.

While I noted one or two minor typos, there were no major issues and the book felt like a very professional product.

As I've probably implied previously, the cultural relevance is a really strong point in this text. This book addresses writers entering college in a very practical way that acknowledges their previous experience with writing but gives them guidance on how expectations differ in the college culture. It also frames writing issues in terms that are likely to make sense to students, such as referencing Google Scholar as a potential part of the research process and clearly addressing the various types of sources they will need to evaluate.

Overall I'm very grateful for the opportunity to integrate this text into my first-year writing class. While I will not be using it as a standalone text, it will provide a great perspective for new college writers and offers some very clear instruction on important writing skills across the curriculum. I can imagine it would be useful not only in Composition classes, but other disciplines in which professors expect students to write extensively at a college-level.

Reviewed by Mary Van Ness, Senior Lecturer, University of Toledo, Department of English Language & Literature on 8/21/16

The book is concise and does not pretend to answer any and all issues related to academic writing. It does give practical advice to its target audience regarding how to bring high school quality writing up to the standard level of undergraduate writing. Guptill's defined target audience is "students who have largely mastered high-school level conventions of formal academic writing and are now moving beyond the five-paragraph essay to advanced engagement with text." Guptill's tone throughout the text would be engaging for the defined audience and much less formal in approach than the typical English teacher would select.

It is refreshing to have a professor of sociology point out issues with argument-driven essays that match many of the main points covered in introductory composition classes. Often students think there is no "carry-over" into other classes from their required English courses. This text would be a good choice for a supplemental "handbook" for a writing across the curriculum course, and would be even stronger if some of its grammar applications were strengthened.

Guptill uses a broad base of research to support her commentary throughout the text. There are a few minor typographical errors in the manuscript, several shifts of pronoun use and pronoun agreements within paragraphs, and an atypical use of "informal" versus "formal" in the "Correctness" section of Chapter 9, but the majority of the content and advice is accurate in composition theory.

The book should have longevity in the core features but I would encourage an updated version with an added chapter including advice on incorporating Toulmin's model of logic to argue claims of fact, cause, value and policy. An additional issue to consider is advice on how ethos, logos and pathos are "balanced" differently in the different discourses of the major academic disciplines.

Guptill's style is clear and reasonably concise. The level of the language is reasonable for college undergraduates.

The approach is consistent and based in learning theory. One of the strongest elements of the text is that it tells readers that improving writing takes effort and time. The closing paragraph sums up that stance: "You can’t become a flawless writer overnight (and no one writes flawlessly all the time). But over the course of a few semesters, you can certainly produce more precise text that presents your ideas in their best light."

The chapters offer excellent modularity.

The organization is coherent and flows smoothly.

The hotlinks interface well.

There are shifts of pronoun use and agreements within several paragraphs, and an atypical use of "informal" versus "formal" in the "Correctness" section of Chapter 9, but the majority of the grammar is consistent and moderately formal in the important models.

Jennifer Haytock summed up the content rather nicely in her reviewer's notes: "Guptill guides beginning college students through the sometimes arcane practices of the academy and does so with warmth, enthusiasm, and humor. The textbook takes students through deciphering assignments, developing sophisticated arguments, finding and using appropriate sources, and some basics of paragraphing, sentence structure, and style. Instructors will find this textbook to be a handy tool for explaining the argument-driven essay and reference for addressing common college-level writing issues. With a diverse range of examples, useful references to other sources, and purposeful exercises, Writing in College focuses on developing students’ skills in practical ways—and helps students understand why their instructors have them do what they do."

Reviewed by Sheri Benton, Lecturer, University of Toledo on 8/21/16

The text effectively explains the differences between high school and college writing expectations, and provides relevant examples for sentence construction, paragraph development, and essay organization, clarity, and concision . While it does not... read more

The content is accurate, error-free, and unbiased.

The writing instructions and examples in the book are up-to-date, and the text contains several links to outside resources and examples. A potential concern are broken links if those outside resources are edited or changed, but I believe those links can be updated relatively easily. The author mentions some writing conventions that are in flux and may change (for example, the future likelihood of singular "their"), but overall, the writing instruction is timeless.

The author does an excellent job of speaking to college students in lucid, accessible language and provides her readers with examples that illustrate strong, effective writing.

The text is consistent in design, terminology, and framework. Each chapter includes advice from college students that reinforces the author's discussion, footnotes to resources, exercises and examples, and links to additional outside resources.

While the book does move meaningfully from the first chapter to the last, it would not be difficult to use the chapters in a different order. For example, since the book focuses on argument and use of sources early (chapters 3, 4, & 5), I might have students first read the chapters on clarity (chapter 8) and mechanics (9), especially if I were beginning my course with a different genre, such as a personal narrative.

The topics in the book are presented clearly.and in a logical way. I would likely use chapters 8 and 9 (on clarity and mechanics) before chapters 4, and 5, which discuss finding and using sources, because I don't begin my course with the major argumentative essay. But Guptill makes a good argument within the text that the organization of the text itself reflects: focusing first on well-constructed sentences without a strong, thoughtful argument will not result in a strong essay. Therefore, the writing of an effective essay as a whole is focused on before the nuts and bolts of mechanics.

I found no interface or navigation issues within the text. It took a few tries to realize that clicking on the number in an endnote bumps the reader back up to the corresponding place in the text, but this is likely my inexperience with online textbooks. The one major issue I do see has to do with accessibility and accessible design: several of the links provided in the Other Resources sections use vague language such as "this handout" or "this one." All learners would find descriptive, meaningful link text more helpful.

The text was a pleasure to read and grammatically correct. I found only one word error - "much" for "must" in the first paragraph of chapter 9. The only other problem was in chapter 5 in the discussion of block quotes - the example provided does not accurately display the direct quote by Kahneman in block format. Other than this, the book is well-written and edited.

The text does not contain references that are culturally insensitive or offensive. The author uses multiple examples from a variety of resources.

I really enjoyed this book and plan to use it in my composition courses. Guptill puts relevant, helpful information for new college-level writers into concise, relatable language that I believe they will actually read. She doesn't dismiss or scoff at the skills and preparation students bring with them from high school to college; instead, she uses those rote lessons (such as generic introductions and the 5-paragraph essay) as foundational building blocks for their college writing.

Reviewed by Jenny Friedman-Gaskins, Part-time Faculty, Umpqua Community College on 8/21/16

I am very pleased with the comprehensive nature of the text. It covers all the finer details that are sometimes dropped in the rush of a course based on a quarter system. There are usually things that we as professors spot our students making mistakes with, but because these are not the main thrust of the curriculum, we end up having to leave them out, only addressing them on a case-by-case basis as they appear in students' writings. I routinely teach WR115 and Wr121 on my campus. These are considered a paragraph-to-essay course, with emphasis on rhetorical modes, while the 121 is the first in the series of transfer courses, with an emphasis on solid essay writing skills being overlaid with argumentation and critical thinking concepts. I feel this text bridges the gap between the two and am planning to make it a required text for both.

Has a pleasing compare and contrast mode when addressing the ideas students may bring with them to a college course, versus what instructors and professors are really looking for. Guptill does an excellent job of linking these expectations to the actual learning that may take place in a writing class. Because of this compare/contrast structure, the accuracy of the descriptions of standard writing curriculum are brought into nice relief, which heightens the accuracy of all the information in the text. Nicely done.

Because Writing in College: from Competence to Excellence, is written with an eye to not just what good writing is, but also, the more effective mindset to approach all college learning experiences, the text should maintain a high degree of relevance and longevity to the college/writing community.

A strength of the text is its ability to speak to the college student in clear terms. Many analogies are provided which help illuminate the concepts and are easily approachable.

Good consistency throughout. The author demonstrate clear excellence in her understanding of teaching and writing.

Each section is easy to read and understand on its own. Each module is able to be pulled out as a stand-alone.

The text is very cohesive from the start. The juxtaposition of the Research module with the previous explanation of some philosophical approaches to college writing courses is somewhat abrupt, but, on the other hand, entirely necessary, and I am not sure how this could be structured to move away from this. Because the modules are easily separated, and, I would expect, follow an individual instructor's course flow, this really should not be an issue in any way.

Absolutely no issues with the interface of the book.

There are no grammatical errors--a very clean read.

