Book Description
As part of Fawcett's best-selling developmental writing series, Evergreen earns consistent acclaim for its clear, step-by-step instruction, engaging exercises, and high-interest readings for paragraph-to-essay level courses. The text's longstanding popularity stems from its solid foundation in the process and modeling approach to writing, plus its flexible organization. Following the advice of reviewers and users across the country, the author has added new critical-thinking assignments, revised the majority of existing practice sets and models, and integrated more dynamic, contemporary visuals throughout the text. Compelling and sometimes controversial images stimulate students to write and discuss their responses.
Chapter 1 features a revised introduction designed to increase students' interest in the writing process and, consequently, the likelihood that they will use the textbook. In addition, a new chapter on research prepares students for other composition and college-level courses, covering such topics as how to avoid plagiarism, write summaries, include quotes, paraphrase, find information using the library and the Internet, and cite MLA sources.
- New! Sixty percent of the reading selections in the Seventh Edition are new, including "A Smoker's Right" by Mario Vargas Llosa, "Bam! Crash! Kapow! Girls Are Heroes Now" by Susan Hopkins, and "Cell Yell: Thanks for (Not) Sharing," by Eric A. Taub.
- New! Throughout the text, URLs point students to relevant web sites for further exploration of chapter concepts and reading practice.
- New! A brief chapter on how to strengthen an essay with research has been added to the text, helping students to prepare for college-level assignments.
- New! The Seventh Edition features 75 new models and practice exercises that cover provocative, high-interest topics.
- New! A new section on misplaced modifiers provides greater focus on this difficult topics. In addition, students have more opportunities to practice mixed-error proofreading throughout the text.
- New! An extensive suite of technology products includes an updated textbook web site with new PowerPoint slides and activities, downloadable diagnostic and mastery tests, links to popular ESL sites, and a Community of Evergreen bulletin board for instructors. Students also have access to the ESL-related sites and a checklist of "The 10 Most Common Writing Problems and How to Fix Them" to be printed and used when writing. In addition, the EverWrite CD-ROM features over 120 editing exercises with reading passages for correction, as well as 350 grammar exercises and tests tailored to the text.
- At the end of each unit, Writer's Workshops showcase student examples of paragraphs and essays to reinforce the grammar and sentence skills in context. A series of questions and activities follow these examples and promote collaborative learning by asking students to read, discuss, edit, and write in small groups.
Customer Reviews:
Satisfied Customer.......2007-10-06
I was very satisfied. The book came in mint condition and the price was the best of others offered by other companies. Keep up the good work!
good!.......2006-11-11
I like Evergreen. I think its a good book to help you with all the problems your having with your writing. I use it everyday. Its great for everyone who is learning to write or who wants to be better.
Good book to strengthen writing skills for students.......2006-04-25
I actually purchased this book becuase it helped give me some inspiration for addtional exercises for my ESL students because I thought that some of the material in the text we were using was not covered effectively. I really like this book, and can be used for high level ESL or native English writing. Easy to follow, well-ordered, and overall a good writing skills text.
A very useful text.......2005-10-12
We use Susan Fawcett's book 'Evergreen' in writing courses at the community college where I work, as well as in our Tutoring Center (we also use her book 'Grassroots', which is a good companion at the more basic level). Whereas 'Grassroots' is for those who need help writing sentences and with more basic grammar concepts, the 'Evergreen' book is for those who have mastered that level of writing, and are ready to develop more fully structured themes and essays.
The first unit of 'Evergreen' reviews the basic concepts of the writing process - what is one writing for? Who is the likely or intended audience? How should a finished paper look? Believe it or not, it is on this last point that so many grades have risen or fallen - a paper can be wonderfully written, but if it is scribbled on scrap paper rather than typewritten and neatly printed, it may suffer in grading, just as a letter from a business will not be as well received if it has spelling errors and problems with formatting. (This is a similar introduction to the 'Grassroots' text.)
The second unit looks for explicitly at the paragraph, developing concepts such as coherence, topic sentences, ideas to include and exclude, as well as outlining and revising.
