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In this thematically rich book, Mary Kathleen Eyring examines authors whose writings were connected with their charitable endeavors, which addressed the worst by-products of the brisk maritime commerce in Atlantic seaport cities in the first half of the nineteenth century. She argues that charitable institutions and societies emerged in this era because they captured and contained the discontent of imperiled and impoverished groups, thereby effectively thwarting the development of a revolutionary class in America.

According to Eyring, the men and women who most successfully wrote about and engaged in benevolent work strategically connected their work with the affluence generated by maritime commerce. The water trades supported the growth of the American publishing industry, but they also generated both vast inequities in wealth and physically and economically hazardous conditions that, in the absence of a welfare state, required the intervention of benevolent societies. Laborers in Atlantic port cities barred from lucrative professions by gender, race, physical ability, or social status found a way to make a living wage by conjoining the literary with the charitable—and attaching both to a profit structure. In so doing, they transformed the nature of American benevolence and gave rise to the nonprofit sector, which has since its inception provided discontented laborers with a forum in which to express their critique of for-profit American enterprise, by imitating it.

In Captains of Charity, Eyring looks at writers who overcame their marginalized status by bringing together the strands of maritime industry, publishing, and benevolence. These include Richard Allen and Absalom Jones, two black clergymen who managed a massive relief effort when refugees fleeing revolution in Haiti transported the yellow fever virus to Philadelphia in 1793; Nancy Prince, a free woman of color who sought her livelihood in the Protestant missions of Jamaica in the years immediately following Britain's emancipation of laborers in its Caribbean colonies; Sarah Josepha Hale, who parlayed the social influence she had gained as the founder of a seaman's aid society in Boston into a role as editor of the hugely popular periodical Godey's Lady's Book; and Sarah Pogson Smith, who donated the proceeds of her writing to such prominent charitable causes as the New York Institution for the Instruction of the Deaf and Dumb and then capitalized on the goodwill this charity work generated among her wealthy friends in New York City, Philadelphia, and Charleston.

Hardcover is un-jacketed.

In The Center Will Hold, Pemberton and Kinkead have compiled a major volume of essays on the signal issues of scholarship that have established the writing center field and that the field must successfully address in the coming decade. The new century opens with new institutional, demographic, and financial challenges, and writing centers, in order to hold and extend their contribution to research, teaching, and service, must continuously engage those challenges.

Appropriately, the editors offer the work of Muriel Harris as a key pivot point in the emergence of writing centers as sites of pedagogy and research. The volume develops themes that Harris first brought to the field, and contributors here offer explicit recognition of the role that Harris has played in the development of writing center theory and practice. But they also use her work as a springboard from which to provide reflective, descriptive, and predictive looks at the field.

This volume was written to make the case for changes in second language writing practices away from the five-paragraph essay and toward purposeful, meaningful writing instruction. As the volume editors say, “If you have already rejected the five-paragraph essay, we offer validation and classroom-tested alternatives. If you are new to teaching L2 writing, we introduce critical issues you will need to consider as you plan your lessons and as you consider/review the textbooks and handbooks that continue to promote the teaching of the five-paragraph essay. If you need ammunition to present to colleagues and administrators, we present theory, research, and pedagogy that will benefit students from elementary to graduate school. If you are skeptical about our claims, we invite you to review the research presented here and consider what your students could do beyond writing a five-paragraph essay if you enacted these changes in practice.”
 
Part 1 discusses what the five-paragraph essay is not: it is not a very old, established form of writing; it is not a genre; and it is not universal.

Part 2 looks at writing practices to show the essay’s ineffectiveness in elementary schools, secondary schools, first-year writing classes, university writing courses, undergraduate discipline courses, and graduate school.

Part 3 looks beyond the classroom at testing. At the end of each chapter, the authors--all well-known in the field of second language writing--suggest changes to teaching practices based on their theoretical approach and classroom experience.

The book closes by reviewing some of the major questions raised in the book, by exploring which questions have been left unanswered, and by offering suggestions for teachers who want to move away from the five-paragraph essay. An assignment sequence for genre-aware writing instruction is included. 