The text is not culturally insensitive or offensive in any way, and in fact, addresses some of the issues regarding preserving gender neutral references in writing in a realistic and useful way.

I am very pleased with this book. It really does a nice job in explaining not just the technical aspects of writing, but the connection to the larger academic community which can be forged by expressing original ideas in a reflective manner.

Reviewed by Phyllis Nissila, Instructor, Lane Community College, Eugene, Oregon on 8/21/16

I reviewed the text with our institution's developmental writing class in mind, Writing 97 which is an introduction to college essay writing. I preface my comments by saying I believe it is more suited to our higher level writing class, WR115,... read more

For Writing 97 purposes, the text would benefit by including more exercises for the writing techniques covered, although the hot links to Online exercises from supplementary materials such as Purdue's, OWL resources, and Diana Hacker's Writing Reference exercises are very helpful. There are many such references and links.

The chapters are text-intensive; therefore, for the purposes of a class similar to our WR97, I believe they would benefit with more of a variety of presentations such as more side bars, the above-mentioned exercises, and information offered in more graphic formats for visual learners.

For the information presented, very accurate.

I believe the information remains relevant and offers classic writing techniques while suggesting a few newer instructional methods such as the "I say/they say" approach to argument writing. An additional effective element of the text is the chapter covering what writing professors expect, and the attention given critical thinking which is such an important element to crafting argument papers, in particular.

The prose is accessible for the transitional student I reference (the WR115 class in our institution) and sufficient context for specialty terms and jargon. I believe the addition of a glossary of terms in a back matter section would have added benefit.

The text is consistent in terms of terminology and framework.

For the student in our developmental writing class, the text would benefit with more variety in the presentation of the material--more graphics, exercises, etc., as noted above.

The topics are presented in a logical, clear fashion.

The interface is consistent.

The grammar in this writing book is very good.

The examples and citations are derived from diverse sources.

I particularly appreciated the hot links to many good resources Online, as noted previously. I believe the "side bar" inserts featuring student responses and perspectives on various writing topics would be of both interest and help to students. The "how to" examples for various writing skills such as topic sentences, three-level thesis statements, and instruction on such "writing mechanics" as how to avoid wordiness, fix run-on sentences, fragments and common punctuation problems, etc, seem to cover many of the most common areas of challenge for writers transitioning from high school to college level writing. The attention to rhetorical techniques and matters of "grace" and style in the last two chapters in particular will also help students upgrade their writing skills for college papers.

For students in developmental writing classes at the college level (perhaps one level lower than I believe this text might be best suited), a course using this textbook would be strengthened by the addition of supplemental materials featuring more practice exercises for each element of the essay, more sample and "whole essay" readings, and more punctuation and grammar exercises. There is some attention to ESL needs (such as in syntax development and various "agreement" issues such as subject/verb and verb tenses), which would benefit the developmental students as well, as many international students fit this demographic, but more may be necessary.

Reviewed by Steven Kelly, English Instructor, Kansas State University on 8/21/16

At less than 100 pages, Writing in College (WIC) is an admittedly brief text. While it doesn’t cover every college writing scenario (an impossible task), it serves as a fantastic primer for students who are making the transition from high school expectations to college expectations. In this way, it’s more like a college writing manifesto than a traditional textbook, which will be refreshing to instructors and edifying for students. The text offers practical writing instruction for beginner college students. It doesn’t hedge; it’s very frank about what college instructors/professors expect from students, how they grade, and what their concerns are (while also revealing that it’s different for different instructors). WIC helps students understand that they’re junior scholars, rather than “knowledge consumers.” I wish I’d had this introduction when I started undergrad, as it would’ve saved me from confusion and amateurish writing mistakes from the get-go. Though there’s no glossary or index, the text’s brevity and easy-to-follow “conversational” structure makes those features largely unnecessary.

Having spent the last decade as either a student or instructor, I can vouch for the text’s accuracy about college writing expectations, at least when it comes to writing argument-driven essays. Guptill perfectly captures the difference between college writing and high school writing, especially highlighting the need for students to consider their audience, to do original thinking, and to critically engage with ideas. Chapters 1 and 2 are especially useful in this regard. More importantly, I believe other college writing experts would support Guptill’s ideas and overall approach. In particular, WIC helps students abandon the rigid and stale “5-paragraph essay” form and see the advantages of writing a more complex, “organic” essay (Chapter 3 handles this subject fabulously). The text forwards the kind of writing that will allow students to excel in a college environment.

WIC seems relatively timeless, as it engages college writing from a rhetorical and processual approach, rather than format- or topic-specific ones. I can see this book being just as honest, relevant, and useful a decade from now. One thing that may need continued work are the hyperlinks embedded in the text, as URLs change or get deleted or as pages/visuals change with new formatting. But it seems that those features could be easily changed to keep up with the times.

Guptill’s prose is wonderful. It’s written conversationally and often uses humor and illustrations that college students will find relatable. The text avoids abstractions and instead delivers practical, concrete information. Students will have no trouble engaging with the text.

WIC maintains a high degree of consistency. It's adequately self-referential (without being overbearing), which should help remind students about concepts discussed in other chapters. The text also has a clearly unified purpose--it all relates back to the specific "genre" of college writing.

As mentioned previously, the text is brief: 9 chapters, approximately 10 pages/chapter. That said, students should easily be able to read and digest chapters within 15-30 minutes (depending on their reading speed, choices to follow links embedded in the text, etc.). Each chapter also makes use of clear, bold subheadings. One downside of the text's modularity, though, is that later chapters sometimes require readers to recall content from earlier chapters. Each chapter could technically stand-alone, but it makes more sense if readers understand the broader context. I can see how that might potentially discourage students; however, I think the text's brevity and lucidity serves as a buffer here. (It's also worth mentioning that on a meta-level WIC is essentially an argument-unto-itself about how to write excellent college papers. In other words, it's putting its own lessons into practice, which instructors and students alike can appreciate.)

Guptill has organized WIC deftly. Altogether, the text takes a top-down approach, focusing on higher-order concerns first and then moving on to discuss lower-order concerns. In my experience, approach like this is conceptually beneficial for students and accurately aligns with the values and objectives of college writing programs. There are 9 chapters, but they can ultimately be grouped into three broader sections. The first three chapters tackle the most important concerns of writing a college assignment: an awareness of genre, audience, and purpose/focus. The next block of chapters (4-7) deals with development, organization, and source integration. Chapters 4 and 5 are especially cogent and useful discussions about finding, evaluating, and using sources. The final block (chapters 8 and 9) handles style and conventions. Chapter 8 has some great information about writing with concision and grace.

WIC's interface is great. It's easily navigable, including intra-text links (like how the links in the table of contents let readers jump directly to each chapter without having to scroll) and easy-to-manage links to sources outside the text. If you have the .pdf file open in a web browser, you can easily right-click links and open them in new tabs. From a design perspective, the text is clean, crisp, and attractive. I especially enjoy the emboldened, boxed-out "Student Voices" asides, which give readers concrete insight from actual college students. These asides add depth and relatability to the text without interrupting it.

I didn't find any grammatical errors. It looks professionally edited and is written expertly--to be expected from a text that's about excellent academic writing. I did find one minor formatting mistake: on p. 53 there's a part where the text says there’s “emboldened” text in the second usage of a quotation, but the bold is missing there. It should be easy to fix, though.

WIC is in no way culturally insensitive or offensive. It takes a global perspective; when it uses examples, it often engages different cultural and geographic backgrounds.

Overall, I love the clarity, frankness, and flexibility Guptill's text offers. It demystifies and simplifies (without over-simplifying) the practice of writing in college in a way that's beneficial for students, graduate students, and instructors alike, on par with Graff and Birkenstein's landmark _They Say/I Say_ text. WIC is equally useful to both writing instructors and instructors from other disciplines, especially considering its brevity. Given the chance, I'd certainly use it in future classes. It would also serve as a great supplementary text for instructors who are a required to use a curriculum-specific textbook.

Reviewed by Carol Russell, Instructor (16 years), Kansas State University on 8/21/16

This text covers many areas that beginning writers face. It covers the basics from understanding the assignment and what the professor wants, to creating the rough draft, to incorporating sources, and finally to grammar. The focus of the '3... read more

The focus of the '3 story thesis' in Chapter 3 is especially useful. Additionally, the idea of creating an outline using "key sentences" rather than topic points is something I will be implementing in my teaching.

