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EFL/ESL Teaching Techniques from The Internet TESL Journal - 0 views

  • Adults
  • Adapting the L2 Classroom for Age-related Vision ImpairmentsBy Jessica A. ThonnTeaching Adult ESL LearnersBy Yi Yang
  • Authentic Materials / Realia
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  • Effective Ways to Use Authentic Materials with ESL/EFL StudentsBy Charles Kelly, Lawrence Kelly, Mark Offner and Bruce VorlandAuthentic Materials and Cultural Content in EFL ClassroomsBy Ferit KilickayaUsing Creative Thinking to Find New Uses for RealiaBy Simon Mumford
  • Autonomy
  • My Philosophy for Teaching English for BusinessBy Lawrence BaronUsing Authentic Business Transcripts in the ESL ClassroomBy Jonathan CliftonTeaching Business Communication to LEP StudentsBy Ken LauFrameworking in Business English ClassesBy John AdamsonTeaching Tips for ESL University Business English InstructorsBy William BrooksMethodology for Using Case Studies in the Business English Language ClassroomBy Peter Daly
  • Becoming a Better Teacher
  • Matching Teaching Styles with Learning Styles in East Asian ContextsBy Rao ZhenhuiTeam Teaching Tips for Foreign Language TeachersBy Rebecca Benoit and Bridget HaughThe Importance of Eye Contact in the ClassroomBy Robert Ledbury, Ian White and Steve Darn
  • Business English
  • Three Activities to Promote Learners' AutonomyBy Galina KavaliauskienëGetting Students Actively Involved Using "The Mistake Buster" TechniqueBy Hai K.P. Huynh
  • Classroom Management
  • Perpetual Motion: Keeping the Language Classroom MovingA technique that allows students to practice with as many different partners as possible.By Christopher KelenInteresting Ways to Call Roll in JapanBy Lawrence KlepingerLet Your Students Teach Their ClassBy Naoyoshi Ogawa and Dennis WilkinsonEncouraging Students to Interact with the TeacherBy Roger NunnWhat to Do with Failing StudentsBy Marty DawleyCultural Kickboxing in the ESL Classroom: Encouraging Active ParticipationBy Jan Guidry LacinaA Group Introduction Activity to Create a Safe AtmosphereBy Clay Bussinger
  • Computers
  • Using Presentation Software to Enhance Language LearningBy Miriam Schcolnik and Sara KolQuick Tips for the CALL LaboratoryBy Brian Cullen and John MorrisUsing PowerPoint for ESL TeachingBy Don L. Fisher
  • Culture
  • Encouraging English Expression through Script-based ImprovisationsBy Manette R. BerlingerTeaching Conversation Skills With Content Based MaterialsBy Greg GoodmacherUsing Pair TapingBy Peter H. SchneiderTeaching Conversation Strategies Through Pair-TapingBy Nancy Washburn and Kiel ChristiansonBoosting Speaking Fluency through Partner TapingBy David E. Kluge and Matthew A. TaylorOvercoming Chinese-English Colloquial Habits in WritingBy Ted KnoyCommunicative Language Teaching in a Multimedia Language LabBy Shih-Jen Huang and Hsiao-Fang LiuIt's on the Cards: Adapting a Board-game Communicative ActivityBy Bob Gibson Leaving the Room: An Introduction to Theme-Based Oral EnglishBy Stewart Wachs
  • The Talking Stick: An American Indian Tradition in the ESL ClassroomBy Kimberly FujiokaRole Playing/SimulationBy Patricia K. TompkinsBrainstorming Before Speaking TasksBy Brian CullenTeach Students to Interact, Not Just TalkBy Gerard CounihanFive Steps to Using Your Textbook to Build a More Dynamic EFL Conversation ClassBy Stephen B. RyanDialog Performances: Developing Effective Communication Strategies for Non-English Majors in Japanese UniversitiesBy Susan Gilfert and Robert CrokerOvercoming Common Problems Related to Communicative MethodologyBy Stephen B. RyanDesigning Simple Interactive Tasks for Small GroupsBy Roger NunnTips for Teaching Conversation in the Multilingual ESL ClassroomBy Cara PulickTeaching "How are You" to ESL StudentsBy Brendan DalyUsing Games to Promote Communicative Skills in Language LearningBy Chen, I-JungFacilitating English Conversation Development in Large ClassroomsBy Gerry GibsonHelping EFL/ESL Students by Asking Quality QuestionsBy Nasreen HussainSuccessful Classroom Discussions with Adult Korean ESL/EFL LearnersBy Hye-Yeon Lim & W. I. GriffithIncreasing Authentic Speech in Classroom DiscussionsBy Georgia SmyrniouDesigning Simple Interactive Tasks for Small GroupsBy Roger NunnA Practical and Effective Way to Enhance the ESL Students' Oral CompetenceBy Yichu Qi
  • Conversation / Oral English
  • Practical Techniques for Teaching Culture in the EFL ClassroomBy Brian Cullen and Kazuyoshi SatoRole Play in Teaching Culture: Six Quick Steps for Classroom ImplementationBy Maria A. KodotchigovaCompliments: Integrating Cultural Values into Oral English ClassesBy Chou, Yen-LinRole Play in Teaching Culture: Six Quick Steps for Classroom ImplementationBy Maria A. KodotchigovaGuidelines to Evaluate Cultural Content in TextbooksBy Ferit Kilickaya
  • Drama
  • Drama Techniques for Teaching EnglishBy Vani Chauhan
  • Four Skills
  • Using Picture Dictation Exercises for Practising All Four SkillsBy Sylvia Sao Leng IeongTeaching the Four Skills in the Primary EFL ClassroomBy Marcos Peñate Cabrera and Plácido Bazo
  • Ideas
  • The Structural Drill in Remedial TeachingBy Felix MosesClassroom Techniques for Contextualization:How to make "This is a pen." a pragmatically motivated utterance.By Yoshinori SasakiA Technique for Practising Conditional SentencesBy Galina KavaliauskieneGrammar Correction in ESL/EFL Writing Classes May Not Be EffectiveBy Ronald GrayDoing Things with Sentences in the ESL ClassroomBy Simon MumfordTeaching ESL Students to "Notice" GrammarBy Francis J. Noonan IIIUsing Simple Poems to Teach GrammarBy Hawanum HusseinCommunicative Grammar -- It's Time to Talk.By Noriko NishiguchiEmpowering English Teachers to Grapple with Errors in GrammarBy Caroline Mei Lin HoHelping Students with ModalsBy Michael ThompsonA Technique for Practising Conditional SentencesBy Galina Kavaliauskiene
  • Humor
  • Using Humour in the Second Language ClassroomBy Paul-Emile Chiasson
  • Grammar
  • Using the Internet in ESL Writing InstructionBy Jarek KrajkaSome Possibilities for Using On-line Newspapers in the ESL ClassroomBy Jarek KrajkaGetting Your Class ConnectedSome ideas on using e-mail and homepages.By Dennis E. WilkinsonActivities for Using Junk Email in the ESL/EFL ClassroomBy Suggested ways to use junk mail and some ready-to-use handouts for the classroom.By Michael IvyLet the E-mail Software Do the Work: Time Saving Features for the Writing TeacherBy Ron BelisleDiscussion Forums for ESL LearningBy Peter ConnellReport on a Penpal Project, and Tips for Penpal-Project SuccessBy Vera MelloUsing E-mail in Foreign Language Teaching: Rationale and SuggestionsBy Margaret Gonglewski, Christine Meloni and Jocelyne BrantHow to Build a Multimedia Website for Language StudyBy Randall S. DavisMaking Chat Activities with Native Speakers Meaningful for EFL LearnersBy Jo MynardInteractivity Tools in Online LearningBy Chien-Ching LeeTeaching Search Engines to ESL Students: Avoiding the AvalancheBy Kirsten LincolnTeaching EFL/ESL Students How to Use Search Engines and Develop their EnglishBy Rupert HeringtonInteractivity Tools in Online LearningBy Chien-Ching LeeMaking Chat Activities with Native Speakers Meaningful for EFL LearnersBy Jo MynardHow to Build a Multimedia Website for Language StudyBy Randall S. DavisQuick Tips for the CALL LaboratoryBy Brian Cullen and John MorrisCreating a Learning Community Through Electronic JournalingBy Anne BollatiA Model of Team Teaching in a Web-mediated EAP CourseBy Mihye Harker & Dimitra KoutsantoniUsing LiveJournal for Authentic Communication in EFL ClassesBy Aaron Patric CampbellWeblogs for Use with ESL ClassesBy Aaron Patric Campbell
  • 75 ESL Teaching IdeasBy Hall Houston
  • Redesigning Non-Task-Based Materials to Fit a Task-Based FrameworkBy Kevin RooneyA Holistic Classroom Activity - The Class SurveyBy Roger NunnThree Activities to Promote Learners' AutonomyBy Galina Kavaliauskienë