The third and fourth units in this book are really the heart of the writing process. In the development of the paragraph, there are different approaches and techniques one can take - the paragraph can be descriptive, narrative, explanatory of a definition, comparison and contrast, persuasive, and a few other means. These lead naturally into the development of the essay, which is generally a series of paragraphs that are linked by a common idea or theme - some of the same processes that go into the development of a paragraph parallel the development of an essay, and many of the same descriptors above apply to paragraph forms, too. The fifth unit extends this kind of essay development by exploring sentence variety, language awareness and consistency in the revision process.
Units 6 and 7 are review chapters for grammar concepts, punctuation, and spelling. These are really review areas - they do not go into enough depth or repetition for this to be an introductory text, but rather will assume some familiarity with the concepts being presented.
The final section has a collection of reading selections, some from well-known authors and other figures. There are pieces that provide examples for the different kinds of essays described earlier in the book - some pieces are narrative, some are persuasive, some are humourous.
This is a good book to use to become a better writer. It is useful in classroom settings, but might also be used for individual study (such as we do in the Tutoring Center).
Amazon.com
The forty-two exercises detailed in this comprehensive guide provide both the instructor and the student a "user-friendly" workshop structure. It may be used for both beginning and advanced courses of Directing for Theatre. The basic concepts of directing are learned progressively. The approach is totally experiential.
Customer Reviews:
Best Directing book out there!.......2007-09-18
This book provides a step by step guide to becoming a great stage director. You can learn so much from this book, then after you think you know it all, you go back and find deeper meanings, or different ways to do each excercise that only adds to your directing abilities! Very easy to use and helpful to both beggining directors and advanced alike!!!
Excellent book for Directing and Acting.......2004-07-29
The book should appeal to teachers of both directing and acting in its systematic, comprehensive approach. I had the good fortune to work with Terry Converse in WSU's Theatre Program for several years, and we pioneered a combined directing and acting course where directing students and acting students worked and learned together. Now that I am teaching at another university I had the opportunity to teach a combined Directing and Acting course, using his book. At first, I thought the directing students might benefit the most, but I discovered the exercises he developed benefitted the actors as well. The actors developed their craft through many of the silent scenes and justifying movement exercises that led them to examine the fine points of their characterizations. The directing students learned how to work with actors and develop a comprehensive approach to directing a scene, and our work culminated in an inspiring Ten-Minute Play Festival at the end of the semester. This book is well written with numerous examples, practical exercises, and assessment guidelines at the end of each chapter--a good, hands-on approach.
works best as a textbook.......2003-02-05
Mr. Converse has written with this helpful introductory course, a fine textbook for introducing one to the craft of directing. When viewed in that context, this book serves its purpose well. Having used this text in conjunction with William Ball's superb book "A Sense Of Direction", in the directing class I teach, I have found Converse's excercises to be helpful and precise (if rather dry) in building craft. Especially helpful is Converse's chapters on blocking and creating pictures. His suggestions and activities designed to teach one how to communicate and direct traffic are most helpful. If one is looking for a great read, this is not the book to use. For that I again suggest Ball or Clurman's fine "On Directing". But for some "hands on" activities in the dramatic classroom or for the director just starting out on their own, this will work just fine- as long as you have someone else to bounce your ideas off of.
A user-friendly directing book.......2003-02-04
In 10 years of teaching high school drama, this is the first book where the theory of directing is embodied in a series of lessons which can be taught sequentially or mixed and matched. I have used the open scripts in acting class with junior students and amended the lessons to my own ends in picturization, focus, tempo, pathway, subtext and a myriad of other directing skills which need to be built upon.
Exposes you to a series of exercises that help.......2000-02-22
This book is simple, concrete, and to the point. It will help you develop various directing techniques, and it will leave the rest up to you. Its purpose is not to try and train you into some special type of director, but to give you the basic technical skills that will allow you to find your own artistic style. It is most certainly a great book to start with, and its exercises would likely help more advanced directing students hone their skills.
Average customer rating:
- The best book on films I've ever read!
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Book Description
This comprehensive book explores the ways in which the frequently conflicting but constant elements of
art, technology, and business come together to shape “the movies.” A presentation of how the moviemaking process works gives readers an appreciation of the informed and skillful choices that artists and technicians make in creating their art. Chapter topics look at the screenwriter, the director, the art of technique, the cinematographer, casting the performers, sound design, and marketing and distribution. For movie fans and critiques alike, who want a picture that explains the dynamic nature of filmmaking.
