This article discusses the differences between the passive and active literary voice, choosing an appropriate tone, and effective usage of verbiage; however, it is written in a very instructively, concise manner and is easy to comprehend. There are recommendations for when to appropriately use the passive or active voice, as well as recognizing the certain challenges each voice contains. In total there are 16 steps to "improve your voice" and each step consists of sub-steps. There is also advice for establishing concise, precise, and simplistically, effective writing for your reader to grasp and enjoy. Although the article is rather short, it is very instructive and can be utilized as a beneficial source to enhance not only our writing, but also the students we are helping. It would make a great source to share and/or even post on blackboard learn under the ENGL 130 forum (for those of us in the workshop); or those mentoring anywhere else on campus.

This article analyzes the linguistic dynamics of the stylistic literary voice, its bound-factors, and its application. There is definitely a much more technical approach to defining the stylistic voice; but it is actually quite interesting to read about the way in which voice is a matter of "appropriateness", instead of "grammaticality". Joybrato also uses poetical references to strengthen and accentuate his linguistic evaluations; furthermore, his dichotomies of 'literary stylistics' reveal an aspect of writing that cannot necessarily be easily seen. He even mentions the applications of today's technologies and their capacious depth of containing writing. This is article is beneficial to those trying to identify their, and/or helping others, realize their own entity of the stylistic literary voice they contain within their literary composition/cognition. Although the article slightly wanders into the plains of prolixity, I would still recommend extrapolating the information that catches your eye.

In this article, President of Teaching That Makes Sense, Steve Peha shares his views, methods, philosophy, and applications of teaching writing to others. He addresses questions like "how do teachers achieve the best practice" and "what is the best practice for writing instruction?" Steve also has incorporated a chart that dichotomously sorts the attributes of the quality, process, strategies, reading-writing connection, philosophy, management and forms of writing. He also includes his "Six Traits" of evaluative criteria for assessing a variety of genres of writing. His arguments are quite applicable and logical, and his instructive guide is considerably pragmatic and "easy to follow." For anyone endeavoring to assist and critique others' writing on an academic plain will find this article to be of assistance. Even if there is a disagreement on some of the material, it is arranged in a way that can be slightly altered and still beneficially applicable.

I've decided to go in a different direction than the posts I have been submitting on diigo; however, where our research starts is certainly not where it finishes. I decided to approach the dynamics of voice and style and its relationship with "good writing." Moving along- This article directly engages in explaining "what makes good writing?" and how teachers view this complex question. Teachers alike analyze students' writing in very, very different ways and all hold their own literary interpretations in accordance to their curriculum. There is also much emphasis on "questioning a standardized writing style," "procedures and participants," and a variety of methodological approaches. There is also a list comprised of 31 perceptions on what establishes writing as "good." There is also much emphasis on the dynamics of structure, clarity, purpose, voice, and correctness. Near the end, there is an evaluation of controversy of a many statements revolving around "good writing", as well as "implications for the classroom." This is definitely a resourceful article for anyone endeavoring literary mentoring, and/or teaching of any kind. The diagrams are very concise and comprehensive, and above all, they are applicable to our instructive environments.

This article contains a variety of helpful recommendations in assisting others with essays, and beneficial of extensive methods in establishing coherence. There are also intriguing statistics about illiteracy and each section, as well as the subcategory within is very specific and unified. Essentially, the article revolves around the diversified nature of everyone's unique interpretation of writing and is magnified towards all students. There's also information such as: informing others, consulting others, approaching the students, entertaining them, acquiring the knowledge of their materials, appropriately responding, and using moderate persuasion. All in all, there are a total of seven recommendations with very concise explanations of writing instruction, analytical approaches, and assessing the quality of literary works. This article is applicable to our instructive endeavors within our micro, or macro, aggregates of situated learning. The content within this particular article will elucidate the path to molding students into strategic writers, capturing and sustaining motivation, and substantiating an enjoyable environment. So please give it a read! I'm sure you'll find it quite pertinent to our weekly scenarios of peripheral participation and consultative interactions.

In this article, there are 21 steps to assist the literary councilor in teaching writing. Although it is a fairly short article, there is fairly useful information that can be extrapolated and applied to the multiplicity of situated learning that exist. A number of the steps actually have sub sections that pertain to the objective that is listed; furthermore, illustrating pragmatic, as well as feasibly applicable, instructive literary algorithms for assisting others in enhancing their writing skills. Truthfully, these steps contain information that isn't always brought to mind during our workshops; and I veraciously admit to relearning things in which I overlooked and/or have forgotten. Quintessentially, these steps can be applied to out workshop environment, and provide us with a helpful literary approach-instead of accidently sending the wrong idea, or running out of intellectual things to say (it happens to us all from time to time). Before we enhance our workshop surroundings, we should all endeavor to enhance our understandings of the procedural nature of excelling in writing, while simultaneously assisting others. In my opinion, teaching is one of the best, if not the best, ways to teach ourselves; instructing others reveals the hidden connecting points that we subconsciously always knew were there.