  • Music and Song in DiscussionBy Brian CullenSong DictationBy Brian CullenTeaching Phrasal Verbs Using SongsBy Subrahmanian UpendranHelping Prospective EFL Teachers Learn How to Use Songs in Teaching Conversation ClassesBy Natalia F. OrlovaFocused Listening with SongsBy Isaiah WonHo Yoo
  • Getting the Most from Textbook Listening ActivitiesBy Thomas LavelleTraining for Impromptu Speaking and Testing Active Listening With a Focus on Japanese StudentsBy Cecilia B-IkeguchiDictation DrawingBy Brian GroverReal Audio to Augment Real Listening in the ESL ClassroomBy Frank TuziSelf-Instruction by Audio CassetteBy John SmallDictation as a Language Learning DeviceBy Scott AlkireFocused Listening with SongsBy Isaiah WonHo YooListening Activities for Effective Top-down ProcessingBy Ji LingzhuDictation as a Language Learning DeviceBy Scott Alkire
  • Material Development / Activity Ideas
  • Internet
  • Motivation
  • Sustaining an Interest in Learning English and Increasing the Motivation to Learn English: An Enrichment ProgramBy Supyan Hussin, Nooreiny Maarof, and J. V. D'CruzHelping ESL Learners to See Their Own ImprovementBy Upendran SubrahmanianCommunicating SuccessBy Trevor SargentCreative and Critical Thinking in Language ClassroomsBy Muhammad Kamarul KabilanLearner Training for Learner Autonomy on Summer Language CoursesBy Ciarán P. McCarthyEncouraging Students to Become Stakeholders in the ESL ClassroomBy Karen BordonaroMotivation in the ESL ClassroomBy William T. Lile
  • Music and Songs
  • Listening
  • Pronunciation
  • Some Techniques for Teaching PronunciationBy David F. DaltonTesting Some Suprasegmental Features of English SpeechBy Mehmet CelikTeaching English Intonation to EFL/ESLStudentsBy Mehmet CelikReverse Accent Mimicry: An Accent Reduction Technique for Second Language LearnersBy Laurence M. HiltonA Quick Way to Improve /r/ and /l/ PronunciationBy Tim GreerTeaching English Intonation to EFL/ESLStudentsBy Mehmet Celik
  • Teaching Debate to ESL Students: A Six-Class UnitBy Daniel KriegerGuiding ESL Students Towards Independent Speech MakingBy Françoise Nunn and Roger NunnA Genre Approach to Oral PresentationsBy Fiona Webster
  • Public Speaking
  • Teaching EFL/ESL Students How to Read Time and NewsweekBy J. Ignacio BermejoGraffiti for ESL ReadersDescribes an activity using content-based articles.By Brent BuhlerReading and Writing through Neuro-Linguistic ProgrammingBy Tom MaguireHow to Read Nonfictional English Text Faster and More EffectivelyBy Helmut StiefenhöferWhat Do We Test When We Test Reading Comprehension?By Akmar MohamadTeaching ESL Reading Using ComputersBy Saad AlKahtaniAn Integrated Approach to Teaching Literature in the EFL ClassroomBy Christine SavvidouA Fun Reading Quiz GameBy Madhavi Gayathri RamanReading Aloud (Out Loud) in Conversational English Classes By Derek KellyUsing Children's Literature with Young LearnersBy Eowyn BrownUsing News Stories in the ESL ClassroomBy Robin Antepara
  • Reading
  • Testing
  • A Method for Oral Testing in University English Programs at Korean UniversitiesBy David B. KentMeasuring Word Recognition Using a PictureBy Jungok Bae
  • Video
  • Developing Film Study GuidesBy Donna Hurst TatsukiDeveloping an English for Specific Purposes Course Using a Learner Centered Approach: A Russian ExperienceBy Pavel V. SysoyevVideotaping an English Mini-drama in Your ClassroomBy David G. MagnussonUsing CNN News Video in the EFL ClassroomBy Alan S. MackenzieContent Video in the EFL ClassroomBy Michael FurmanovskyCaptioned Video: Making it Work for YouBy Randall S. DavisUsing Movie Trailers in an ESL CALL ClassBy John GebhardtVideo Production in the Foreign Language Classroom: Some Practical IdeasBy Sebastian Brooke
  • Vocabulary
  • Personal Vocabulary NotesBy Joshua KurzweilLearner-centered Vocabulary Building PracticeBy Sadia Yasser AliA Learner-Centred Approach to Vocabulary Review Using BingoBy Galina KavaliauskienëSongs, Verse and Games for Teaching GrammarBy Arif Saricoban & Esen MetinDeductive & Inductive Lessons for Saudi EFL Freshmen StudentsBy Mohammed Y. Al-KharratWarm-up Exercises in Listening ClassesBy Zhang Yi JunGetting Japanese Children to Make Use of Naturally-sounding English in the ClassroomBy Junko YamamotoVocabulary Teaching Using Student-Written DialoguesBy Alice Dana Delaney WalkerTeaching Vocabulary to Japanese Students: A Lexical ApproachBy Kwabena AsareDrilling Can Be FunBy Simon MumfordThe Use of Corpora in the Vocabulary ClassroomBy Yu Hua ChenBuilding Vocabulary Through Prefixes, Roots & SuffixesBy William PittmanPersonal Vocabulary NotesBy Joshua KurzweilTeaching Vocabulary to Japanese Students: A Lexical ApproachBy Kwabena AsareMeasuring Word Recognition Using a PictureBy Jungok Bae
  • Writing
  • Secret Partner Journals for Motivation, Fluency and FunBy Timothy StewartReading and Writing through Neuro-Linguistic ProgrammingBy Tom MaguireA Peer Review Activity for Essay OrganizationBy Bob GibsonMaking Jigsaw Activities Using Newspaper ArticlesBy David DycusUsing Postcards in the ClassroomBy Peter LobellLess Is More: Summary Writing and Sentence Structure in the Advanced ESL ClassroomBy George L. GreaneyTeaching Integrated Writing SkillsBy Cecilia B-IkeguchiCorrecting Students' WritingBy Bryan MurphyUsing E-mail in EFL Writing ClassesBy Eui-Kap LeeApproaching Writing Skills through Fairy TalesBy Silvia BrutiTeaching ESL/EFL Students to Write BetterBy Yesim CimcozEnglish Writing Program for Engineering StudentsBy Hui Mien TanFreewriting, Prompts and FeedbackBy Kenneth J. DicksonPortfolios and Process Writing: A Practical ApproachBy Simon ReaInteractive Writing in the EFL Class: A Repertoire of TasksBy María Palmira Massi
  • Using Cooperative Learning to Integrate Thinking and Information Technology in a Content-Based Writing LessonBy Gabriel Tan, Patrick B Gallo, George M Jacobs and Christine Kim-Eng LeeEncouraging Engineering Students to Write Simple EssaysBy Thevy RajaretnamIntegrating Writing with ReadingBy Yang ShuyingThe Process Writing MethodBy Daniel J. JarvisSuggestions for Evaluating ESL Writing HolisticallyBy Matthew W. CurrierDeveloping Writing Skills in a Foreign Language via the InternetBy Roger C. KenworthyCreating a Writing Course Utilizing Class and Student BlogsBy Andrew JohnsonA Fun Way to Generate Ideas for Comparison ParagraphsBy Melodie CookSeeing is Understanding: Improving Coherence in Students' Writing By Chien-Ching LeeDeveloping Task-based Writing with Adolescent EFL StudentsBy Maria CabralProviding Feedback on ESL Students' Written AssignmentsBy Jason Gordon WilliamsSimple Steps to Successful Revision in L2 WritingBy Catherine ColemanTeaching TESOL Undergraduates to Organize and Write Literature ReviewsBy Roberto CriolloThe Process Writing MethodBy Daniel J. JarvisIntegrating Writing with ReadingBy Yang ShuyingEncouraging Engineering Students to Write Simple EssaysBy Thevy Rajaretnam
  • Other
  • Maximizing Study Trips AbroadBy Howard HigaThe Application of Universal Instructional Design to ESL TeachingBy Kregg C. StrehornBaFa BaFa: Does it Work with University EFL Learners?By Donald Glenn CarrollA Tutor-Guided Learning Scheme in a Self-Access CentreBy Lai Lai KwanImproving Science Students' Fluency through Project WorkBy Nebila Dhieb-HeniaUsing Service-Learning as Part of an ESL ProgramBy James M. MinorIncorporating Critical Thinking Skills Development into ESL/EFL CoursesBy Andy HalvorsenHelping ESL Learners to Minimize Collocational ErrorsBy Rotimi TaiwoUsing Concept Maps to Gauge Students' UnderstandingBy Lee Chien ChingContent Based ESL Curriculum and Academic Language ProficiencyBy Clara Lee BrownUsing Pictures from MagazinesBy Joep van der WerffEnhancing Critical Thinking with Structured Controversial DialoguesBy Hanizah Zainuddin & Rashid A. MooreUsing Expectations to Improve LearningBy Gena BennettIntegrating Language Learning Strategy Instruction into ESL/EFL LessonsBy Catherine Y. KinoshitaUsing Checklists to "Standardise" ContentBy Chien-Ching LeeGames in the ESL and EFL ClassBy Angkana DeesriOvercoming Common Problems Related to Communicative MethodologyBy Stephen B. Ryan
izz aty