This text is complete "with concise discussions, clear multidisciplinary examples, and empathy for the challenges of student life." (About the Book)

Although, this text may not be intended to use as the sole text for a writing course, I found most of the content to be valuable information when teaching the beginning writer. Specifically, I can see this text to be invaluable to the Graduate Teaching Assistant in any writing course.

Writing in College: From Competence to Excellence offers accurate information on many areas of writing. It is especially grounded in the areas of formulating ideas and generating a thesis. Guptill offers alternate perspectives on many of the fears and problems beginning writers face. She encourages her readers to become "conscientious writers."

Guptill uses such sources as OWL, MLA, Chronicle in Higher Education and many others. Most of the information presented, either in text or via an external link, are current and will not become obsolete in the near future. There will be some that will, undoubtedly, need to be updated as new and more useful information is made available. However, this is true of every text.

From a student perspective, this text provides excellent definition and context for all of the technical terms used. Guptill uses external links to make everything as clear to her readers as possible. It is very clear this text is written for students in a writing course. She goes further by stating that what most students learn in their high school writing class may not be what the college professor is looking for. Guptill states that "the assumption behind high-school instruction is that the teacher is the engine of learning." However, she reminds her readers that in college "writing a paper isn’t about getting the “right answer” and adhering to basic conventions; it’s about joining an academic conversation with something original to say." These are valuable lessons for the beginning writer.

Perhaps the most obvious consistency in the framing of this text is how Guptill focuses on writing at a college level, for a collegiate audience. She begins by addressing what a college professor wants and how to produce a paper that may satisfy "thorough understanding of context, audience, and purpose, mastery of the subject, detailed attention to writing conventions, skillful use of high-quality, credible, relevant sources, and graceful language.”

The references at the end of each chapter, with links to each was especially helpful, especially to a beginning writer. Each chapter deals with a topic students face as they sort through writing in an academic environment. I think a student reading this text would appreciate, as I did, the student comments interspersed throughout each chapter.

Each chapter clearly addresses something a college student would either have questions about or would need to know. In an 16 week semester, it is conceivable that each chapter could be addressed in 2 weeks. Given that the exercises at the end of each chapter are not asking students to write a paper, it allows each instructor to structure the chapters (and the lessons within) to coincide with assigned essays.

Also, I would have liked page numbers.

I read the text online. I am especially impressed with the expanded content by way of the internal links to relevant sources. There was only one link that did not work. The use of bold face type, boxed information, bullets etc. made for easier reading. Referring to previously read chapters is a good practice, however, Guptill provides links to previous chapters, which can be somewhat distracting if a student gets into the habit of looking at all links provided.

I did not find grammatical errors.

This text is culturally inclusive. There were no obvious signs of insensitivities. Guptill could have addressed obvious differences in writing perspectives as it pertains to various backgrounds, but I did not feel it was necessary.

I like the way the text speaks to the college student. I can see myself utilizing many of Guptill's ideas and approaches to teaching the beginning writer. Although the author focuses on the argument driven essay, the advice, examples, and exercises can be applied to nearly all writing for the beginner. I agree with the author when she states, "Experienced writers don't figure out what they want to say then write it. They write in order to figure out what they want to say."

Reviewed by Lyda Woods, Adjunct Professor, Rogue Community College on 8/21/16

Guptill's text is indeed a "warm invitation" to join the academic community in which research writing is a key method of communication. What is really wonderful is her approach to writing as that of joining an already existing discourse community, a community that she sets about helping students decode. The text has an effective table of contents, perceptive suggestions from real students throughout, but no glossary nor index.

I believe that Guptill's student-centered approach helps to reduce the bias that instructors without a sociology background may not even be aware exists. By that I mean, she listens and shares students' insights about learning to write and attempts to understand the mind set behind certain kinds of common errors. This approach reminds me of the fascinating work by Dr. Flowers through the Bay Area Writing Project, in which she explored "think aloud" protocols with students who were in the act of composing academic writing.

The content in meaningful and up-to-date and the section on incorporating sources is one of the best I've read because it really looks at how students need to lead into and out of cited material in ways that enhance and support their own arguments.

I love the way the lesson on "key" sentences flows right into the section on outlining to show us that they are connected. She encourages students to write their key sentences into their outlines. This strategy provides helpful scaffolding as students climb toward writing the entire paper. I also like the student input here: "A good paper has cohesion. I love outlines, so I really like the idea of writing my first sentence of each paragraph as my plan. This way, you know what to write about and you know that your paper will flow easily. As a reader, this is an important characteristic to me. If the paragraphs are just jumping around in all different directions, I quickly lose interest in trying to follow along. The reader should not have to struggle to follow your paper. Flow can make the difference between an okay paper and a scholarly product."

Yes the text is internally consistent in terminology and framework. The student insights, boxed off to separated them, accompany each section as well. I really learned a lot reading all the student feedback and appreciate its inclusion throughout.

Yes, the text is easily and readily divisible. One could use part of the text, such as the sections on key sentences and outlines, without incorporating the rest of the text.

The topics move logically, at least for me, from global to local. By that I mean that Guptill explores higher -order cognitive challenges and assumptions about writing first and looks at sentence and paragraph level concerns later.

I experienced no interface issues at all. The table of contents is hyper-linked for ease of navigation.

I encountered no grammar errors.

I experienced no cultural insensitivity. Rather I was impressed by the exploration of academia as a culture, particularly in Chapter 2.

Amy Guptill is able to see writing from the students' perspective, which is a gift. For example, students struggle with the idea of writing about a topic that their audience, primarily their instructor, knows better than they do. Guptill describes this experience well: "When you write for a teacher you are usually swimming against the stream of natural communication. The natural direction of communication is to explain what you understand to someone who doesn’t understand it. But in writing an essay for a teacher your task is usually to explain what you are still engaged in trying to understand to someone who understands it better. "

Reviewed by Cybele Higgins, ESL Faculty, Lane Community College on 8/21/16

Writing in College: From Competence to Excellence addresses all the areas and concepts behind orienting students who are new to writing expectations in college. It is comprehensive in covering everything from moving beyond the five-paragraph essay while not negating its usefulness, to deciphering professors' assignments and expectations of critical thinking, to perfecting the foundational paragraph. The table of contents clearly shows the chapter titles that address the range of sub-topics that need to be considered to produce excellent writing in college. Although it is meant to be a short textbook, the addition of a simple glossary would be helpful, as would a Chapter 10 to conclude the book and bring the book full circle back to the Introduction, sending writers off with excitement to explore their new understanding of excellence in college writing.

The content is accurate, contains no errors, and is unbiased. The accuracy of the book is enhanced by the author's apparent experience as a subject area professor who understands what new college students needs to navigate research-based writing assignments as well as how to work with professors who may or may not incorporate writing strategies into their content courses.

The book will always be relevant. It contains no content that will become dated. The plentiful and effective links to additional resources can be easily updated as needed. The strategies it presents will never become obsolete so long as critical thinking and evidence-based writing is expected in college.

The text is clear, easy to read, and engaging. Key terminology discussed includes context, definitions, and links to resources that explain further. The clear writing style is in itself a model for students new to college writing.

Overall, the text is consistent in terms of terminology and framework. Each chapter presents the topic, hooks the reader to want to learn the 'why' of the topic, explains comprehensively, and finally provides two consistent and extremely useful sections: Other Resources and Exercises.

The modularity of the text is one of the factors that makes it quite accessible to readers. The chapters are all about the same length, have clear sub-sections with sub-titles that flow from one to the next, and clear resources and exercises sections highlighted in red and blue. It is easy to follow the book from where one left off after putting the book down for a few days. Moreover, the way the content presentation is divided makes it so the book or sections of the book could be used in a variety writing, research writing, or subject area courses.

The topics in the text are presented logically and clearly. The book sets the stage for readers to understand the larger context of college writing, gets into identifying what professors want and why, breaks down how to plan writing with organizational structures to fit the task, and then emphasizes the importance of clear paragraphs and mechanics.

The interface of the text, including navigation, charts, and text boxes, is clear. There is nothing in the text that might confuse the reader.

There are no grammar errors in the text. The writing style is enhanced by grammar that communicates effectively for the task. The grammar choices the author makes are all in the service of clear communication with no extra wordiness or unnecessary complexity.