Customer Reviews:
The best book on films I've ever read!.......2000-12-01
I'm a film buff and have read lots of histories of film as well as books about how films are made and this one is far and away the best. It is a fully detailed, extremely well written account of all phases of the movies--from the magic of movies to the business of movies. A particularly interesting feature is interviews with people in all aspects of the movie biz from producers, to screenwriters, to directors, to editors, to cinematographers, to casting directors and so on. It's also thoroughly illustrated....some of the stills are priceless. This is simply a "must have" addition to any serious film library.
Book Description
Voice & Vision is a comprehensive manual for the independent filmmakers and film students who want a solid grounding in the tools, techniques, and processes of narrative film in order to achieve their artistic vision. This book includes essential and detailed information on relevant film and digital video tools, a thorough overview of the filmmaking stages, and the aesthetic considerations for telling a visual story.
The ultimate goal of this book is to help you develop your creative voice while acquiring the solid practical skills and confidence to use it. Unlike many books that privilege raw technical information or the line-producing aspects of production, Voice & Vision places creativity, visual expression, and cinematic ideas front and center. After all, every practical decision a filmmaker makes, like choosing a location, an actor, a film stock, a focal length, a lighting set-up, an edit point, or a sound effect is also an expressive one and should serve the filmmakers vision. Every decision, from the largest conceptual choices to the smallest practical solutions, has a profound impact on what appears on the screen and how it moves an audience.
In Practice sidebars throughout Voice & Vision connect conceptual, aesthetic and technical issues to their application in the real world. Some provide a brief analysis of a scene or technique from easily rentable films which illustrate how a specific technology or process is used to support a conceptual, narrative, or aesthetic choice. Others recount common production challenges encountered on real student and professional shoots which will inspire you to be innovative and resourceful when you are solving your own filmmaking challenges.
Other features in Voice & Vision include:
* Comprehensive technical information on film and digital video production with a focus on low-budget techniques and creative expression
* Close to 600 lavish illustrations
* A seamless integration of film and digital video. Express yourself with any camera and any format.
* A focus on successful filmmaking within limitations, learn to work successfully with available resources (time, equipment, budget, personnel) and turn limitations into opportunities.
* A substantial exploration of the sound tools and techniques used in film production and the creative impact of the post-production sound design.
Customer Reviews:
The best introduction to film production.......2007-10-12
Voice and Vision's text is accessible, concise, and crystal clear, whether explaining technical procedures or aesthetic concepts. It's the most comprehensive and useful film production textbook I've come across in over ten years of teaching filmmaking.
Everything you need to know to make a movie and more........2007-05-09
Well written and informative.
Customer Reviews:
Good read to get started and get a good overview.......1998-07-03
This book gives a good introduction to argumentation theory and its twists and turns over the course of its existence. I found it helpful to get started, especially coming from a completely different field. It gives the essence of Toulmin and Perelman and Olbrechts-Tyteca but I would have liked to see a bit more on Austin and Searle.But then again the references mentioned are very extensive and can be followed up. All in all a good book if a bit pricey for students (whatever happened to the paperback cover?)
Book Description
Five keys to creating authentic, distinctive work, whether you are a student, professional or simply love making films on your own
For Creative Filmmaking from the Inside Out, three professors at the renowned University of Southern California School of Cinema-Television interviewed fifteen outstanding filmmakers, then distilled their insights into the "Five I's" of creativity. Learn how to:
• Uncover your unique creative voice (Introspection)
• Work from real-life observations and experience (Inquiry)
• Draw on your nonconscious wells of creativity (Intuition)
• Strengthen your creative collaborations (Interaction)
• Communicate at the deepest level with your audience (Impact)
This comprehensive approach provides practical exercises that will enrich and transform your work, whether you are looking for a story idea, lighting a set, editing a scene or selecting a music cue.
