Models for Writers, High School Edition by Alfred Rosa; Paul Eschholz - Eleventh Edition, 2012 from Macmillan Student Store
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Models for Writers, High School Edition

Eleventh Edition ©2012 Alfred Rosa; Paul Eschholz

It’s a simple, best-selling combination that has worked for thousands of students — short, accessible essays and helpful, thorough writing instruction. Models for Writers continues to offer thought-provoking selections organized to demonstrate not only the rhetorical pat...
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Models for Writers, High School Edition by Alfred Rosa; Paul Eschholz - Eleventh Edition, 2012 from Macmillan Student Store

The best-selling short essay reader

It’s a simple, best-selling combination that has worked for thousands of students — short, accessible essays and helpful, thorough writing instruction. Models for Writers continues to offer thought-provoking selections organized to demonstrate not only the rhetorical patterns that students will use in their own essays but also the elements and language that will make those essays effective. This edition offers more coverage of the key elements of academic writing, including new strategies for writing a research paper and a section on writing a reflective essay.

Features

Brief, lively examples that provide outstanding models for students. Most of the 79 selections in Models for Writers are comparable in length (2-3 pages) to the essays students will write themselves, and each clearly illustrates a basic rhetorical element or pattern.
 
An organization that covers the elements, language, and types of essays. Students get a firm grasp of the basic elements and language of the essay in Parts Two and Three, with unique separate chapters focusing on such important topics as thesis, organization, transitions, diction, and tone, before being introduced to types of essays and rhetorical patterns in Part Four.
 
A focus on the writing process and the reading/writing connection. Part 1 details the steps in the writing process, illustrated with a student essay in progress, and offers students advice on reading critically and on writing from reading, with four sample student essays.
 
Extensive editorial apparatus in a clear, concise format. Each chapter features a thorough introduction, and each selection is accompanied by a detailed biographical note and activities that help students explore both the writer's technique and the content of the selection.
 
Practical instruction on working with sources. Near the beginning of the book, a brief, helpful chapter, Writing with Sources, includes advice on summarizing, paraphrasing, quoting, and integrating source material and avoiding plagiarism. A sample student paper and two professional essays model different ways of engaging meaningfully with outside sources.

New to This Edition

29 accessible, engaging, and topical new essays — ideal models by a range of today’s best writers. Over one third of the book’s 79 reading selections are new to this edition, featuring both new and established writers such as
  • Tina McElroy Ansa on growing up in Macon, Georgia, in “a world made up of stories.” 
  • Brian Doyle on realizing that many lives are “pregnant with divorce.”
  • Salman Rushdie on seeing the Taj Mahal’s transcendent beauty in person.
Compelling new examples of argument. The argument chapter now features revised clusters on “Crime: What Constitutes an Effective Punishment?” and “Torture: Are We For or Against It?” A new cluster of selections examines “Advertising: How Does It Affect our Lives?”
 
A new chapter, Writing a Research Paper, offers a new documented student research paper, “To Facebook or Not”, and a more in-depth look at synthesis, summary, paraphrase, and quotation. It provides clear guidance on conducting research, evaluating sources, building a bibliography, and using the updated MLA citation style.
 
New coverage of reflective writing in the expanded chapter, “From Reading to Writing.” This section and a new sample student reflective essay show students how to connect personal experience to larger social issues, such as sustainability and media’s pervasive effects. 
 
New visuals and a portfolio of advertisements for discussion. Photographs of the authors of each reading selection now accompany the biographical head notes. A new cluster of sample advertisements supplements the readings on advertising in the argument chapter. Cartoons and photographs enliven the text throughout and provide opportunities for critical thinking and discussion.

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Table of Contents

* new to this edition
 
Part One: On Reading and Writing Well

1 The Writing Process   
Prewriting 
Writing the First Draft
Revising
Editing
Proofreading
Writing an Expository Essay: A Student Essay in Progress
Jeffrey Olesky, “Golf: A Character Builder”
 
2 From Reading to Writing  
Getting the Most Out of Your Reading
Rachel Carson, “Fable for Tomorrow”
Using Your Reading in the Writing Process
Writing from Reading: Four Sample Student Essays
* A Narrative Essay: Trena Isley, “On the Sidelines” (student essay)
A Response Essay: Zoe Ockenga, “The Excuse ‘Not To’” (student essay)
* A Reflective Essay: Jennifer Chu, “A Bowl of Noodles” (student essay)
* An Argumentative Essay: James Duffy, “One Dying Wish” (student essay)
 
Part Two: The Elements of the Essay

Note: Readings in Chapters 3-22 follow the same structure as listed here for Helen Keller, “The Most Important Day.” For brevity, the apparatus subheadings are not repeated.
 
3 Thesis             
Helen Keller, “The Most Important Day”
Reflecting on What You Know
Thinking Critically about This Reading
Questions for Study and Discussion
Classroom Activity Using Thesis
Suggested Writing Assignments
Natalie Goldberg, Be Specific
James Lincoln Collier, “Anxiety: Challenge by Another Name”
 
4 Unity   
Thomas L. Friedman, “My Favorite Teacher”
Sandra Cisneros, “My Name”
Gloria Naylor, The Meanings of a Word
 
5  Organization   
Cherokee Paul McDonald, “A View from the Bridge”  
Audrey Schulman, “Fahrenheit 59: What a Child’s Fever Might Tell Us about Climate
Change”   
* Sean Prentiss, “Buying a House”
 
6 Beginnings and Endings    
Michael T. Kaufman, “Of My Friend Hector and My Achilles Heel”
Richard Lederer, “The Case for Short Words”  
Carl T. Rowan, “Unforgettable Miss Bessie”
 