Overall, the text is culturally relevant and not offensive. The book is written in language that should appeal to and catch the attention of readers who have recently graduated from high school in the United States, Canada, etc. The quotations from students create identification with the topic; to enhance this, quotations from a wider variety of student names might broaden the appeal. One concern is that are a limited number of words and references that should be revised to make the book more culturally accessible ("Booyah!" in several chapters and "bullshit" in Chapter 9). A few minor revisions to each chapter with a wider audience in mind -- non-traditional or older students, international students, non-native English speaking resident students, community college students -- would smooth out the cultural references and expand the book's appeal.

I plan to use this book to help get my Academic and College Transition ESL students ready to enter college.

Reviewed by Jennifer Love, Instructor of Writing, Lane Community College on 8/21/16

Amy Guptill's textbook offers a comprehensive discussion of writing in an academic (primarily four-year/university) setting, with an emphasis on the thesis-driven essay that includes research. The focus of each chapter (e.g., "Understanding the Assignment"; "Constructing the Thesis"; "Listening to Sources"; "Getting the Mechanics Right") supports the book's larger focus on academic writing, and the chapter topics fit together well. While the book does not contain an index or glossary, the table of contents makes it easy to see which topics are addressed in the book.

The historical focus in Chapter 1 on the origins of universities and of scholarly writing is an interesting element of the book and adds to its comprehensiveness.

As mentioned in the book's "Reviewer's Notes," the audience for *Writing in College* is clearly "well-prepared" students. As a community college instructor, I found some of the material less applicable to my own teaching than it might be to that of an instructor in a four-year college or university. But for the audience that the book is trying to reach, I would call the book comprehensive.

I found the book to be accurate. Many of Guptill's assertions are supported by sources (usually available in full text online) that she provides direct links to in her text. Also, Guptill occasionally brings in her personal experience as a writer (and, more often, the views of students, in their own words) to support her assertions. I did notice a few places in the textbook where I felt that a phrasing could be modified to move beyond a focus on the four-year college environment. (An example--again reflecting my experience as a community college instructor--is in Chapter 3 where Guptill asserts that professors don't want to see obvious theses in essays (21). I personally love to see a thesis in a student's essay that's as clear as a bell! Guptill is clearly aiming for a more nuanced student essay here.)

Guptill's book seems relevant and to have good powers of endurance. References to popular culture (e.g., texting language) are frequent enough to make the book feel current without being intrusive. Guptill also has a good handle on changing conventions in academic discourse and refers to how academic writing has been trending toward a plainer, more direct style; and how "invented" rules like end-of-sentence prepositions can be safely disregarded by most college writers. I found the book timely and up-to-date in an enduring way.

Guptill's textbook has some wonderfully clear chapters and sections. Her discussion of what makes a good thesis (main idea) in an essay in Chapter 3 is lucid and engaging. Guptill also has a nice way of stepping outside her role as an instructor and looking at the conventions of academic writing as (admittedly) sometimes a little odd. She does this at the start of Chapter 2 in her inviting discussion of the irony of the typical writing situation in college: how the writer is writing for an audience (i.e., the instructor) who in many cases understands the subject better than the student (9). (As Guptill points out, this situation is the reverse of most other writing situations, where writers are trying to inform/educate/entertain a less-knowledgeable reader. No wonder writing essays isn't very exciting for a lot of students!)

Parts of the book would benefit from added clarification. The primary area of need involves statements leading into numbered lists, a format Guptill uses frequently to identify the varied reasons or methods for approaches or expectations in academic writing. Often a paragraph preceding a lengthy, numbered list will end with a phrase like "Some points:" or "Here are some possible reasons:" Reading these brief lead-ins, I was often left scratching my head, wondering, "Points about what again?" or "Reasons for what, did you say?"

These lead-in statements could possibly be revised by placing them in bold type, and instead of a general phrase like "Here are five common strategies," include an assertive passage separated from the text that precedes it, stating something like, "Here are five ways to make your thesis both original and grounded in the sources." A phrase like this (especially if bolded and separated from the preceding text) would be easy to refer back to and reduce confusion about what is being discussed in the ensuing lists.

I also felt that many of the longer passages Guptill quotes to illustrate effective paragraphs, such as those in Chapter 6, "Back to Basics: The Perfect Paragraph," could focus on topics that are more easily understandable to a wider, 21st-century audience; quoted passages about the "the cold fusion controversy of the 1980s" (55), for example, could be replaced by something equally newsworthy but more easily understandable to a wide set of readers, such as the benefits of a whole-foods diet or the vast amount of plastic cluttering up our seas.

I also felt that the clarity of the textbook could be improved by Guptill's better identifying the authors and/or subjects of the texts that she is quoting (such as in Chapter 7: "Intros and Outros"). A lengthy quoted passage in Chapter 7 may begin with a lead-in statement as brief as "Victor Seet on religious embodiment:" (61). After reading such brief introductions-to-quoted-examples, I was left wondering, "Who is Victor Seet? What is religious embodiment? Are these students?" (etc.) There needs to be more of the "top bread slice" in these "quotation sandwiches" Guptill makes, preparing readers for the big quotes so we know what to expect from them.

I found Guptill's book consistent in terms of tone (upbeat, encouraging, sometimes humorous) and terminology. Each chapter ends with a section on "Other Resources" and with helpful suggestions for writing projects. I did notice that some elements are present in some chapters but not others. For example, Chapter 5, "Listening to Sources . . . ," ends with a section called "Conclusion"; I did not necessarily see that feature in other chapters. I also observed Guptill referring in Chapter 7 to examples of passages written by students (she identified them as such); I hadn't recalled this reference-to-students'-writing from previous chapters and wondered why there was this apparently new reference to students' work.

The book seems very modular to me. I can imagine an instructor effectively assigning portions of the text in a course; or assigning just a single chapter. My favorite chapter of the book, Chapter 9, "Getting the Mechanics Right," is a smart, reassuring, and accessible look at grammar and usage rules in writing; it's comprehensive in itself considering its brevity and would be a great stand-alone reading assignment for any student who might feel that her grasp of writing's mechanics could be better.

For the most part, the organization/structure of Guptill's book works for me. Her approach is organic (a term she defines, in its rhetorical sense, in her text): she starts with broader concepts like understanding the assignment and exploring a thesis, and moves much later into more sentence- or surface-level features of writing like clarity and mechanical correctness. My main reservation about the book's flow is the above-mentioned observation that some of the long, numbered explanatory sections need clearer lead-in statements that readers can refer back to to remind themselves of what is being listed.

From an interface standpoint, the book is inviting and easy to navigate. The live links within chapters take readers to the intended websites (as far as I can tell); and Guptill's chapter titles and subheadings nicely identify what is discussed in the named section.

*Writing in College* is a grammatically great read! I noticed only two very minor grammar elements that could be smoothed out: a subject-verb needing agreement in Chapter 1 ("Neither of these assumptions are true"); and a "than" needing to be a "then" in Chapter 2 ("than the bat would cost"--p. 16). Otherwise, grammatical elements look good to me.

As mentioned, the book is geared toward well-prepared students and makes this clear up front. I appreciate Guptill's comments in Chapter 9 ("Getting the Mechanics Right") about how students with working-class or transnational or multilingual community affiliations will "have to expend more effort than their middle-class English-speaking counterparts to master the standard conventions [of written English]" (76). As suggested above, I did feel that the examples chosen by Guptill for effective paragraphs, introductions, etc., could be more accessible to a general audience. Many students might find academically specialized topics like sociology's balance theory (53) bewildering and would probably be better off with more media-friendly examples.

Amy Guptill's *Writing in College: From Competence to Excellence* is a well-informed, readable textbook geared toward well-prepared first-year college students. The book has an organic arrangement from chapter to chapter and offers clear and engaging explanations of how to develop an interesting thesis, "converse" with sources in one's research-based writing, and create flow and mechanical accuracy in one's essays. The book could be strengthened with more descriptive lead-in passages to numbered explanatory sections; fuller, more descriptive introductions to lengthy quoted examples; and (in some cases) more accessible choices of topics in the quoted examples. On the whole, I found the book informative and well-written, a worthwhile contribution to the composition field.