Using Pictures for Lessons | Junk Mail Catalogs: A Treasure-Trove for Language Teachers - 0 views

  • Teachers can easily use junk mail catalogs to create a picture file and then design lessons based on the pictures. This article briefly explains the benefits of using pictures, offers some suggestions for using pictures from junk mail catalogs, and describes three lesson plans
  • Pictures are a great incentive for language production and can be used in many ways in the classroom. "Specifically, pictures contribute to: interest and motivation; a sense of the context of the language; a specific reference point or stimulus" (Wright 19)
  • The lesson plans discussed below are for speaking, grammar, and writing activities
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    Focus on Speaking/Writing:          This is for students at beginning and intermediate levels. The objective is to practice asking and answering questions. Each student needs one picture. (Pictures of people from various ethnic, economic, age, and gender groups are particular]y useful. Fashion catalogs are good sources of such pictures.) The procedure is as follows: First, as a class, have the students generate a list of interview questions. Write them on the board. Then distribute the pictures to the students. Tell them they will become the person in their picture. The students must create a biography for that person. Give the students time to think. Next, divide the students into pairs. Tell them to take turns interviewing each other, using the questions generated earlier. Students should give answers based on the identities they created for the person in their picture. As a follow-up, students can write a one-paragraph biography of their person. Focus on Grammar: This works well with intermediate-level students. The objective is to practice using comparatives and superlatives. The materials needed are sets of pictures--one set per student--which show similar objects; e.g.,a set that shows different kinds of shoes, a set that shows different kinds of hats, or watches, or cars, etc. The directions for the activity are: Give one set of pictures to each student. Tell students they should use comparatives and superlatives (which have been taught prior to doing this activity) to describe the objects in their pictures. They should write as many sentences as possible. When students have finished writing, they should form small groups and read their sentences to each other. 'They should check for errors, both spoken and written, and discuss whether they agree or disagree with the statements made about the objects in the pictures. This activity also lends itself to a discussion of culture--for example, if the pictures present items of clothing, teachers can
izz aty