The participating filmmakers, who have collectively won or been nominated for 39 Oscars and 27 Emmys, are:
Anthony Minghella, writer-director (The English Patient); Kimberly Peirce, writer-director (Boys Don't Cry); John Lasseter, writer-director-producer (Toy Story); John Wells, writer-producer (ER); Hanif Kureishi, writer (My Beautiful Laundrette); Pamela Douglas, writer (Between Mother and Daughter); Renee Tajima-Pe?a, director-producer (My America...or, Honk If You Love Buddha); Ismail Merchant, producer (The Remains of the Day); Jeannine Oppewall, production designer (L.A. Confidential); Conrad L. Hall, cinematographer (American Beauty); Kathy Baker, actor (Picket Fences); Walter Murch, sound designer-editor (Apocalypse Now); Lisa Fruchtman, editor (The Right Stuff); Kate Amend, editor (Into the Arms of Strangers); and James Newton Howard, composer (The Sixth Sense).
Customer Reviews:
An inspiration for teachers and students.......2003-12-24
I teach a seminar for teenagers in digital video. When I started designing the curriculum, it was mostly a "how-to" kind of thing. After reading this book, I changed the whole focus of the seminar. I asked the kids to look inside themselves and think about what they, personally, had to say. I said, "You are like kids who have been given a big box of crayons. Do you want to scribble on the wall, or do you want draw something special from your heart?" When they turned in their treatments for their video projects, they had taken the ideas of this book to heart.
This book should be required reading for anyone who teaches filmmaking or is starting out as a filmmker. It will get them on the right track!
Creative Filmmaking From The Inside Out.......2003-05-27
"Creative Filmmaking From The Inside Out," is a brilliant book! This book utilizes industry experts, who through their own experiences and examples, explain the creative process of filmmaking from concept though completion.
At the end of each chapter, the authors outline suggestions and exercises to evoke the reader's own creativity and abilities.
I highly recommend this book to anyone that is either interested in filmmaking or is already involved in a film career, as it is always fascinating to see how successful people approach their own creative problems. Creativity is the one commodity which Hollywood is always looking for, but for which there are no formulas.
Inspiring!.......2003-05-06
Inspiring! This book reminds you that the most important thing you have to contribute as an artist is already within you. Essential reading for anyone in any creative endeavor. Buy this book and fly!
A fantastic, completely original approach.......2003-02-28
This book is a hybrid of interview collections and workbook exercises, designed to help filmmakers with their creative processes, not using the dumbed-down how-to-manual approach that so many filmmaking books employ, but in an intelligent and subtle way that engages and challenges the reader. These authors have assembled a formidable list of filmmakers -- the brains and souls behind The English Patient, Toy Story, E.R., Boys Don't Cry, many more -- and asked them more than the usual-suspect kind of questions, and by doing so have managed to go deeply into the creative process. The book interweaves the interviews with anecdotes, proverbs, and a group of creativity exercises which are several levels above the kind of artists' self-help books that have sometimes insulted our intelligence in the past. Ever wonder how Anthony Minghella thought of the opening shot for The English Patient? Or how Merchant Ivory get those stellar casts? This book actually tells you things you want to know, and then challenges you to go out and make a movie.
Book Description
Based on the premise that plays are objects of study in and of themselves, Script Analysis for Actors, Directors, and Designers, teaches a traditional system of classifications that examines the written part of a play, excluding such considerations as performance, scenery, or costuming.
This book applies directly to the experience of theatrical production; students will immediately be able to relate the concepts and procedures they learn to their artistic work. The author's procedural method is detailed and precise. The parts of a play are learned progressively, which fosters an understanding of the concept of artistic unity. Examples are clear and comprehensive. Actors, directors, and designers will benefit from end-of-chapter questions and summaries meant to stimulate their creative process as they engage in production work.
An updated appendix includes introductions to additional critical theories in widest use today. Examples from contemporary theatre, including three plays written since 1990, bring this edition completely up-to-date.
Updated to include examples of contemporary plays
End-of-chapter questions and summaries stimulate creative process
Formalist approach provides an excellent foundation for using a wide variety of critical approaches
Book Description
Connors provides a history of composition and its pedagogical approaches to form, genre, and correctness. He shows where many of the today’s practices and assumptions about writing come from, and he translates what our techniques and theories of teaching have said over time about our attitudes toward students, language and life.