Reviewed by Christopher Rose, Full-Time Instructor, Portland Community College on 8/21/16

The text, was for the most part, comprehensive, and covers all of the major areas that ideally should be reviewed in a composition course. While some sections could technically use more, such as section on sources and mechanics (I would love if it covered the use of dashes), I wouldn't expect a text to cover everything and an instructor should be able to make up for any minor gaps in the text.

I found no issues with the accuracy of the text.

The only section that could need revision in the future is the section on sources, as sources are heavily affected by technology and it constant needs updates, but that's not a fault of the text.

I was happy that it included a section on gendered language.

The prose is easy to follow for early composition students and relevant examples.

The terminology of the text is consistent.

The separation of the sections of text makes it very easy for a teacher to assign as needed.

The structure and organization of the text is very close to the same structure of my courses.

While it's easy to switch between chapters on the epub version of the text, this feature isn't present in the pdf version.

The text attempts to avoid any cultural references. However, in the first chapter, the text mentions high school and there's an assumption that everyone reading the text is a traditional student. The high school references can be damaging to nontraditional students, ESOL students, and any student that may have come through something other than the American secondary education system or those that had problems with that same system.

I was pleasantly surprised by this text as it covers the same subjects I teach in my course and most texts from publishers fail to reflect the content of a composition course.

Reviewed by Michael Sutcliffe, Writing Instructor, Portland Community College on 8/21/16

This text is appropriately designed for its audience and purpose. In a brief “About” section, the author explains this text is best-suited “for students who have largely mastered high-school level conventions of formal academic writing and are now moving beyond the five-paragraph essay to more advanced engagement with text.” The author has left out discussions of rhetorical theory or multiple argument structures or modes in favor of establishing a seemingly simple yet nuanced, workable approach to composition. The author has constructed a sequences, modular text based on understanding structures and conventions that define the academic essay genre by relating the writing process to aspects of the writing situation – the author frequently comments on instructors’ attitudes and reasoning leading to a gentle demystification of academic writing in general. As such, this text is quite appropriate for basic writing and first-quarter composition but less so for subsequent writing—research-argumentation courses. The text offers a good treatment of integrating sources but stops short of a question driven research process. The text is, however, conspicuously missing an explicit discussion of pre-writing and revision, but both are embedded and implied in activities related to the development of “an organic college essay.” The brief treatment seems sufficient for this approach, and, since these aspects of process writing have been prolifically written about (both in published texts and on the web), instructors should have no trouble supplementing. Please also see the following section on cultural relevance.

This text seems to take a pedagogical approach inspired by genre analysis, although without explicit use of that term. As such, the text is echoing (and in several instances exceeding) other composition texts on the market today. I found no inaccuracies.

Often, students (and some faculty) think of rhetorical structures as timeless or constant. Unfortunately, this misassumption is the source of many ineffective assignment drafts. The explosion of technology has impacted academic genres and changed the expectations of audiences in subtle (and sometimes invisible) ways. This text makes no mention of online writing as a rhetorical situation and seems to suggest essays as a genre that does not change across disciplines and modalities. However, the analytical tools and questions that subtend this text’s pedagogy do suggest a means of unpacking these changes, so students would be blindsided by merely memorizing a template that is later found to be outmoded. The text uses hyperlinks to reinforce and validate some claims, and each chapter concludes with a list of “other resources.” While this does create a liability as web addresses often change, it does connect the approach to its surrounding context and some ongoing conversations about writing.

This author’s pedagogical approach works to demystify academic genre conventions and clarify the writing situation itself. In early chapters, significant attention is paid to explanations of why composition courses are required for college students and how instructors tend to view their relationships with students. Most students are oblivious to the sight-unseen financial investment that the voting public has made in their education, and this text reminds them of their place in a larger community. Conversely, the text uses accessible language appropriate for most undergraduates and advanced English language learners.

Use of consistent font sizes and weights and linear dividers effectively separate sections of the text, and titled section breaks mark chapters into easily consumable bites – each is roughly 10 pages making the text easy to align with homework reading-writing assignments. Bolded “bubble” sections in each chapter bring other scholars’ voices into concert with the author, but the consistency of their integration makes them fit seamlessly without the interrupted feeling common to textbooks. There is a consistent absence of graphic and visual media that is detrimental to the currency of the text for many students, but, again, this is an aspect that is easily supplemented or amended.

Writing textbooks are tricky to think of as modules, as this suggests a writing process that is divorced from its social-political-economic context. Nevertheless, this text does create divisions between chapters and ideas that allow for portability and adoption of a section without the entire text. Common terms and a genre analysis pedagogy link the sections but without necessitating one to understand the next.

Most scholars think of the rhetorical situation and the writing process as a triangle and a recursive cycle respectively. This forces linear composition textbooks into a somewhat artificial arrangement that reinforces the erroneous belief in writing as a linear event. Like most others, this text introduces students to writing as they enter a new class and progresses through aspects of essay development with corresponding chapters. Unfortunately, this works only until students write their first essay, usually in week 2-4. At this point, students need information from each chapter. This text does, however, make this needed information easy to find. Instructors could reference sections while responding to student writing directing students to read ahead as needed.

As previously mentioned, this textbook is all text (understandably so as most images and graphics require permission from for-profit copyright holders). As a result, it could be tedious to some learners. Still, the arrangement of mini-lessons followed by activities does offer instructors a ready-made way to diverge from reading/lecture into collaborative activity.

The author has chosen an academic voice that is reminiscent of an introductory course. Terms are accessibly colloquial without impeaching the academic ethos, and the author’s sentence structure and variety makes for easy reading. While not a handbook, this brief rhetoric does give students some interesting, useful mini-lessons on academic style and grammar expectations like comma use. Thankfully, the author maintains her approach contextualizing choices as stylistic, rhetorical decisions rather than as “right” or “proper” use.

Because the text takes a genre-driven, structural approach to essay writing, I do feel that it would benefit from a discussion of discourse as a means of distributing power and its role in distributing power unequally. First year composition courses are often the only place where students are introduced to the idea that their work conveys inherited biases and assumptions associated with and about race, gender, age, classes, etc. Learning academic literacies (like essay writing) is very much a process of learning to be accountable for those biases and responsible for the implications of our work. For a text that is specifically oriented towards unpacking the college essay and its academic context, it is conspicuously quiet on the ways that formal education and the essay often replicate systems of straight, white, male privilege. Nevertheless, the genre structure does allow for easy supplementation.

My thanks to the author for making this text available! All too often, the pressures of tenure push scholars to limit their work to the for-profit publishing industry making it virtually unavailable to most of us who would build upon their expertise.

Reviewed by Eleanor Latham, Professor of Humanities/Developmental Literacy Coordinator, Central Oregon Community College on 8/21/16

This depends largely on audience: for a student coming from a high school that teaches the "5 paragraph theme," who placed out of college composition, attending a university, who is taking a social science class, the book provides useful, if general, information. On the one hand, the book covers essential elements of college level writing: the writing process, using sources, and sentence mechanics. On the other hand, I'm not sure why a student who placed out of college comprehension would need information on sentence mechanics, and I am sure that a student with the kind of problems addressed in that chapter would not be able to apply the general advice in previous chapters or understand what the examples are intended to show (to say nothing of not being able to understand many of the examples). The book is not at all comprehensive in terms of being a composition or rhetoric text.

The author is a sociologist writing about writing; the accuracy is about the same as one might expect from a rhetorician writing about sociology. Some material is simply wrong (most current documentation systems do not include URLs) and in others it fails to identify something as specific to social sciences (such as using APA documentation without any hint that science writing usually prefers CSE (Council of Science Editors), Humanities (undergraduate) classes want MLA, Anthropology wants a version of APA (AAA) and so on.

Where the author specifically draws on a composition text (They Say/I Say, for example), she does so accurately. General information about such things as the writing process are accurate (by which term I mean consistent with how professors specializing in composition and/or rhetoric teach those things). The use of "key sentences" rather than "topic sentences" reflects current composition practice. (On the other hand, having a "topic outline"--set up as if it were a formal outline--seems misleading.)

I was surprised to see advice on gender-based language issues as promoting one way of avoiding gender stereotyping: using the plural pronoun exclusively. I was even more surprised to see that approach billed as something modern/progressive professors would accept while the stodgy, old-fashioned professors would not. Of course, modern/progressive professors often prefer "new" pronouns such as ze and zir; professors valuing concision prefer s/he over "he or she"; professors who want "they/their" often insist that students make the general antecedent plural (not "A doctor must keep their knowledge up to date" but "Doctors must keep their. . .")