Resources for writers: 5 places to find a writing buddy - National Writing careers | Ex... - 0 views

  • A writing buddy relationship can offer a number of benefits to those involved. In addition to commiserating on the daily struggles of their writing careers, writing buddies can brainstorm together, bounce ideas off one another, share job leads and writing tips and help one another with reading and/or editing work. Every writing buddy relationship is different, just like every writer is different. That's why it's important to find a buddy with whom you're compatible. Some writing buddies check in several times each day, discussing their daily agendas and touching base on an hourly basis. In these cases, the partnership may also include a personal friendship. Other writing buddy relationships are strictly business. They may check in daily or weekly, or less often in some cases.
  • The WM Writing Buddy Program The WM Freelance Writers Connection rolled out a new writing buddy matching service earlier this year. The service is free, and applicants are asked to fill out a brief questionnaire. Once the questionnaire is submitted and reviewed, you'll receive an email when they've found a match for you. Learn more and apply for the free program at The WM Freelance Connection.
  • The Writer's Digest Forum At the Writer's Digest forum, writers can create buddy-seeking posts (like this one) in the designated Goal Posts forum, designed to connect writers who are seeking encouragement and accountability. The site even has a specific forum for people looking for other writers or editors to critique their work.
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  • Experience Project The Experience Project is a site that focuses on the common human experiences. The site features a wide variety of Experience Groups, including one for people seeking writing buddies. It's simple and free to join the site and group. Members can create or respond to posts seeking writing buddies.
  • CoWriters.com If you're looking for someone with whom you can collaborate on a project, CoWriters.com is the place for you. While this site is brand new, the concept is great. The site is free to join, and you can find collaboration partners, sources for stories and more.
  • Writing Groups If you prefer face-to-face interaction, you might consider joining a local writing group. You can check your local paper or Craigslist for a group in your area, or you could check out the local writers' Meetup groups. This will allow you to meet several writers in your area, and can increase your chances of meeting a buddy who's right for you
izz aty

Wandering thoughts lane: Tips for writing Spoken Word - 0 views

  • 1. Start off with something easy. Sarah Kay gave some suggestions on how you should start writing poetry by writing lists. For example, start writing a list of 5-10 things I know to be true, or I should've learned by now. Also try 10 things I love/want/had.
  • 2. Don't try too hard.  Don't try to write super complicated filled with emotions and metaphors poems from the beginning, you'll only end up waisting time and feeling disappointed. Your first poems should go naturally, easy, that way you'll be amazed to see how far you've come after a while.
  • 3. Inspire yourself Look around you for things to inspire you. For example you can listen to some poetry, maybe one word or one phrase someone recites triggers something inside your brain. Listening to music is also a great inspiration source -at least for me. When I listen to music I can picture the story behind the song (but mostly only when I listen to instrumentals). Also, try to look at the world from a different perspective. When you take a walk try to observe as many things as possible, a funny incident, a person you like, a beautiful view on the landscapes. Inspire yourself from everything around you.
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  • 6. Revise and rewrite your poems  If it doesn't sound very good right after it's done that's alright, just give it some time. Focus on writing other poems and come back to revise this one after a while, you'll have a different perspective after you took a brake from it. It'll help you see the bigger picture.
  • 5. Read your poems out loud  I know it sounds like no big deal but trust me it makes a difference.
  • 4. Read/watch as many spoken word/poems as possible Pay attention to what suits you better, which artists do you like most and why. Understand it and go in that direction. For example if you like an artists that always has funny poems you may be prone to write funny poems, it's likely they'll make you feel more comfortable. You can always experience other types of poems if you want to!
  • 7. Use your imagination. That's what I love most about artists, they CREATE their world however they want it to be, and they can drag you into their stories faster than you can even realize it. So use your imagination, create whatever you wish and do your best to convince the audience (even if the audience is just you or a couple of friends of yours.) that world you're writing really exists. 
  • 8. Spoken word doesn't have to rhyme So don't struggle to find rhymes. But, if you have a good rhyme in mind. don't hesitate! Make it part of your poetry, find your flow.
  • 9. Make a special notebook for poetry writing. I bought my poetry notebook just because I liked the cover of it. Every time I pull it out of my bag it makes me smile. Also one more thing I did was to write quotes from my best poems on colored post it notes and stick them on the first page of the notebook. That way every time I open the notebook to write I can read pieces of my best creations and feel proud. It really boosts up your morale. 
  • 10. Be honest with yourself If something hurt you and it still does let it out, don't back from your thoughts and feelings. If you worry your poem will be too cheesy or too sad, stop worrying! just let it be. Acknowledge the fact that those thoughts were haunting your brain for some time now. Get to know them and set them free...and what better way is there to set thoughts free than by poetry?
  • 11.  Write as often as possible And this is, the most important thing of all. Write constantly, even if you have just one or two sentences in mind, just write them down. Also, carry the notebook with you all the time. You never know when something will trigger the inspiration in you.
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    "the spoken word has been an outlet for people to release their views outside the academic and institutional domains of the university and academic or small press. The spoken word and its most popular offshoot, slam poetry, evolved into the present day soap-box for people, especially younger ones, to express their views, emotions, life experiences or information to audiences. The views of spoken word artists encompass frank commentary on religion, politics, sex and gender, often taboo subjects in the world of contemporary academic poetry. Spoken word is used to inform or make an audience conscious of some human aspect pertaining to life*"
izz aty