Lance Massey and Richard Gebhardt offer in this collection many signs that composition again faces a moment of precariousness, even as it did in the 1980s—the years of the great divorce from literary studies. The contours of writing in the university again are rapidly changing, making the objects of scholarship in composition again unstable. Composition is poised to move not from modern to postmodern but from process to postprocess, from a service-oriented "field" to a research-driven "discipline." Some would say we are already there. Momentum is building to replace "composition" and the pedagogical imperative long implied in that term with a "writing studies" model devoted to the study of composition as a fundamental tool of, and force within, all areas of human activity.

Appropriately, contributors here use Stephen M. North's 1987 book The Making of Knowledge in Composition to frame and background their discussion, as they look at both the present state of the field and its potential futures. As in North's volume, The Changing of Knowledge in Composition describes a body of research and pedagogy brimming with conflicting claims, methodologies, and politics, and with little consensus regarding the proper subjects and modes of inquiry.

The deep ambivalence within the field itself is evident in this collection. Contributors here envision composition both as retaining its commitment to broad-based, generalized writing instruction and as heading toward content-based vertical writing programs in departments and programs of writing studies. They both challenge and affirm composition's pedagogical heritage. And they sound both sanguine and pessimistic notes about composition's future.

Changing the Subject explores ways of engaging across difference. In this first book-length study of the concept of empathy from a rhetorical perspective, Lisa Blankenship frames the classical concept of pathos in new ways and makes a case for rhetorical empathy as a means of ethical rhetorical engagement. The book considers how empathy can be a deliberate, conscious choice to try to understand others through deep listening and how language and other symbol systems play a role in this process that is both cognitive and affective.
 
Departing from agonistic win-or-lose rhetoric in the classical Greek tradition that has so strongly influenced Western thinking, Blankenship proposes that we ourselves are changed (“changing the subject” or the self) when we focus on trying to understand rather than simply changing an Other. This work is informed by her experiences growing up in the conservative South and now working as a professor in New York City, as well as the stories and examples of three people working across profound social, political, class, and gender differences: Jane Addams’s activist work on behalf of immigrants and domestic workers in Gilded Age Chicago; the social media advocacy of Brazilian rap star and former maid Joyce Fernandes for domestic worker labor reform; and the online activist work of Justin Lee, a queer Christian who advocates for greater understanding and inclusion of LGBTQ+ people in conservative Christian churches.
 
A much-needed book in the current political climate, Changing the Subject charts new theoretical ground and proposes ways of integrating principles of rhetorical empathy in our everyday lives to help fight the temptations of despair and disengagement. The book will appeal to students, scholars, and teachers of rhetoric and composition as well as people outside the academy in search of new ways of engaging across differences.
 

Will Dunne first brought the workshop experience down to the desk level with The Dramatic Writer’s Companion, offering practical exercises to help playwrights and screenwriters work through the problems that arise in developing their scripts. Now writers looking to further enhance their storytelling process can turn to Character, Scene, and Story.

Featuring forty-two new workshop-tested exercises, this sequel to The Dramatic Writer’s Companion allows writers to dig deeper into their scripts by fleshing out images, exploring characters from an emotional perspective, tapping the power of color and sense memory to trigger ideas, and trying other visceral techniques. The guide also includes a troubleshooting section to help tackle problem scenes. Writers with scripts already in progress will find they can think deeper about their characters and stories. And those who are just beginning to write will find the guidance they need to discover their best starting point. The guide is filled with hundreds of examples, many of which have been developed as both plays and films.

Character, Scene, and Story is fully aligned with the new edition of The Dramatic Writer’s Companion, with cross-references between related exercises so that writers have the option to explore a given topic in more depth. While both guides can stand alone, together they give writers more than one hundred tools to develop more vivid characters and craft stronger scripts.

Arguing that composition should renew its interest in reading pedagogy and research, Chasing Literacy offers writing instructors and literacy scholars a framework for understanding and responding to the challenges posed by the proliferation of interactive and multimodal communication technologies in the twenty-first century.

Employing case-study research of student reading practices, Keller explores reading-writing connections in new media contexts. He identifies a culture of acceleration—a gathering of social, educational, economic, and technological forces that reinforce the values of speed, efficiency, and change—and challenges educators to balance new “faster” literacies with traditional “slower” literacies. In addition, Keller details four significant features of contemporary literacy that emerged from his research: accumulation and curricular choices; literacy perceptions; speeds of rhetoric; and speeds of reading.