As mentioned above, the examples of source documentation are already out of date. Most of the rest of the book is sufficiently general that, unless process-writing goes out of fashion, it will remain current.

This section is complicated by the audience issue: for a Junior or Senior university student, the prose is accessible; for a Freshman or Sophomore student, some of it is accessible (and would be to an adult student at pre-college level) and some of it is not. The text is about composition, and it almost entirely avoids technical terminology related to composition or rhetoric. The exception is in the "grammar" section.

Consistency rating: 3

So, the book has quite a bit about how professors work and think, and the kind of expertise they have (and do not have). Those materials are clearly aimed at university students (as opposed to community college students), who "placed out of" freshman composition. Materials on paragraphing and grammar are more appropriate for freshman students who did not place out of freshman composition--but they would then, presumably, be taking freshman composition. Although universities do use first year Masters students as teaching assistants in freshman composition classes, most universities now provide and require such TAs to complete workshops on composition theory. In any case, students taking a freshman composition course would likely have access to a composition textbook. I was surprised to see advice on ignoring traditional punctuation conventions to distinguish restrictive from non-restrictive clauses, followed later in that chapter for how to punctuate restrictive versus non-restrictive clauses.

I honestly cannot imagine this text being used for a composition course. I can see a social science instructor having it as an optional text, something to recommend to those students whose first paper was especially benighted. In that case, a student could certainly read only part of it, or read it in any order.

The text follows a standard organization for composition texts, starting with general information (what your professor wants) and ending with grammar (typically an appendix in a composition text).

Most of the chapter footnotes had at least a couple and in some cases most of the footnotes with the red underlining to show a link running through the footnote, making it look like those items had been crossed out. Incidentally, blue is a more typical color to show links, and red is especially problematic in terms of disability access. The drop down menu on each page that provided a link to other chapters was very helpful.

Grammatical accuracy, of course, depends on whether the text is supposed to be formal or informal and on which grammatical conventions the author has deemed outdated. In terms of the author's section on grammar, the book has no grammatical errors.

In terms of avoiding racism or sexism, the book is fine. In terms of "backgrounds" the book is suitable only for university students (and not "non-traditional students" such as first generation university students). I thought the suggestion that a student who was not willing to follow the author's advice should abandon academia and learn a trade, maybe even become a plumber was particularly hurtful--of course, I'm sure that students who are interested in a trade would never see this book.

This is NOT a college composition textbook. It is a somewhat idiosyncratic discussion about how university students (who placed out of college composition or perhaps who believe that what they learned in a college composition course is irrelevant outside of that course) should write in their social science classes.

Reviewed by Tim Krause, Adjunct ESOL Instructor, Portland Community College on 8/21/16

The strength of this book is that it is not intended to be an all-encompassing reference overloaded with details concerning every potential writing dilemma, nor a step-by-step essay generator. Rather, it offers a bird’s eye view of best practices that introduce students to academic scholarship. As such, it’s a bridge between the prescriptive nature of high-school-level writing and the independent thought of college-level work. The nine chapters focus on elevating the core elements of written academic inquiry -- expectations of scholarly work, constructing theses and arguments, interacting with secondary sources, organization, style, and mechanics -- but limiting its focus to broad strokes that offer the biggest bang for the buck. This is less about teaching new skills, but all about polishing what students already know. As an ESOL instructor, I can imagine using this textbook as a framework to guide critical thinking and reflection while supplementing it with the nuts-and-bolts specific to my situation, namely grammar, research, and citation. There is a basic table of contents, but no index. Terminology is typically explained in context, but it would be helpful to highlight it and include it in a glossary. There is little or no discussion of different rhetorical styles, vocabulary (e.g., transition words), citation styles, or instruction in common skills such as brainstorming, outlining, summarizing and paraphrasing, etc. -- that is all assumed to have been covered in previous courses. There are example passages, but no full-length model essays or papers. One important area that I wish the book addressed at length is topic selection and topic narrowing.

The information seems to be accurate. I did not notice any unintentional errors or typos. The author has distinct expectations of college students and expresses opinions on some familiar grammar and style arguments (e.g., that vs. which), but provides appropriate explanation for both.

The tone feels fresh, and the content seems relevant, including, for example, the current shift in thinking regarding the use of “they” and “their” as a single, non-gender-specific third person. That small section likely will need to be updated sooner rather than later as the usage quickly becomes more widely accepted. The larger issue in terms of longevity has to do with the many links to external sources that may need to be updated and replaced over time. Several are unnecessary and distracting links to publishers of books that are mentioned as resources. I think these references would be better served with basic bibliographic information so that students could then choose to find the books in the library or from a retailer, if they choose. Other links, however, point to valuable content on third-party sites. They all seem active at the moment, but they may not exist a year or two from now. Updates, however, should be relatively easy and straightforward to implement. In terms of relevancy, I find that this book is extremely relevant in shifting students from using information to write toward using writing to inform.

Although academic vocabulary -- especially in the sample texts -- may slow some readers, its otherwise conversational tone makes this book a quick and easy read. Concepts are demonstrated through examples and exercises. Furthermore, the book attempts to paraphrase key points through testimonial pull quotes by real-life students who share authentic observations in everyday language. Ironically, I think the chapter on clarity and concision happens to be the least clear and direct. More simplified examples might be more quickly understood.

Yes, the book provides a consistent presentation.

Each chapter seems to work independently so that individual parts could be reorganized or omitted. Internal sections are clearly delineated, though that could be improved by starting major sections within chapters on a new page, especially since this is a PDF and there isn’t as much need to save space/paper as a printed version may require. That would facilitate using or omitting individual sections.

Unlike writing books that build from sentence to paragraph to essay, this book works from the top down, starting with academic expectations and the philosophical shift away from a five-paragraph essay through the big idea of good theses and organization of information toward the details of specific types of commas that plague student writers. I believe this is a useful process because it reflects how we write, examining audience and purpose first, then editing and revising for the finer details, such as punctuation.

Overall, the PDF seems fine. The links to external materials all work at this time. The layout is simple and easy to read. I remain ambivalent about the book’s pull quotes featuring comments from actual students. I like them in concept, but I’m not sure how much they help student readers in their current format. This might be just a matter of layout rather than content. There is almost no graphic relief. While this book does not have to be laden with illustrations, perhaps some additional way of offsetting the example texts and pull quotes might provide for easier reading and navigation.

I did not observe any unintentional grammatical errors.

While I did not observe anything culturally insensitive or offensive, neither did I observe any conscious effort by the text to be inclusive or diverse. Some of the references or examples may, in fact, be from a variety of races, ethnicities, and backgrounds, but it is not obvious. This may be partially due to the fact that this book focuses on academic research writing rather than creative or personal writing. Instructors may wish to supplement examples and resources that clearly reflect diversity.

One thing I really appreciate about this book is its respect for students and teachers. It honors the students where they are now and leads them to a new level in academic scholarship. It introduces big ideas, but leaves room for instructors to supplement with specifics. It provides expectations as much as instructions. It helps students learn how to learn. Its tone is collegial and realistic, not pedantic or contrived. I also appreciate that the exercises are interesting and open-ended investigations rather than right-or-wrong answers or trite prompts. I am excited about incorporating it in my advanced ESOL writing course this fall.

Reviewed by Jarrod Dunham, Instructor - English Composition, Portland Community College on 8/21/16

This book provides a comprehensive, demystifying guide to academic writing - its purposes, conventions, and many of the most common errors that even well-prepared students commit. For students who are prepared, committed, and interested in improving their academic writing, this book is incredibly useful. All of the things that I recall having to learn as an undergraduate through trial and error and by scrutinizing professor's feedback are concisely covered here.

The content of the book is accurate and up-to-date with the most current research and practices in the field.

This book was crafted with current students in mind, and as such does an excellent job taking into consideration very recent issues (such as text message abbreviations) that have emerged in student writing. On questions like this, the book is both highly relevant and can be kept up-to-date.

One of the book's great strengths is that it takes advantage of the electronic format to provide useful links to outside sources that corroborate information in the book, provide examples, or offer additional instruction. However, this is also something of a weakness: while most of the links appear to be stable, a couple are obsolete already. It is a small task to substitute a fresh link for a broken one, but even with regular updates, some of the links probably will not be functional. That said, the linked material is best understood as supplementary rather than integral to the text, so the occasional non-functionality of a link or two hardly compromises the value of the text as a whole.