How to Write a Preface and a Foreword | Scribendi.com - 0 views

  • Foreword
  • because you've accomplished something, you are already published, and your name is well known.
  • Your purpose is to introduce an author/work to the world, which can be accomplished in a variety of ways. You could, for example, write about a chapter in the book, the book as a whole (assuming you've read it!), or the author's work in general
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  • If you know the author personally, talk about this relationship
  • you could discuss how the author's work has affected your life or the importance of the work you're introducing
  • talk about what's different in the current edition.
  • discuss the historical impact of the book.
  • Describe the journey of writing the book
  • Consider including a few or all of the following ideas:
  • Discuss how the book came about. Why did you write it? Why did you choose the particular subject? What was your motivation?
  • Give a brief description of the book, the main characters, or themes.
  • State the purpose of the book, especially if the work is non-fiction
  • describe what the reader can hope to learn by reading the book.
  • A preface, which is included in the front matter of a book, is your chance to speak directly to your readers about why you wrote the book, what it's about, and why it's important
  • Talk about any problems that came up during the writing and how you dealt with these trials and tribulations.
  • discuss your research process. Talk about your sources. Why are they unique?
  • Include acknowledgements. Thank the people who were instrumental in the writing of your book. Depending on the level of formality of the writing, these could range from colleagues to editors to family members.
  • Talk about how long it took you to write the book, if it's relevant.
  • You don't want the preface to drag on and on. A good rule is to try to keep it to one page, two at maximum, and be sure it is free of spelling and grammatical errors
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    Are you thinking about writing a preface for your book or have you been asked to write a foreword? A preface is a brief introduction written by the author, as opposed to a foreword, which is an introduction written by another person that usually comes before the preface.
izz aty

Creative Writing Prompts | WritersDigest.com - 0 views

  • One morning you awake to find yourself in a straight jacket, being taken off to an asylum. How do you prove your sanity? What do the guards and psychiatrists say you did?
  • You are at the neighborhood garage sale, looking for nothing in particular. Something inside an old, wooden box catches your eye. The old woman who is running the sale comes over to say something about the object. What is it? What did she say and why?
  • Finish these sentences: “Ever day of the week I _________, but Sundays are different. On Sundays, I ¬¬________.”
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  • You’re searching through your closet and find an old stuffed animal or doll from your childhood. It starts to bring back a warm memory of a specific night that’s near and dear to your heart. Suddenly, your stuffed companion begins to talk and says, “There’s something you need to know about that night.” Write this scene.
  • You’ve just been to the worst concert of your life. Afterward, you head to a bar with friends and start drowning your disgust. Moments later, the musician (or musicians) shows up. You decide to confront the musician about the lousy performance and ask for your money back. The musician suggests a different approach to repaying you. Write what happens.
  • One day, while reading your favorite book on the beach, you notice a boat slowly drifting to shore. It eventually lands near your spot. A person, draped in pirate clothes, yells to you from the boat, “I have a treasure map and I need help. Are you in?”
  • Walking home, you find a shoe on the side of the road. What kind of shoe is it? Who is its owner? What happened? Why is the shoe there? Where is the other shoe now? You can use all of these questions or just one to explore what happened.
  • On your way into work this morning, you look at the car on your left. Inside are two men dressed in dark suits, wearing sunglasses. They simultaneously look at you and meet your gaze. The one in the passenger seat rolls down his window and says something. Write what he says, and what happens next.
  • You get back to your studio to develop pictures from the hour you just spent in the park. All of the pictures turn out well, except for a select few. In six photographs, there is a man in the frame. Something seems slightly off, and rather strange about each picture. Who is he and what is weird about the photographs?
  • You are at a magic show with your family, and your eight year old son is called up on stage as a part of the disappearing act. The magician performs the first part of the act successfully, but is unable to make your son reappear
  • You’ve been finishing a brick wall for a room in your friend’s basement for a couple of hours. When you step back, you realize that you and your friend forgot to put in a door. He tells you not to worry about it, he planned it that way. How do you react?
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    Need an idea to help you get started writing? You'll find hundreds of fun writing prompts here - perfect for beginning a new novel or short story, or simply giving your writing muscle a workout.
izz aty

Online writing resources | University Writing Center | Handout Menu Page - 0 views

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    "The links below will take you to web-friendly versions of most of the handouts and skills-based worksheets we have available in the University Writing Center.  Though we believe that the best way to learn writing skills is by practicing them in your own writing projects, the worksheets and handouts we offer here may provide some focused help with issues that arise in your own writing.    "
izz aty

HOW TO WRITE A GOOD SUMMARY (PMR) - 0 views

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    You will be asked to write a summary of not more than 60 words in Section B of the PMR English Language Paper 2 � Read the text carefully to identify important facts. � Underline the important facts �leave out details like example or lengthy descriptions. � Write out your summary using your own words as far as possible but using the same tense as in the passage. � You must use /begin your summary with the 10 words given. � Use connectors or whatever suitable words to link the fact. � Write your summary in not more than 60 words and in one paragraph. � Count the actual number of words. Name of people and places are considered as one word. Examples: Kota Kinabalu, Tun Mahathir Mohamad � Don�t forget to write the number of words in brackets as the end of your summary.
izz aty

How to Write about Autism (or any other group, for that matter) | The Autism Anthropolo... - 0 views

  • how (not) to write about autism (or any other group, for that matter)
  • Quite often, the mechanisms of degradation to do with ‘help’ are infinitely more subtle. This doesn’t excuse us from our obligation to be mindful of them.  The goal should be to balance, as much as possible, the unequal power relations between those in a position of privilege and those in a position of need. How is that done? By acknowledging that those who are disadvantaged, disenabled or marginalized have their own idea of who they are, what led to the position they’re in, and most importantly – what should be done about it.
  • quite often, ‘help’ is merely used as a means of earning influence or respect, or just as a way to make money. I’m not saying that profiting from helping others is necessarily immoral, mind you. I am saying that it’s not necessarily unselfish. The details – e.g. who’s helping whom and in what way – matter.
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  • There are many political and social implications to ‘help’ that we should constantly be mindful of as well. When someone in a position of power – political, financial, social, whatever – decides to help someone disadvantaged, the inequality between them, the same inequality that led to their respective positions in the first place, is both strengthened and made painfully visible.
  • when offering our help, even to those who seem to greatly need it, we need to be conscious of how we use the power that we just won over them.
  • Every group of people has differences of opinion among its members. These might be subtle differences, or they may be huge and insurmountable. It’s easy to mistakenly think that if you heard one perspective, or indeed ten perspectives, then you know the whole story, but that is never the case
  • Forcing one’s own idea of what another person or group of people need is not help. It is arrogance and audacity
  • Autism Speaks is actually a terrible source for information about autism, for various reasons, but in order to know that, one still has to do some amount of research. He would only then learn that quoting it as “the leading organization advocating for people on the autism spectrum” is so grossly inadequate as to invalidate all his further claims almost instantly
  • Never assume the group you’re writing about is homogenous
  • You want to help people? Help them on their own terms
  • If you’re going to write about a large population, you must assume that such differences exist, and – this is crucial – you must actively seek out these differences. Don’t stop researching until you find a controversy, and then try and determine how deep rooted and widespread it is.
  • His attack is based on the premise that his critics represent a small few, an insignificant minority; that they were driven to criticise him under a false pretence (namely that his article was poorly sourced; an accusation that was a) absolutely true, and b) not even the main issue); and therefore can be – if not completely ignored – swiftly brushed aside. Let us look beyond his arrogance and unshakable self-conviction. Here’s the important thing: You don’t get to choose who represents the group you’re writing about. You’ve come across members of the group who feel you’re completely wrong in everything you say about them? They’re probably right. If you couldn’t anticipate their angered reaction, you’re obviously just not sufficiently familiar with the field to write about it.
  • “enough with this political correctness already! I should be allowed to call people what I want”. No you shouldn’t. And if you don’t understand why, you haven’t done your research, and you shouldn’t be writing about this group of people in the first place.
  • When a person with Asperger’s identifies as an Aspie, he or she is making a conscious choice – a political choice – to adopt the label of Asperger’s in a very particular way.  To raise certain connotations. To emphasize some aspects of their neurology; indeed of their being. It’s not up to us NTs to impose this label on everyone with an AS diagnosis. This is a discourse from which we are more or less excluded, and for good reasons. Similar (though different) examples exist in more or less every other minority group.
  • Do not take liberties in defining the people you write about
  • it’s been my experience that by far more people are offended by “person with autism”, than by “autistic person”. This is because the former implies that autism is something external to the person, while the latter implies that autism is an important part of who that person is. There is no consensus in this matter; but I’ve been given the impression that while some find “autistic” distasteful, few are offended by it. However, a great many people find “person with autism” extremely offensive, and I’ve been repeatedly told this was, in most cases, preferable. See, for example here and here
  • Do not mention prevention or cure for autism as desirable technologies
  • regardless of whether autism is seen as a disability or not, it is nearly always experienced by autistic people as an inseparable part of their very being, of who they are. To say autism should be prevented, is telling them you wish they had never been born. To hope for an autism cure, is telling them you would have chosen to have them killed and replaced by someone else entirely – if only you had the technology to do so. It is categorically hurtful, insulting, immoral and cruel. So… Just don’t do it.
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Psychology Facts | Psychology and Handwriting Analysis: Margins - 0 views