Chasing Literacy outlines a new reading pedagogy that will help students gain versatile, dexterous approaches to both reading and writing and makes a significant contribution to this emerging area of interest in composition theory and practice.

An excellent introduction to the man and his thoughts on the painstaking craftsmanship involved in the art of writing poetry, Ciardi Himself includes some hard lessons, but in the hands of this master teacher, the going is easy.

While it has long been understood that the circulation of discourse, bodies, artifacts, and ideas plays an important constitutive force in our cultures and communities, circulation, as a concept and a phenomenon, has been underexamined in studies of rhetoric and writing. In an effort to give circulation its rhetorical due, Circulation, Writing, and Rhetoric introduces a wide range of studies that foreground circulation in both theory and practice. Contributors to the volume specifically explore the connections between circulation and public rhetorics, urban studies, feminist rhetorics, digital communication, new materialism, and digital research.

Circulation is a cultural-rhetorical process that impacts various ecologies, communities, and subjectivities in an ever-increasing globally networked environment. As made evident in this collection, circulation occurs in all forms of discursive production, from academic arguments to neoliberal policies to graffiti to tweets and bitcoins. Even in the case of tombstones, borrowed text achieves only partial stability before it is recirculated and transformed again. This communicative process is even more evident in the digital realm, the underlying infrastructures of which we have yet to fully understand.

As public spaces become more and more saturated with circulating texts and images and as networked relations come to the center of rhetorical focus, Circulation, Writing, and Rhetoric will be a vital interdisciplinary resource for approaching the contemporary dynamics of rhetoric and writing.

Contributors: Aaron Beveridge, Casey Boyle, Jim Brown, Naomi Clark, Dànielle Nicole DeVoss, Rebecca Dingo, Sidney I. Dobrin, Jay Dolmage, Dustin Edwards, Jessica Enoch, Tarez Samra Graban, Byron Hawk, Gerald Jackson, Gesa E. Kirsch, Heather Lang, Sean Morey, Jenny Rice, Thomas Rickert, Jim Ridolfo, Nathaniel A. Rivers, Jacqueline Jones Royster, Donnie Johnson Sackey, Michele Simmons, Dale M. Smith, Patricia Sullivan, John Tinnell, Kathleen Blake Yancey

A compact, accessible guide to citations for any student 

Cite Right is the perfect guide for anyone who needs to learn a new citation style or who needs an easy reference to Chicago, MLA, APA, AMA, and other styles. Each chapter serves as a quick guide that introduces the basics of a style, explains who might use it, and then presents an abundance of examples. This edition includes updates reflecting the most recent editions of The Chicago Manual of Style and the MLA Handbook. With this book, students and researchers can move smoothly among styles with the confidence they are getting it right.

Class in the Composition Classroom considers what college writing instructors should know about their working-class students—their backgrounds, experiences, identities, learning styles, and skills—in order to support them in the classroom, across campus, and beyond. In this volume, contributors explore the nuanced and complex meaning of “working class” and the particular values these college writers bring to the classroom.

The real college experiences of veterans, rural Midwesterners, and trade unionists show that what it means to be working class is not obvious or easily definable. Resisting outdated characterizations of these students as underprepared and dispensing with a one-size-fits-all pedagogical approach, contributors address how region and education impact students, explore working-class pedagogy and the ways in which it can reify social class in teaching settings, and give voice to students’ lived experiences.

As community colleges and universities seek more effective ways to serve working-class students, and as educators, parents, and politicians continue to emphasize the value of higher education for students of all financial and social backgrounds, conversations must take place among writing instructors and administrators about how best to serve and support working-class college writers. Class in the Composition Classroom will help writing instructors inside and outside the classroom prepare all their students for personal, academic, and professional communication.

Contributors: Aaron Barlow, ​Cori Brewster, ​Patrick Corbett, ​Harry Denny, Cassandra Dulin, ​Miriam Eisenstein Ebsworth, ​Mike Edwards, ​Rebecca Fraser, ​Brett Griffiths, ​Anna Knutson, ​Liberty Kohn, ​Nancy Mack, ​Holly Middleton, ​Robert Mundy, ​Missy Nieveen Phegley, ​Jacqueline Preston, ​James E. Romesburg, ​Edie-Marie Roper, Aubrey Schiavone, Christie Toth, ​Gail G. Verdi

New concerns with the intersections of culture and power, historical agency, and the complexity of social and political life are producing new questions about the United States’ involvement with Latin America. Turning away from political-economic models that see only domination and resistance, exploiters and victims, the contributors to this pathbreaking collection suggest alternate ways of understanding the role that U.S. actors and agencies have played in the region during the postcolonial period.