Clarity rating: 3

The book is well written and clear, but may be long-winded for many undergraduate students. The text seems to assume a relatively sophisticated undergraduate reader, and it is well-suited to that audience. However, it may be a bit dense for a freshman composition course, particularly in an institution where incoming students demonstrate varying degrees of preparedness.

The text is commendably consistent, each chapter building on work done in previous chapters, and frequently referring back to content covered in previous chapters in order to reinforce the internal pedagogical structure.

In terms of assigning this text in a classroom, it's biggest weakness might be a lack of modularity. Chapters tend to be short and as such can easily be assigned for out-of-class reading, but I struggled to come up with complementary readings to assign alongside it, and the book is really best read in its entirety.

I appreciate the structure of this book. As I recalled my own experiences as a novice scholar, I found that this text mirrored the course of my own questions. It's certainly the case that the text will be most effective for students who already have some experience (and maybe accumulated frustration) with writing college papers, but for those students, this book provides a highly systematic guide to improving on their work and identifying and avoiding the mistakes they may have committed on past efforts.

The interface of the text is broadly good, though there are a couple problems. The book uses text boxes to highlight input from student contributors, and these occasionally sit awkwardly on the "page." Some of the longer student comments spilled below the margins, with the result that the end of the comment simply couldn't be read. Links were occasionally difficult to select (or selected on accident), and while having the option to immediately navigate to endnotes by clicking on the supertext number is excellent, I found it difficult to navigate back to the text after reading the endnote. These are mostly annoyance rather than significant issues, however, and for the most part there are offsetting upsides in terms of the convenience with which additional information can be incorporated.

There are a handful of minor errors in the text, mostly on the order of typos, but they are rare and do not interfere with comprehending the content. Most readers will likely not notice them at all. I'd suggest, in any case, that there is some merit in the occasional typo, as it makes the case that obsession with "correctness" at the expense of content really isn't necessary or productive.

I was pleased with the way the book handled culturally sensitive issues that emerge in writing classroom. For instance, it specifically deals with the difficulty of gendered pronouns (e.g., resisting the old practice of rendering every hypothetical student or scholar as male), and with concerns about the accessibility of formal academic English to speakers of non-dominant varieties of English. Many texts ignore these issues, perhaps considering them off-topic. I consider it a virtue of this book that it addresses them, insofar as it answers questions that students may have and provides an introduction to issues that students may perceive but lack a vocabulary with which to confront or explore.

This book would have been immensely beneficial to me as an undergraduate. Virtually everything it covers is something I had to learn by experience, and the quality of my earliest scholarship would have been much improved with the benefit of these lessons. I do not think I would require it as a primary text in a freshman comp class, but it has a lot of value as a supplementary or recommended text, particularly for students whose plans include graduate school or writing-intensive professions. It might also be valuable in a research writing or advanced composition class. Students who are most prepared will get the most out of it, but the book also offers excellent exercises at the end of each chapter that will be of value to all students.

Chapter 1: Really? Writing? Again?
Chapter 2: What Does the Professor Want? Understanding the Assignment
Chapter 3: Constructing the Thesis and Argument—From the Ground Up
Chapter 4: Secondary Sources in Their Natural Habitats
Chapter 5: Listening to Sources, Talking to Sources
Chapter 6: Back to Basics: The Perfect Paragraph
Chapter 7: Intros and Outros
Chapter 8: Clarity and Concision
Chapter 9: Getting the Mechanics Right

Ancillary Material

About the book.

Writing in College is designed for students who have largely mastered high-school level conventions of formal academic writing and are now moving beyond the five-paragraph essay to more advanced engagement with text. It is well suited to composition courses or first-year seminars and valuable as a supplemental or recommended text in other writing-intensive classes. It provides a friendly, down-to-earth introduction to professors' goals and expectations, demystifying the norms of the academy and how they shape college writing assignments. Each of the nine chapters can be read separately, and each includes suggested exercises to bring the main messages to life.

Students will find in Writing in College a warm invitation to join the academic community as novice scholars and to approach writing as a meaningful medium of thought and communication. With concise discussions, clear multidisciplinary examples, and empathy for the challenges of student life, Guptill conveys a welcoming tone. In addition, each chapter includes Student Voices: peer-to-peer wisdom from real SUNY Brockport students about their strategies for and experiences with college writing.

While there are many affordable writing guides available, most focus only on sentence-level issues or, conversely, a broad introduction to making the transition. Writing In College , in contrast, provides both a coherent frame for approaching writing assignments and indispensable advice for effective organization and expression.

About the Contributors

Amy Guptill is an Associate Professor of Sociology at The College at Brockport, SUNY where she has a joint appointment with the Delta College Program, an alternative interdisciplinary General Education option. Her research focuses on spatial and structural shifts in agriculture and food systems with recent work on innovative agricultural marketing. She teaches courses in the sociology of food, development and globalization, community and social change, social statistics and college writing. In addition to Writing In College: From Competence to Excellence, she is the coauthor of a recent college textbook entitled Food & Society: Principles and Paradoxes (Malden, MA: Polity, 2012).

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Writing 10: College Reading and Composition (49-Downey)

Pre-Activities
4/9/24 In-Person Session Info
An Overview of the Process
Keywords - Poll Questions
Information Privilege

Step 3 - Find Research & Information Sources

Video: three search strategies, how to search - basic skills, step 3 - pause to reflect.

Database Searching
Final Search Tip
4. Read & Evaluate
Citing Your Sources
Annotated bibliographies
Tech & More Help
Your Feedback

24/7 Chat With a Librarian

How & where to search.

Finding information requires a lot of skills that you may not be aware that you have or that you are developing. Use this page to learn strategies for HOW to find the most relevant information to meet your needs.

Use the sub-pages to learn WHERE to search for research on your topic or question.

Check out information in Step 5 about Citation Trails to learn how to discover additional citations to relevant works to help you answer your research question.

If you want to review search strategies, this video covers three which you can apply in your database searches. (3:04).

You can use these basic search techniques with almost any search interface -- from library catalogs, to search engines, to library databases!

Searching is as easy as 1, 2, 3!

1. and or, and not (boolean operators/operadores lógicos).

Boolean Operators are also sometimes called Logical Operators and they perform specific functions to your search. Not all databases require the use of AND and OR in capital letters, but we recommend that you use them in all caps as a habit.

AND narrows your search

Use AND in between different concepts to ensure these different concepts appear together in your search results. The Venn diagram to the right represents the idea of the search results occurring ONLY in the narrow place where the two concepts overlap.

EXAMPLE: microplastics AND oceans AND recycling

OR broadens your search

If you're not sure what is the best keyword to use, you can include multiple keywords connected with OR to search them all. OR means that at least one of these keywords will show up in your search. The graphic to the right implies that any of these concepts (or all of them) can be included in your search results.

EXAMPLE: microplastic* OR plastic litter OR nanoplastic*

The NOT operator will exclude something from your search.

EXAMPLE: depression NOT economic

Using AND, OR, and NOT in a Search

Depending on the database, you may have a single search box or you may have an advanced search screen with multiple boxes. You can use the logical operators AND, OR, and NOT in either situation. In a single box, you can use parentheses () to isolate your terms, but if you have multiple boxes, you do not need to use parentheses.

Here is an example of a search in each scenario using either parentheses or individual boxes to isolate the similar concepts like cow, cattle, and livestock.

Single Search Box

Multiple Search Boxes (called the "Advanced Search" screen in most databases)

Advanced search screen in Academic Search Complete showing a search for: music* AND (cow* OR cattle OR livestock) AND (milk OR dairy)

These searches using AND and OR regardless of whether you use a single box with () or multiple boxes, should produce the same results in this database. Follow this permalink to see this search's results in the database .

2. Phrase Searching

Put quotation marks around a known phrase to search for an exact match. Be careful to only use quotation marks around a known phrase so that you don't accidentally miss relevant results.

EXAMPLE: " Body dysmorphic disorder "

3. Truncation / Wildcard

Use the wildcard symbol, an asterisk (*) to find variations of the same root word.