7 Paragraphs   
William Zinsser, “Simplicity”
Mike Rose, “I Just Wanna Be Average”
* Tobias Wolff, “The Last Shot”
 
8 Transitions   
David Raymond, “On Being 17, Bright, and Unable to Read”
Russell Baker, “Becoming a Writer”
Nancy Gibbs, “The Magic of the Family Meal”
 
9 Effective Sentences   
Alice Walker, “Childhood”
Langston Hughes, “Salvation”
* Judith Ortiz Cofer, “Volar”
 
10 Writing with Sources
Sharon Begley, “Praise the Humble Dung Beetle”
Jake Jamieson, “The English-Only Movement: Can America Proscribe Language with a Clear Conscience?”
* Terry Tempest Williams, “The Clan of One-Breasted Women”
 
Part Three: The Language of the Essay
 
11 Diction and Tone  
Dick Gregory, “Shame”
David Sedaris, “Me Talk Pretty One Day”
* Tina McElroy Ansa, “The Center of the Universe”
* Brian Doyle, “Irreconcilable Dissonance”
 
12 Figurative Language  
Robert Ramirez, “The Barrio”
Anne Lamott, “Polaroids”
* Benjamin Percy, Invasion
 
Part Four: Types of Essays

13 Illustration   
Barbara Huttmann, “A Crime of Compassion”
Gregory Pence, “Let’s Think Outside the Box of Bad Clichés”
* Verlyn Klinkenborg, “Our Vanishing Night”
Steven Pinker, “In Defense of Dangerous Ideas” 
 
14 Narration   
Henry Louis Gates Jr., “What’s in a Name?”
* Erin Murphy, “White Lies”
Maya Angelou, “Momma, the Dentist, and Me
Kate Chopin, The Story of an Hour
 
15 Description      
Eudora Welty, “The Corner Store”
* Joanne Lipman, “And the Orchestra Played On”
* Kyoko Mori, “Yarn”
* Salman Rushdie, “The Taj Majal”
 
16  Process Analysis   
Paul Merrill, “The Principles of Poor Writing”
* Nicholson Baker, “How to Make Chocolate Sauce”  
* Diane Ackerman, “Why Leaves Turn Color”
 
17 Definition    
Lawrence M. Friedman, “What Is Crime?”
Ellen Goodman, “The Company Man”
* Eduardo Porter, “What Happiness Is”
 
18 Division and Classification   
Martin Luther King Jr., “The Ways of Meeting Oppression”
* Marion Winik, “What Are Friends For?”
William Lutz, “Doubts about Doublespeak”
 
19 Comparison and Contrast    
Mark Twain, “Two Ways of Seeing a River”
* Suzanne Britt, “That Lean and Hungry Look”
 Bharati Mukherjee, “Two Ways to Belong in America”
* Amanda Ripley, “Who Says a Woman Can’t Be Einstein?”
 
20 Cause and Effect   
* Gita Mehta, “The Famine of Bengal”
Stephen King, “Why We Crave Horror Movies”
Myriam Marquez, “Why and When We Speak Spanish in Public”
Sanjay Gupta, “Stuck on the Couch”  
             
21 Argument       
Thomas Jefferson, “The Declaration of Independence”
Martin Luther King Jr., “I Have a Dream”
* Dave Zirin, “What Pro Sports Owners Owe Us”
Mary Sherry, “In Praise of the F Word”
Crime: What Constitutes an Effective Punishment?
June Tangney, “Condemn the Crime, Not the Person”
Dan M. Kahan, “Shame Is Worth a Try”
* Carl M. Cannon, “Petty Crime, Outrageous Punishment”
Advertising: How Does It Affect Our Lives?
* Allen D. Kanner, “The Piracy of Privacy”
* Terry O’Reilly, “Marketing Ate Our Culture–But It Doesn’t Have To”
* Ruth La Ferla, “Generation E.A.: Ethnically Ambiguous”
Critical Thinking: Advertisements for Analysis
* Hugh Rank, “Intensify/Downplay”
 Torture:  Are We For or Against It?    
 * Charles Krauthammer, “The Truth about Torture”
 * Andrew Sullivan, “The Abolition of Torture”
 
22 Brief Guide to Writing a Research Paper    
An Annotated Student Research Paper:  Cori Schmidtbauer, “To Facebook or Not” (student essay)

Alfred Rosa

Paul Eschholz and Alfred Rosa are professors emeriti of English at the University of Vermont. They have directed statewide writing programs and conducted numerous workshops throughout the country on writing and the teaching of writing.  Eschholz and Rosa have collaborated on a number of best-selling texts for Bedford/St. Martin's, including Subject & Strategy; Outlooks and Insights: A Reader for College Writers; Models for Writers; with Virginia Clark, Language Awareness; and, with Virginia Clark and Beth Simon, Language: Readings in Language.

Paul Eschholz

Paul Eschholz and Alfred Rosa are professors emeriti of English at the University of Vermont. They have directed statewide writing programs and conducted numerous workshops throughout the country on writing and the teaching of writing.  Eschholz and Rosa have collaborated on a number of best-selling texts for Bedford/St. Martin's, including Subject & Strategy; Outlooks and Insights: A Reader for College Writers; Models for Writers; with Virginia Clark, Language Awareness; and, with Virginia Clark and Beth Simon, Language: Readings in Language.

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Instructor's Manual for Models for Writers

Alfred Rosa; Paul Eschholz | Eleventh Edition | ©2012 | ISBN:9780312552183