  • left represents the past
  • right represents the future
  • The ideal adult margins, based on graphology, would be to have the left margin a little wider than the right margin. This would be a healthy left/right balance, meaning you have a healthy relation to the past & future. 
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  • A. Margins Even All Around
  • Someone who is controlling his/her right margin must write more slowly.
  • people who keep their margins even all around are most interested in the visual effect. They actually see the paper as almost like a work of art. They are extremely appearance-conscious and interested in beauty, design, symmetry, order, and balance.
  • very detailed-minded, and, of course, to give up spontaneity in the process. Such people plan everything ahead to a great degree.
  • B. Overly Wide Left Margin
  • the person who has a very wide left margin is subconsciously putting up an imaginary barrier between himself and the past. This trait is almost always an indication of someone who’s had a terrible past from which he is eager to flee.
  • C. Overly Wide Right Margin
  • When you are moving to the right, you’re moving towards your goals and the future. When you stop too soon at the end of your lines, somewhere in your subconscious is a little voice saying, “Uh-oh. I have to stop. I have to return to the left, to the past and the familiar. This is as far as I can go.”
  • D. Margins Too Wide All Around
  • Writing with margins that are too wide all around is abnormal
  • . This sort of person needs to be protected by four solid walls. He cannot make it on his own. He doesn’t relate to his environment in a normal manner or fit into society in an average way. 
  • E. Left Margin Widening as It Descends
  • rapid and spontaneous writing. If you’re writing quickly and spontaneously, you will leave wider and wider left margins as you descend (down) the page.
  • F. Left Margin Narrowing as It Descends
  • a tendency to start out brave, going towards the future, but eventually retreating to the past and what is familiar.
  • G. Narrow Margins on Left & Right Side
  • Some people write all the way to the side on both the left and right, leaving no side margin whatsoever. This trait indicates one who leaves no room for other people. Such a person doesn’t see things from other people’s point of view
  • He takes up all the space and doesn’t see himself properly in relation to his environment, leaving no room for the rights and opinions of others. 
  • H. Uneven Left Margin
  • . The left margin represents “the line of society.” Thus, each time we return to the left, it’s up to us whether we’re going to align the next word, or we’re going to get “out of line.” That small percentage who do not have a straight left margin are those people who cannot conform to society’s standards. These are also people who, quite expectedly, would not do well in a strict nine-to-five job
  • I. No Margins at All
  • With no margins, filling every inch of the paper, indicates someone who feels he must fill every waking moment of his life with an activity. It means compulsively busy, leaving no stone unturned. Very such people have miserly natures as well. This person also leaves no room for the rights or opinions of others
  • J. Wide Upper Margin
  • The lower you start, the more you tend to have formal, respectful feelings toward the person to whom you’re writing, such as a letters/papers to teachers, businesses…etc. You waste more paper to show respect, and you “lower” down on the paper. 
  • K. Narrow Upper Margin
  • a narrow upper margin means you are feeling more familiar than formal toward the person to whom you are writing. By starting high on the paper, you don’t “bow down” or “lower yourself” to show respect.
  • L. Narrow Lower Margin
  • writing until there was no room left - until the writing is crushed. This means someone who delays the inevitable. Such a person is so eager to express himself that he feels it would take too much time to turn the paper over or get another sheet. 
  • M. Crushed Right Margin
  • dangerous impulsiveness. People like this bash their heads into the wall and do it again and again - (They don’t learn from their mistakes.) They don’t have the sense to say it to themselves, “Hey, wait a minute. You know, the paper ends, and I have to accommodate.” They don’t say it because they don’t care or think about it
  •  
    A blank piece of paper represents life itself, and what you do on that blank paper represents how you interact with other people and with life around you. 
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NaPoWriMo: National Poetry Writing Month - 0 views

  •  
    NaPoWriMo, or National Poetry Writing Month, is an annual project in which participating poets attempt to write a poem a day for the month of April. NaPoWriMo was founded in 2003, when poet Maureen Thorson decided to take up the challenge (modeled after NaNoWriMo, or National Novel Writing Month), and challenged other poets to join her. Since then, the number of participants has gotten larger every year, and many writers' organizations, local, national and even international, organize NaPoWriMo activities.
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FORM 5 NOVEL PRACTICE QUESTIONS « leelachakrabarty - 0 views