EXAMPLE: Comput* will find Computer, Computers, Computation

Pause to Reflect

Decorative element: Icon of a standing person in a pensive pose with a thought bubble above their head

As researchers, we should approach the evidence we find with an open mind. Research should broaden or inform our perspectives, and not confirm our own biases. If your research is just a collection of cherry-picked quotes, you may need to go back to the library catalog, UC Library Search , or the article databases to gather more information and other perspectives to consider.

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Next: Database Searching >>
Last Updated: Apr 8, 2024 10:29 AM
URL: https://libguides.ucmerced.edu/wri-010-downey

IMAGES

writing a composition in 3 steps
Composition Writing
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Picture Composition
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Primary Composition Writing Guide

VIDEO

English paper 1 Section A (Descriptive composition) writing skills
A Report On Assembly Election ।। Report Writing।। Composition Writing।। Skills....RBSE।। CBSE
Std VIII to X / Marathi Composition (Writing Skills) / Gadya Akalan ( गद्य आकलन )
Composition writing skills
The Basic of PARAGRAPH COMPOSITION
Std V to VII (Class 5 to 7) / English Composition (Writing Skills) / Report Writing

COMMENTS

Composition Writing
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You, Writing! A Guide to College Composition
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What Is Composition? Definition, Types, and Examples
Definition, Types, and Examples. In the literary sense, a composition (from the Latin "to put together") is the way a writer assembles words and sentences to create a coherent and meaningful work. Composition can also mean the activity of writing, the nature of the subject of a piece of writing, the piece of writing itself, and the name of a ...
English composition: 9 ways to improve your English writing skill
Learning English composition is significant to be a fluent English speaker. These 9 ways are super beneficial for you to develop and expand your English writing skills. You can now practice writing in English with some of the most relatable and helpful techniques. Many of these ways are quite simple and do not take much time either.
Writing for Success
The text covers basic writing skills, organizational skills, and the writing process. There are even chapters on writing research papers and various types of essays. It could be used as a text for a writing course or as a reference book for students who need to work on selected problem areas to improve their writing.
English Composition: Connect, Collaborate, Communicate
Reviewed by Angela Hurni, English Instructor, Tidewater Community College on 7/6/22 Comprehensiveness rating: 3 see less. The textbook is a slim 110 pages and contains the essential chapters of any first-year college composition textbook: College Success Skills, The Writing Process, Essay Structure, Types of Essays, and Research Skills.
Teaching Composition Skills
WID, an offshoot of WAC, challenges the assumption in the traditional composition teaching model that any single department (traditionally English) can train students in a generic or neutral set of writing skills. Anthropologists value different aspects of writing from art historians, for example, and the style and formats students learn in ...
Best Online Composition Courses and Programs
Strong writing, language, and composition skills can be effective for any career and industry. Effective communication is foundational to accomplishing work, whether that be through emails with colleagues to research papers or creative writing. Some examples of jobs where writing composition is often a primary part of day-to-day work include:
7 Ways to Improve Your Writing Skills
Here are some strategies for developing your own written communication: 1. Review grammar and spelling basics. Grammar and spelling form the foundation of good writing. Writing with proper grammar and spelling communicates your professionality and attention to detail to your reader. It also makes your writing easier to understand.
8 Steps to Write a Good Composition (part 1)
1- opening sentence = topic + approach. 2- ideas connected to the opening sentence. 3- details about those ideas. 4- closing sentence. When you are happy with the outline, it comes the time to do the writing, and here you should follow these other 4 steps: 5- write a title. 6- organize ideas into paragraphs.
English: Composition & Writing
This text aligns with the goals, topics, and objectives of many first-year writing and composition courses. It is organized according to relevant genres, and focuses on the writing process, effective writing practices or strategies—including graphic organizers, writing frames, and word banks to support visual learning—and conventions of usage and style.
Composition vs Writing: How Are These Words Connected?
Writing and composition are distinct skills that are both important for effective communication. Writing focuses on technical aspects of language use and grammar, while composition emphasizes creativity and strategy. Improving writing skills allows for mastery of language use, while improving composition skills leads to more impactful messaging
5 Tips for Acing Your Composition Writing Class
5) Read for fun. Make an effort to read for pleasure. Make sure that you are reading actual paper books too. There have been a number of studies done on the benefits of reading physical books over reading online, especially in terms of comprehension. There are other benefits to reading as well.
Writing Guide with Handbook
Writing Guide with Handbook aligns to the goals, topics, and objectives of many first-year writing and composition courses. It is organized according to relevant genres, and focuses on the writing process, effective writing practices or strategies—including graphic organizers, writing frames, and word banks to support visual learning—and conventions of usage and style.
Write Right: Teaching Composition Skills
Teaching composition skills. Nine years ago, I found myself having to rediscover how to teach writing to sophomores and higher level students for the first time since I did my teaching license and practicum in 1991. At that time, Whole Language (a cross curriculum and four skills approach to language skills and content) was the focus and ...
PDF Teaching Foundational Skills to Help Students Become Effective Writers
Slide 12: Conclusion. Mastering the foundational skills of handwriting, spelling, sentence construction, typing, and word processing is essential for elementary school students so that they can clearly communicate their ideas in writing. Writing is a process that begins with learning these foundational skills and leads to students being able to ...
AP English Language and Composition Writing Study Skills
Writing is central to the AP English courses and exams. Both courses have two goals: to provide you with opportunities to become skilled, mature, critical readers, and to help you to develop into practiced, logical, clear, and honest writers. In AP English, writing is taught as "process"—that is, thinking, planning, drafting the text, then reviewing, discussing, redrafting, editing ...
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IRIS
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The writing process involves generating and organizing information, of which planning and editing are a part. The chart below illustrates the various tasks involved with writing and the prerequisite skills for each. Task. Prerequisite Skills. Writing Mechanics. Graphemic realization of writing.
Writing In College: From Competence to Excellence
Writing in College is designed for students who have largely mastered high-school level conventions of formal academic writing and are now moving beyond the five-paragraph essay to more advanced engagement with text. It is well suited to composition courses or first-year seminars and valuable as a supplemental or recommended text in other writing-intensive classes. It provides a friendly, down ...
Writing 10: College Reading and Composition (49-Downey)
Writing 10: College Reading and Composition (49-Downey) Spring 2024. Pre-Activities; 4/9/24 In-Person Session Info; An Overview of the Process; 1. Your Research Question. ... Finding information requires a lot of skills that you may not be aware that you have or that you are developing.

What Is Composition? Definition, Types, and Examples

Key Takeaways

Composition Definition

Types of Composition Writing

Description

Argumentation

The Value of Composition

Teaching Composition Skills

A Brief Introduction to Composition Pedagogy

7 Ways to Improve Your Writing Skills

What are writing skills?

Why are writing skills important?

How to improve your writing skills

1. Review grammar and spelling basics.

2. Read what you want to write.

3. Proofread.

Should you use computer spelling and grammar tools?

4. Get feedback.

5. Think about structure.

7. Know some common fixes.

Showing your writing skills in a job search

Getting started

Build job-ready skills with a Coursera Plus subscription

Keep reading

8 Steps to Write a Good Composition (part 1)

8 Steps to Write a Good Composition (part 2)

Open Educational Resources (OER)

Composition Resources

Rhetoric and Argumentative Writing

Technical Writing Resources

Write Right: Teaching Composition Skills

Teaching composition skills

Start and end with a Writer’s Inventory.

Discuss, brainstorm, write

Outlining rather than Brainstorming

Not about (only) Grammar

Error correction…the good and the bad

Rediscovering the Portfolio

Power of the mini lesson

Peer feedback…. It can work

The only way to learn is by DOING

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Initial Thoughts

What could Ms. Lin do to help her students learn to write persuasive essays?

Editing and Revising

Writing In College: From Competence to Excellence

Formats Available

Table of Contents

Ancillary Material

About the Contributors

Contribute to this Page

Writing 10: College Reading and Composition (49-Downey)

Step 3 - Find Research & Information Sources

24/7 Chat With a Librarian

Searching is as easy as 1, 2, 3!

AND narrows your search

OR broadens your search

Using AND, OR, and NOT in a Search

Single Search Box

Multiple Search Boxes (called the "Advanced Search" screen in most databases)

2. Phrase Searching

3. Truncation / Wildcard

Pause to Reflect

IMAGES

VIDEO

COMMENTS