Connors locates the beginning of a new rhetorical tradition in the mid-nineteenth century, and from there, he discusses the theoretical and pedagogical innovations of the last two centuries as the result of historical forces, social needs, and cultural shifts.
This important book proves that American composition-rhetoric is a genuine, rhetorical tradition with its own evolving theria and praxis. As such it is an essential reference for all teachers of English and students of American education.
Customer Reviews:
Many do not recognize genius until it is gone........2005-01-12
Having been a student of Professor Connors as both an undergrad and grad student in the 90's, I can only sing his praises. Reviewers who dislike and/or disregard Connors' esoteric essays simply do not understand the tongue in cheek man that he was (i.e. the 'men's movement'.) In the fields of historical linguistics, teaching writing, the art of composition, writing process theory, and transcedental literary review, Connors was an absolutely brilliant scholar -- and yet as down to earth as anyone. He wore his hair long and patches on his courderoy jacket elbows and was a devoted Beatles fan. He rode a motorcycle to classes during the period of time he was restoring a Victorian era home. [Unfortunately he died in a motorcycle accident] The most important thing he taught me was that thinking was good, speaking effectively was better, but writing was an art accessible to every human being. I am a middle school English teacher, and I rely on the pedagogy of the "NH Greats" for my philosophy of reading, writing, and literacy. His work is the 'how come?' of all the writing theories we apply, just as Elbow and Murray and Graves are the 'how to' of writing. Connors was a great man, a great scholar, and a great influence, and he is sadly missed in his world of academia. (By the way - he would have laughed his head off at these reviews. A 'self-important' man? Nothing could be further from the truth.)
great book for comp/rhet studies.......2005-01-04
What a great, comprehensive book this is. The late Connors was a great historical writer, and this book provides a wonderful, thoughtful, provocative look at the history of the discipline of composition.
Useful Compilation of Connors' Work.......1999-11-12
For several weeks now, I have been considering how to defend the utility of Robert Connors's book - Composition-Rhetoric: Backgrounds, Theory, and Pedagogy - without sounding like a die-hard partisan, a rabid fan, or a closet sexist-racist-capitalist-non-radical pig-dog. To be blunt, Robert Connors is such an easy target that, at times, it seems like everyone wants to take a shot at him. In May of 1999, for example, I first noticed the nasty review on this web-site. And even for those scholars like Sharon Crowley who believe that the involvement of approximately four million first-year college students each year makes composition-rhetoric worth caring about, Connors routinely and invariably finds a pressure point. At conferences, he asks gadfly-ish questions in which he implies that radical pedagogical approaches and, indeed, most theoretical approaches of the last thirty or so years may well be "fads." In College English, he asserts that "the world of pure epistemological theory is not the world we live in," argues that there is a need for men's studies, too, and expresses sympathy for the men's movement (Pagan!). He seems to want all teachers in the academy to be, and be seen as, learned scholars (Idolatry!). And finally, he has the audacity to doubt the academic commonplace that "we live in a postmodern world" (Heresy! Blasphemy!). Not surprisingly, as of November 10, 1999, no composition studies peer has felt motivated enough to add a positive review to the Amazon site. However, the book is useful to practitioners of composition-rhetoric because each chapter presents enough evidence (what he calls "shareable data") to encourage practitioners to articulate and strengthen the rationale for their current practices.
Early in the book, Connors justifies his work with a plea for contextualization: "We can, I hope, come to understand in a richer way the reasons rhetoric has been what it has, how it has changed, and how it is changing today." That last concern over contemporary changes in rhetoric stands out as a useful reminder to those of us trying to rest our practices on a disciplinary foundation, while at the same time trying to preserve our ability to improve those practices. Connors' contribution here is to establish how the discipline of composition-rhetoric evolved inseparably from its "host" society, and his book is a worthy attempt to tell the history of composition-rhetoric from a moderate-to-conservative intellectual stance.
At least the design is good........1999-05-14
The book examines the development of a compositional trend nobody but this obscure and self-important author recognizes or really cares about. It might contain some valuable information for those willing to wade through Connors' bombastic pseudo-victorian prose. The cover is lovely, though.
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