  • The following are the novels studied in the literature component in English Language The Curse by Lee Su Ann Step by Wicked Step by Ann Fine. Catch Us If You Can by Catherine McPhail Based on one novel above, write about the following.   Provide evidence from the text to support your answer. Your response should be: Not less than 50 words In continuous writing (not in note form)   Practice 1 Based on one novel above, discuss one of the themes in the story. Provide evidence from the text to support your answer
  • Practice 1 Based on one novel above, discuss one of the themes in the story. Provide evidence from the text to support your answer
  • Practice 2 Write about a character that you find most interesting. Support your answer with evidence from the novel.
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  • Practice 3 Write about a moral value you have learnt  in the story. Support  your answer with evidence from  the novel
  • Practice 4 Based on one novel above, write about an episode that is memorable in the story. Provide evidence from the text to support your answer.
  • Practice 5   Based on the novel of your choice, discuss the problems faced by a character. How does he/she overcome the problems?
  • Practice 6   Compare two characters in the novel you have studied. How are they similar?
  • Practice 3 The value in life that I have learnt in the novel- Catch us if you can is “The Importance of Family”.  Sacrifices for family are honoured and explored, as are the family bonds that survive adversity. Family responsibility in the novel is best displayed by Rory’s constant care of his grandfather. Very early in age, Rory has realised that ‘there was only Granda and me’ to make up a family. Rory does not know any other family love. His father had left them when he was very young. Granda had taken care of him all his life and now, as Granda is getting old and forgetful, and is never quite well, it is his turn to look after him.
  • Practice 4 The incident which is memorable in – Catch us if you can is when Granda is sent to Rachnadar, Rory knows that he has to get him away from that place. Though torn with desperation at times ( Granda’s carelessness with the chip pan had landed him in hospital and Rory atCastle Street), Rory plans the Great Escape and gets him away from the hospital where they put old people in.
  •  
    The following are the novels studied in the literature component in English Language:  1. The Curse by Lee Su Ann 2. Step by Wicked Step by Ann Fine. 3. Catch Us If You Can by Catherine McPhail Based on one novel above, write about the following. Provide evidence from the text to support your answer. Your response should be: - Not less than 50 words - In continuous writing (not in note form)
onlinewriting

Assignment Writing Services | Dissertation writing services in Oman , Dubai ,Saudi Arab - 1 views

  •  
    We provide high quality report writing service as well as essay writing service. Report writing service is completely different from essay writing services. In report writing, students are expected to write the assignment in report format which requires them to put a proper table of content, table of figures, appendix, use of bullet points etc to make the paper more attractive and easily readable.
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Five Habits to Avoid in Fiction Writing | Scribendi.com - 0 views

  • By avoiding these habits, your fiction writing will be greatly improved.
  • 1. Generic verbs and nouns
  • People, places, and things (i.e., nouns) have names, and it's your job to know what they are. Precise nouns work wonders in fiction writing because nouns have connotations or meanings that go beyond their dictionary definitions.
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  • This information could hint at what time of year it is (tulips are pretty scarce in September) and could also tell us something about the character who gives the flowers.
  • There are at least 12 synonyms for the verb to laugh, and each one evokes a specific image. A character could express amusement by cackling, chortling, chuckling, giggling, guffawing, snickering, sniggering, tittering, crowing, whooping, simpering, or smirking
  • Precise verbs contribute greatly to characterization.
  • 2. The exception: He said, she said
  • Reading good dialogue makes readers feel like they're actually listening in on a real conversation. Because of this, it can be very disruptive if the author keeps butting in to tell readers that the speaker intoned or declared or asserted or retorted.
  • It may  seem like using "said" repeatedly in dialogue tags is repetitive, but in fact the little word is so inconspicuous, it just fades into the background—which is exactly what we want when we're trying to listen in on a good conversation. The rare deviation is fine (asked, in particular, seems to be okay once in a while), but if you find yourself using a colorful synonym for every dialogue tag in your manuscript or screenplay, you may be doing more harm than good.
  • Third-person narration can be either limited (an objective narrator tells the story by focusing on a particular character's thoughts and interactions) or omniscient (the narrator sees and hears all)
  • many writers, in a misguided attempt to make their fiction writing descriptive, overuse these words.
  • Carrying a steaming and fragrant mug, she walked angrily and loudly into his office. Why write that, when you could have simply said: Carrying her peppermint tea, she stormed into his office. The second sentence actually gives us more information using fewer words.
  • 3. Adjective/Adverb-a-rhea
  • ...and adverbs that introduce redundancy...
  • ...or contradict the meaning of the verb or adjective they modify.
  • 4. Inconsistent point of view
  • In first-person narration, one character tells the story in his or her own voice (using "I")
  • be especially wary of adjectives that don’t actually convey much
  • No single point of view is better than another, but once you have made a choice, be consistent.
  • there are some great examples of novels that experiment with point of view by switching between narrators. But even in these stories, some kind of predictable pattern is imposed for clarity, such as a change in narrator from one chapter to the next, but not within a chapter.
  • 5. Unnaturally expositional, stilted, or irrelevant dialogue
  • Read your dialogue out loud. Does it sound like the way people actually talk
  • Are they talking about the weather? Because if they're talking about the weather, you'd better have a good reason for it.
  • the worst habit a fiction writer can develop is the habit of giving up too easily. Keep writing every day.
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Advice to writers by Vonnegut: How to Write With Style - 0 views

  • In Sum: 1. Find a subject you care about 2. Do not ramble, though 3. Keep it simple 4. Have guts to cut 5. Sound like yourself 6. Say what you mean 7. Pity the readers
  •  
    Newspaper reporters and technical writers are trained to reveal almost nothing about themselves in their writings. This makes them freaks in the world of writers, since almost all of the other ink-stained wretches in that world reveal a lot about themselves to readers. We call these revelations, accidental and intentional, elements of style. These revelations tell us as readers what sort of person it is with whom we are spending time. Does the writer sound ignorant or informed, stupid or bright, crooked or honest, humorless or playful --- ? And on and on. Why should you examine your writing style with the idea of improving it? Do so as a mark of respect for your readers, whatever you're writing. If you scribble your thoughts any which way, your readers will surely feel that you care nothing about them. They will mark you down as an egomaniac or a chowderhead --- or, worse, they will stop reading you. The most damning revelation you can make about yourself is that you do not know what is interesting and what is not. Don't you yourself like or dislike writers mainly for what they choose to show you or make you think about? Did you ever admire an emptyheaded writer for his or her mastery of the language? No. So your own winning style must begin with ideas in your head.
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Lesson Plans: Using pictures - 0 views