Exploring a variety of nineteenth- and twentieth-century encounters in Latin America, these theoretically engaged essays by distinguished U.S. and Latin American historians and anthropologists illuminate a wide range of subjects. From the Rockefeller Foundation’s public health initiatives in Central America to the visual regimes of film, art, and advertisements; these essays grapple with new ways of conceptualizing public and private spheres of empire. As such, Close Encounters of Empire initiates a dialogue between postcolonial studies and the long-standing scholarship on colonialism and imperialism in the Americas as it rethinks the cultural dimensions of nationalism and development.

Much has been written about the ways in which Columbus's "discovery" of America began a process of inventing a new world in European consciousness. But far less has been published about those on the margins of the dominant European discourse--Amerindians, Africans, and women--whose experience is reflected in documents written during the early years of European rule in Latin America. This volume brings together essays by leading scholars of colonial Latin America who address a series of topics relating to both the marginal and European-dominant discourses. The book is divided into five sections: "Representing the New World," "The Institutionalization of the Colony," "Amerindian Texts," "Women in Colonial Latin America," and "The Later Colony and the Caribbean Experience." The essays range from a consideration of Amerindian codes of mapmaking to the career of a transvestite nun, from confessional "sin lists" used by priests to examine the transgressions of their American charges to a new view of colonial women's lives based on birth records, dowry agreements, and wills. Contributors include Walter Mignolo, Maureen Ahern, Abel Alves, Rolena Adorno, Lúcia Helena Santiago Costigan, Pedro Lasarte, Raquel Chang-Rodríguez, Regina Harrison, Asunción Lavrin, Stephanie Merrim, Nina M. Scott, Antonio Carreño, Julie Greer Johnson, Karen Stolley, and Antonio Benítez-Rojo.

Painted shortly before the Spanish conquest of Mexico in 1521, the Codex Bodley has been long recognized as one of the most important Mixtec manuscripts and a premier example of native Mixtec pictorial historiography in all its complexity. The complete manuscript of the Codex Bodley is offered here for the very first time in a single illustrated volume.

Codex Bodley explores the enormous wealth of information contained in the manuscript, which documents precolonial Mixtec genealogical relationships and historical events spanning from 900 AD to 1521. Maarten Jansen and Gabina Aurora Pérez Jiménez provide insightful and expert commentary on the manuscript, explaining its history as they consider key characteristics of Mixtec pictography. They then provide an engaging and masterful interpretation of the manuscript's narrative, with a detailed explanatory reading of its pictograms and their significance. Accompanied by vivid and colorful illustrations, Codex Bodley is an invaluable text for scholars of precolonial Mexican history, art, and culture.

Composition research consistently demonstrates that the social context of writing determines the majority of conventions any writer must observe. Still, most universities organize the required first-year composition course as if there were an intuitive set of general writing "skills" usable across academic and work-world settings.

In College Writing and Beyond: A New Framework for University Writing Instruction, Anne Beaufort reports on a longitudinal study comparing one student’s experience in FYC, in history, in engineering, and in his post-college writing. Her data illuminate the struggle of college students to transfer what they learn about "general writing" from one context to another. Her findings suggest ultimately not that we must abolish FYC, but that we must go beyond even genre theory in reconceiving it.

Accordingly, Beaufort would argue that the FYC course should abandon its hope to teach a sort of general academic discourse, and instead should systematically teach strategies of responding to contextual elements that impinge on the writing situation. Her data urge attention to issues of learning transfer, and to developmentally sound linkages in writing instruction within and across disciplines. Beaufort advocates special attention to discourse community theory, for its power to help students perceive and understand the context of writing.

In a provocative book-length essay, Patricia Lynne argues that most programmatic assessment of student writing in U.S. public and higher education is conceived in the terms of mid-20th century positivism. Since composition as a field had found its most compatible home in constructivism, she asks, why do compositionists import a conceptual frame for assessment that is incompatible with composition theory?