In this article, there are 21 steps to assist the literary councilor in teaching writing. Although it is a fairly short article, there is fairly useful information that can be extrapolated and applied to the multiplicity of situated learning that exist. A number of the steps actually have sub sections that pertain to the objective that is listed; furthermore, illustrating pragmatic, as well as feasibly applicable, instructive literary algorithms for assisting others in enhancing their writing skills. Truthfully, these steps contain information that isn't always brought to mind during our workshops; and I veraciously admit to relearning things in which I overlooked and/or have forgotten. Quintessentially, these steps can be applied to out workshop environment, and provide us with a helpful literary approach-instead of accidently sending the wrong idea, or running out of intellectual things to say (it happens to us all from time to time). Before we enhance our workshop surroundings, we should all endeavor to enhance our understandings of the procedural nature of excelling in writing, while simultaneously assisting others. In my opinion, teaching is one of the best, if not the best, ways to teach ourselves; instructing others reveals the hidden connecting points that we subconsciously always knew were there.

Thank you very much for pointing that out to me Khou. I must have cut off a fraction of the URL when I pasted it~ I re-posted the article, please check it out! Here's the link if you don't feel like searching for it- it's kind of monotonous digging through postings http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=6&cts=1331526916842&ved=0CGoQFjAF&url=http%3A%2F%2Fmembers.shaw.ca%2Fenglishtour%2Fway_correct_essay.pdf&ei=_3xdT72nO6OPiAKOrIizCw&usg=AFQjCNFFk0ZVEBkpvxpMk6dA-RAZ4ClavQ

This article is specifically designated for instructing learners of secondary language acquisition. There are many helpful ideas, recommendations, phonetic charts, and pronunciation exercises. This article is also brief, concise, and coherent; and can be applied to secondary learning acquisitive environments. If the learner is experiencing difficulty in certain places of articulation such as: labial, labial dental, velar, glottal, palatal etc. there are a number of references at the bottom that can assist in strengthening the learners' place and manner of articulation (pronunciation). Since some foreigners have native tongues coming form polysynthetic, formative, and/or analytical languages, learning an agglutinative language (English) can be not difficult, but very different for them. Learning grammar if essential, but unified verbalization is just as crucial. This article is most certainly benefit anyone in the SLC or ESL workshop; and honestly will help the instructor with certain obstructive literary shortcomings and/or frustrations hat students may have. So check it out if you're in a secondary learning acquisition environment!

This next article is fairly similar to the last article I posted, but this one is much more assertive and is more of a short, instructive textbook. This article/textbook contains "30 new ideas" for teaching writing, and with each individually constructed idea, your cognition automatically begins to spastically construct new tactics in approaching the students within your designated literary workshop. Some of the ideas include: require written responses to peers' writing, vocabulary building exercises, stepping away from prolixity and utilizing colloquial verbiage, constructing an email dialogue between students, encouragement of descriptive writing (sounds, emotions, sentiments, sensations etc.), establishing a "framing device," introducing multi-genre and multicultural literature to overall strengthen their syntactical horizons. Definitely another beneficial article to the workshop mentors of this English class-the reasons are very obvious. There are even anecdotal passages that share the endeavors of others who have chosen similar literary-assisting/instructing paths. So if you're interested in becoming an English teacher of any kind, add this article to your anthologized conglomerations of instructive, literary resources.

This article covers a multitude of steps that assist in teaching the dynamics of writing to others. There is an extensive list of statements that is followed by a descriptions as well as procedural conduct. The first statement is "establish a positive atmosphere for writing, reading, and learning," and proceeds to illustrate the ambiances of a classroom, as well as possible arrangements of desks etc. The primary idea is to establish a sustainably, beneficial community in which the students are free of apprehension and unnecessary judgment of any kind. The classroom should be "inviting," "respectful," and have positive "routines and expectations." There should also be regimented activities and daily-designated prerogatives that allow the students to expand their literary intentions. This is article is utmost beneficial to every student within this English course that is committed to their weekly internships. The informatively instructive articulations of each scenario that is provided within this article are very versatile, and can generally assist us all in our own unique interned environments. I highly recommend giving it a brief glance, if you're busy or have some obligatory escapade to attend to.

The article I found articulates the beneficial attributes of tutoring, mentoring, and faculty assistance in the "alleviation of writing anxiety." There is also discussion on embellishing the self-efficiency university students when writing essays.There authors also use gender as a precursor in determining the differences between the efficacy of writing among males and females. In addition to analytical gender studies, the authors also integrate other academic variables such as GPA's and literary composition as a "recreational activity." There is even breathing exercises, methods for relaxation, and interventional aid to students who completely reprehend writing all together. This is article is definitely pertinent to the academically overstressed life of university students; especially, students enrolled in an English course. At a certain point, we all experience unpalatable junctures of unwanted anxiety, that by any means, impedes our ability to academically perform. It is very similar to the dynamics of examination anxiety. A student may have acknowledgments that exceed the finite boundaries of an exam, but cannot access their superior level of comprehension because of their cognitively, suppressive test anxiety. The word "test," "examination," or "dissertation" have become connotatively dreadful; however, replacing these words with academic euphemisms such as "long quiz" or "filling paper words project" could potentially reduce oppressive, academic anxiety-in a sense. Judging by all of the diagrams of everyone's writing process, I'd say the extraneous variety of distractions can all result from, or even cause, anxiety.