  • save every picture from every magazine, calendar, and newspaper. I have my student aide cut them out and then I laminate them. I sort them into big manila envelopes into 1. people 2. animals 3.landscape scenes 4. single objects 5. situational scenes in whichpeople may be talking or laughing or crying..... (can't think of the others). Then I use them for EVERYTHING.
  • Materials Required: pictures cut from calendars, magazines, newspapers
  •  
    1. Kids get into groups and are given a stack of pictures into which I have put pictures from each of the above category. I usually put around 15-20 in each stack. When we do nouns.... I will place big signs on the board with "common" "proper" "abstract" "concrete" "plural" and any others we are studying. Their group has to go through their stack and find one to correspond with each topic AND they have to have a justification for each. 2. When I do prepositions, I give each student a situation picture and have them list as many preps. as they can find in each picture. I give a prize for the most found. 3. When we study characterization, I give each student one picture from the "people" envelope and have them write a brief character sketch based on what they perceive. 4. When I do verbs, I will give each row ONE picture. I tell the students in the first seat of each row to take out one piece of paper. When I say "GO", the first person looks at his picture and comes up with one action verb. Then very quickly writes it down and passes it back. The next person has to write down another action verb and pass it back to the next. It just keeps going. The person in the back runs the picture up to the front person. I usually start another picture back as soon as the first person passes it to the next. In about 4-5 minutes, I stop and the row with the most and the most accurate verb list gets a prize or pig points. 5. When we do short stories, I give each person an envelope in which I have put 2-3 people (characters), 1 place picture (setting) and 1 picture from the situational. After we have discussed the "elements",they begin to write their own short story based on what they have in front of them. 6. When I teach a vocabulary word that is a little more difficult, I always go to my stack to find one that illustrates it. For example, I found a perfect picture of a clear blue lake with not one ripple to show them "placid". They never forgot that word. 7.
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Teens Favorite Inspirational Movies - 0 views

  • 50/50: Confronting the Inevitable by Ryan.Paine (This teen struggled dramatically with the thought of death)
  •   A Beautiful Mind inspired me to explore the world’s mysteries by Jonesy1106 (“I need to believe that something extraordinary is possible”)
  • A Goofy Movie taught me how to be a better daughter by jklawls (Parents have their kids’ best interests at heart)
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  •   The Blind Side inspired me to take risks for others by haleybopc8 (Don’t take life for granted)
  •     The Blind Side Encouraged Me Never to Give Up by abcdefgh (Don’t let previous failure stop you from achieving your dreams)
  • Cyberbully taught me to use my words wisely, not to harm by tonirene (Help save a life by being kind to the bullied)
  • The message in Cyberbully opened my eyes to the harmful actions of others by delaneysue (Don’t bully anyone—ever)
  •   Every Child is Special made me cry for seeing a smile on a child that I hugged today by Roselle (Children with disabilities deserve to be loved and encouraged)
  • The Fabulous Destiny of Amelie Poulain pushed me outside my comfort zone by Hatman (This teen identified strongly with a foreign film’s protagonist)
  • Ferris Bueller’s Day Off by Cassie (Stay in school)
  • Forrest Gump Inspired Me by Jbaeza (Being unique is not a bad thing)
  • The Lorax let me think about how a world would be without trees by Lizzy (We must protect the environment before it breaks down)
  • Mean Girls showed me that happiness and social status are not directly proportional by cossshmo (Popularity is not important)
  • Pay It Forward: The Start of My Passion to Give Back by Kaleilei (It is important to give back to the community—stand up for bullied, donate your time and money, among other things)
  • Pay It Forward showed me how our decisions affect others by otto5 (Think about every decision you make)
  • Pay It Forward made me realize the ultimate impact of a random act of kindness by hflanagan17 (An act of kindness can change the world)
  • The Pursuit of Happyness Encouraged Me to Persevere by sampsoncaitlyn (With determination, you can achieve any goal)
  • Taare Zameen Par taught me the importance of volunteerism by Asmaan (The protagonist’s struggle with learning made this teen more sensitive to others’ needs)
  •  
    "This is the formal summary report from StageofLife.com on Teens and Movies.  Below you'll find our poll results outlining how teens consume movies at the theater and at home along with over 100 of the featured essays from students participating in our monthly national teen writing contest. Knowing teenagers and college students are a prime demographic for the big movie houses, we wanted to find out what films speak to teens and college students. Which movies are the most inspiring?  What movies help make a positive difference in this world? So in April of 2012, we asked 4,885 teens who visited our writing contest page that month to name and write about the one film that made the biggest difference in their life.  Hundreds of teens participated in the writing contest and shared a story about the film that touched or inspired them the most. "
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How to Write Killer Copy for Your Website - 0 views

  • Here are some ways to write effective copy without pulling out your hair in the process.
  • Set a Goal
  • Every action or click is a sales pitch to move to the next element
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  • the end result is the same — to “sell" the user on a specific action. Frame every sentence in a way that leads users to this goal.
  • Use Clear, Concise Language
  • Every word on your website should have a purpose.
  • Use simple words, sentence structures and clear language
  • Avoid phrases that contain jargon or industry-specific terms unless they are necessary
  • Create a Voice
  • Establish a connection with your copy's tone and voice
  • The voice should match your brand image and remain consistent across channels
  • make a list of 10 words that describe your brand or blog, use those words to frame how you speak to users and use those words and synonyms in your copy
  • Remember, you are speaking to and creating a connection with users; personal pronouns are good option.
  • Edit, Edit, Edit!
  • Every word needs to be read and reread until it makes perfect sense
  • Replace boring words with those that incite action
  • Remember the basics of sentence structure -- include a subject and action. Hire an editor to help clean up your copy
  • Paint a Picture
  • The language on your website should pair with the visuals for a complete package. Simple descriptors can help show users what you are trying to say quickly.
  • Keep it Simple
  • Avoid things that are strange or overly complicated in introductory copy
  • Simple language is not only easy to understand, but it is also respectful of the user's time
  • Write Actively
  • Think of every sentence as it is actually happening — a subject performs an action (active voice).
  • Use strong active phrases and verbs and write in the active voice
  • There's a fun little trick to help you identify active versus passive voice: If you can add “by zombies" after the verb, and the sentence makes sense, you are writing in the passive voice and should restructure
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ESL Teaching Materials for Writing - 0 views

  • Give your students further practice with English grammar through writing exercises. We offer a good number of writing worksheets on this site. There are printable composition writing templates, sentence scrambles , gap fill exercises, word scrambles, picture description and more which have been broken down into beginner, intermediate and high level writing exercises. Almost all you need to give your English students good writing practice.
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Writing the Dissertation - 0 views

  •  
    "By the time you start to write the first draft of your dissertation, you will probably already have accumulated a wealth of notes, scribbles and ideas. Planning is essential, but do not be hesitate to draw up new plans whether it is a brief abstract of your dissertation as a whole, or a detailed breakdown of a particular chapter. This section looks at effective planning, which should be a continuous process that intensifies during the writing of your dissertation and not something that fades into the background."
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