By casting this as a clash of paradigms, Lynne is able to highlight the ways in which each theory can and cannot influence the shape of assessment within composition. She laments, as do many in composition, that the objectively oriented paradigm of educational assessment theory subjugates and discounts the very social constructionist principles that empower composition pedagogy. Further, Lynne criticizes recent practice for accommodating the big business of educational testing—especially for capitulating to the discourse of positivism embedded in terms like "validity" and "reliability." These terms and concepts, she argues, have little theoretical significance within composition studies, and their technical and philosophical import are downplayed by composition assessment scholars.

There is a need, Lynne says, for terms of assessment that are native to composition. To open this needed discussion within the field, she analyzes cutting-edge assessment efforts, including the work of Broad and Haswell, and she advances a set of alternate terms for evaluating assessment practices, a set of terms grounded in constructivism and composition.

Coming to Terms is ambitious and principled, and it takes a controversial stand on important issues. This strong new volume in assessment theory will be of serious interest to assessment specialists and their students, to composition theorists, and to those now mounting assessments in their own programs.

The second edition of this successful guide to writing for graduate-and undergraduate-students has been modified to include updates and replacements of older data sets; an increased range of disciplines with tasks such as nursing, marketing, and art history; discussions of discourse analysis; a broader discussion of e-mail use that includes current e-mail practices.

Like its predecessor, this edition of Academic Writing for Graduate Students
"explains understanding the intended audience, the purpose of the paper, and academic genres.
"includes the use of task-based methodology, analytic group discussion, and genre consciousness-raising.
"shows how to write summaries and critiques.
"features "language focus" sections that address linguistic elements as they affect the wider rhetorical objectives.
"helps students position themselves as junior scholars in their academic communities.

David Wallace argues that any understanding of writing studies must include the conception of discourse as an embodied force with real consequences for real people. Informed in important ways by queer theory, Wallace calls to account users of dominant discourses and at the same time articulates a theory base from which to interpret "alternative rhetoric."

To examine the practice of writing from varied margins of society, Compelled to Write offers careful readings of four exemplar American writers, each of whom felt compelled within their own time and place to write in response to systemic injustices in American society.

Sarah Grimké, a privileged white woman advocating for abolition, is forced to defend her right to speak as a woman; Frederick Douglass begins his public career almost as a curiosity (the articulate ex-slave) and ends it as one of the most important rhetors in American history; Gloria Anzaldúa writes not only in multiple languages and dialects but from marginalized positions related to gender, race, class, sexual identity, and physical abled-ness; David Sedaris uses his privileged position as a middle-class white male humorist to speak unabashedly of his sexuality, his addictions, and obsessive-compulsive personality disorder.

Through these writers, Wallace explores a range of strategies that comprise alternative rhetorical practice, and demonstrates how such practice is inflected by social constraints on rhetorical agency and by how writers employ alternative discourses to resist those constraints. Grounding and personalizing Compelled to Write with rich material from his own teaching and his own experience, Wallace considers a number of implications for teachers of writing.

This edited collection offers self-reflexive, critical accounts of how feminist writing studies scholars variously situated within rhetoric, composition, and literacy studies plan, implement, examine, and represent community-based inquiry and pedagogy. Readers will gain insight into the hows and whys involved with this important disciplinary work. Sharing a commitment to social change, the twenty-one chapter discussions and five course designs complicate and continue to evolve possibilities for how we conceptualize writing research and teaching as deeply collaborative, inclusive, and reciprocal practices.

“What any body is—and is able to do—cannot be disentangled from the media we use to consume and produce texts.” ---from the Introduction.

Kristin Arola and Anne Wysocki argue that composing in new media is composing the body—is embodiment. In Composing (Media) = Composing (Embodiment), they havebrought together a powerful set of essays that agree on the need for compositionists—and their students—to engage with a wide range of new media texts. These chapters explore how texts of all varieties mediate and thereby contribute to the human experiences of communication, of self, the body, and composing. Sample assignments and activities exemplify how this exploration might proceed in the writing classroom.

Contributors here articulate ways to understand how writing enables the experience of our bodies as selves, and at the same time to see the work of (our) writing in mediating selves to make them accessible to institutional perceptions and constraints. These writers argue that what a body does, and can do, cannot be disentangled from the media we use, nor from the times and cultures and technologies with which we engage.

To the discipline of composition, this is an important discussion because it clarifies the impact/s of literacy on citizens, freedoms, and societies. To the classroom, it is important because it helps compositionists to support their students as they enact, learn, and reflect upon their own embodied and embodying writing.

