Considers story writing: beginnings of stories, a handful of perfect sentences, truisms about writers and writing, and the quintessential U.S. sentence. (SR)

Discusses writing with Calvin Trillin, journalist, humorist, and writer of fiction and nonfiction. (SR)

Describes the elements of an effective style guide. Presents methods and techniques required to develop a style guide tailored to the specific needs of an organization. Focuses on two critical steps in the development process that are often ignored or overlooked: (1) conducting the Requirements Analysis; and (2) promoting the style guide. (SR)

Discusses and illustrates how technical communicators can read and write complex documents dialogically by using a new/old strategy to help them in three activities: breaking down complex documents and data into components; solving problems by locating and describing causal components; and following and organizing sequences of components. (SR)

Discusses how too much caution can lead authors to simple verbosity or to the overgeneralization of simple concepts. (SR)

Discusses a proposal's executive summary: its purpose, how long it should be, what should be in it, when it should be started, who should write it, and how it should be reviewed. (SR)

Describes the problems faced by community college students as they begin to write an essay. Notes that a writer must trust the sense of the work and be secure that no one will laugh or sneer. Notes also that teachers must not get too confident--diligent students taking notes may still not be able to start an essay. (RS)

Supplies the background on how professional writing coaches approach their jobs. (MG)

Discusses the differences between male and female utopian (and dystopian) writers. Notes that some male utopian and dystopian writers emphasize science and product, stressing social and political theories of class control and struggle, whereas some female utopian writers stress conservation, community, and collective action. (RS)

Shares how the author developed as a writer through examples using literature and philosophy. Discusses her thoughts on the National Writing Project. (MG)

Suggests ways to make adults comfortable about the writing process: (1) recognize that adults want more involving lessons; (2) recognize their varied experiences; (3) enable writers to show that experiences will add to understanding of classes; (4) assess writing samples in nonthreatening ways; and (5) indicate that learning to write is a…

Presents an interview with William Finnegan, staff writer at "The New Yorker." Discusses his travels and his experiences in southern Africa and the writing that grew out of them, his writing about the United States, and his writing process. (SR)

Explores some of the similarities and differences between the intent of poetry and psychotherapy. Focuses on linguistic and craft aspects, with some discussion of both the formal and unconscious aspects of poetry as they relate to different therapeutic styles. Draws some parallels with implications for therapy. (RS)

Preserves, in poetry, emotional reactions of parents and grandparents to the dire event of a stillbirth and the subsequent joyous occasion of a livebirth. Discusses implications of the therapeutic benefits of writing poetry to help resolve grief and develop active mastery over traumatic events. (RS)

Suggest that, emerging from a disturbance of consciousness and/or awakening of the unconscious, haiku does not lead to something, haiku is not about anything; it is a complete world, an end in itself; celebrating the present moment as a transition between psychological inattentiveness and enlightenment. (RS)