In the face of the gradual saturation of US public education by the logics of neoliberalism, educators often find themselves at a loss to respond, let alone resist. Through state defunding and many other “reforms” fueled by austerity politics, a majority of educators are becoming casual labor in US universities while those who hang onto secure employment are pressed to act as self-supporting entrepreneurs or do more with less. Focusing on the discipline of writing studies, this collection addresses the sense of crisis that many educators experience in this age of austerity.

The chapters in this book chronicle how neoliberal political economy shapes writing assessments, curricula, teacher agency, program administration, and funding distribution. Contributors also focus on how neoliberal political economy dictates the direction of scholarship, because the economic and political agenda shaping the terms of work, the methods of delivery, and the ways of valuing and assessing writing also shape the primary concerns and directions of scholarship.

Composition in the Age of Austerity offers critical accounts of how the restructuring of higher education is shaping the daily realities of composition programs. The book documents the effects and implications of the current restructuring, examines how cherished rhetorical ideals actually leave the field unprepared to respond effectively to defunding and corporatizing trends, and establishes points of departure for collective response.

Edited by four nationally recognized leaders of composition scholarship, Composition, Rhetoric, and Disciplinarity asks a fundamental question: can Composition and Rhetoric, as a discipline, continue its historical commitment to pedagogy without sacrificing equal attention to other areas, such as research and theory? In response, contributors to the volume address disagreements about what it means to be called a discipline rather than a profession or a field; elucidate tensions over the defined breadth of Composition and Rhetoric; and consider the roles of research and responsibility as Composition and Rhetoric shifts from field to discipline.

Outlining a field with a complex and unusual formation story, Composition, Rhetoric, and Disciplinarity employs several lenses for understanding disciplinarity—theory, history, labor, and pedagogy—and for teasing out the implications of disciplinarity for students, faculty, institutions, and Composition and Rhetoric itself. Collectively, the chapters speak to the intellectual and embodied history leading to this point; to questions about how disciplinarity is, and might be, understood, especially with regard to Composition and Rhetoric; to the curricular, conceptual, labor, and other sites of tension inherent in thinking about Composition and Rhetoric as a discipline; and to the implications of Composition and Rhetoric’s disciplinarity for the future.

Contributors: Linda Adler-Kassner, Elizabeth H. Boquet, Christiane Donahue, Whitney Douglas, Doug Downs, Heidi Estrem, Kristine Hansen, Doug Hesse, Sandra Jamieson, Neal Lerner, Jennifer Helene Maher, Barry Maid, Jaime Armin Mejía, Carolyn R. Miller, Kelly Myers, Gwendolynne Reid, Liane Robertson, Rochelle Rodrigo, Dawn Shepherd, Kara Taczak

Academic writing often requires students to incorporate material from outside sources (like statistics, ideas, quotations, paraphrases) into their own written texts-a particular obstacle for students who lack strong reading skills. In Connecting Reading and Writing in SecondLanguage Instruction, Alan Hirvela contends that second language writing students should be considered as readers first and advocates the integration of reading and writing instruction with a survey of theory, research, and pedagogy in the subject area.

Although the integrated reading-writing model has gained popularity in recent years, many teachers have little more than an intuitive sense of the connections between these skills. As part of the popular Michigan Series on Teaching Multilingual Writers, Connecting Reading and Writing in Second Language Instruction will provide invaluable background knowledge on this issue to ESL teachers in training, as well as teachers who are already practicing.

In this substantively revised new edition, Hirvela moves beyond the argument he made in the first edition of the value of connecting reading and writing. This new edition explains various dimensions of those connections and offers a fresh look at how to implement them in L2 writing instruction. It also provides both new and experienced teachers of writing with a solid grounding in the theoretical foundations and pedagogical possibilities associated with reading-writing connections.
 
The new edition features two new chapters. The first is a chapter on assessment because students are now being asked to connect reading and writing in the classroom and on formal assessments like the TOEFL®. The second new chapter is an argument for accounting for transfer elements in the teaching and researching of reading-writing connections.
 
The goals of this revised volume are to provide: resources for those wishing to pursue reading-writing connections, summaries of the beliefs underlying those connections, ideas for teaching the connections in the classroom, and information about the work others have done to develop this domain of L2 writing.