Writer/Designer
Third Edition ©2022 Cheryl Ball; Jennifer Sheppard; Kristin Arola Formats: E-book, Print
As low as $29.99
As low as $29.99
Authors
-
Cheryl E. Ball
Cheryl E. Ball
Cheryl E. Ball is a queer, cis, white woman residing in metro Detroit--the ancestral and contemporary lands of the Anishinaabe peoples, which she honors daily by caring for the land and all of its spirits. Dr. Ball (pronoun flexible) is director of the Digital Publishing Collaborative in the libraries at Wayne State University, where she collaborates with and mentors faculty, staff, and students on digital publishing projects including digital research websites, open educational resources, open-access publications, digital humanities project management, digital pedagogy, and other digitally based scholarly communications needs. Her favorite work time is spent training interns in publishing pedagogy. Dr. Ball also edits the longest running scholarly multimedia journal, Kairos: A Journal of Rhetoric, Technology, and Pedagogy, and is Editor-in-Chief for the Library Publishing Curriculum. Publications include a scholarly multimedia collection The New Work of Composing (co-edited with Debra Journet and Ryan Trauman, C&C Digital Press) and the print-based RAW: Reading and Writing New Media (co-edited with Jim Kalmbach, Hampton Press).Through these and other efforts, she strives to teach folks how to publish their multimodal work in inclusive, anti-racist, and accessible ways
-
Jennifer Sheppard
Jennifer Sheppard is a faculty member in the Rhetoric and Writing Studies Department at San Diego State University, where she serves as the Associate Director of Lower Division Writing. She regularly teaches courses in visual communication, digital and popular culture rhetorics, and professional communication. Her research and publication projects have focused on the intersection of theory and practice in digital writing, new media composing, professional communication, and pedagogy for face-to-face and online instruction. Her work has appeared in the Journal of Literacy and Technology, Hybrid Pedagogy, Computers and Composition, and several edited collections, including Designing Texts: Teaching Visual Communication and RAW: Reading and Writing New Media. She lives in San Diego, CA, with her partner, Kathryn, and their son, Eli.
-
Kristin L. Arola
Kristin L. Arola is an Associate Professor in the Department of Writing, Rhetoric, and American Cultures at Michigan State University. Her work brings together composition theory, digital rhetoric, and American Indian rhetorics so as to understand digital composing practices within larger social and cultural contexts. Her most recent book, Composing (Media) = Composing (Embodiment) [with Anne Frances Wysocki, Utah State UP, 2012] is an edited collection that explores how the media we produce and consume embody us in a two-way process. She is also the co-editor of the third edition of CrossTalk in Comp Theory: A Reader [with Victor Villanueva, NCTE, 2011]. Her work has appeared in Computers and Composition, Harlot: A Revealing Look at the Arts of Persuasion, and the Journal of Literacy and Technology. She resides in Pullman, WA, with her amazing husband and charming dog.
Table of Contents
Preface for Instructors
Introduction for Students
PART ONE The Multimodal Process
1 What Are Multimodal Projects?
What Is Multimodal Composing?
Why Should Multimodal Composing Matter to You?
Writing/Designing as a Process
The Typical Writing Process
The Multimodal Composing Process
Touchpoints
● TOUCHPOINT: Understanding Multimodal Processes
How Does Multimodality Work?
Linguistic Mode
Visual Mode
Aural Mode
Spatial Mode
Gestural Mode
Understanding Modes, Media, and Affordances
CASE STUDY Mapping the Impact of COVID-19
Multimodal Affordances
● TOUCHPOINT: Mode, Media, and Affordance in Everyday Texts
WRITE/DESIGN! ASSIGNMENT: Mapping Your Multimodal Process
Write/Design! Option: Multimodal Literacy Narratives
2 How Does Rhetoric Work in Multimodal Projects?
Rhetoric and Multimodality
Analyzing a Rhetorical Situation
Author
Audience
● TOUCHPOINT: Analyzing Audience
Purpose
● TOUCHPOINT: Analyzing Purpose
Context
● TOUCHPOINT: Analyzing Context
Analyzing Design Choices
Emphasis
Contrast
Color
Organization
Alignment
Proximity
● TOUCHPOINT: Analyzing a Website’s Rhetorical Design Choices
Writing and Designing Rhetorically
CASE STUDY Analyzing the Chemeketa CC Website
WRITE/DESIGN! ASSIGNMENT: Designing a Rhetorical Analysis
Write/Design! Option: Writing a Rhetorical Analysis
3 Why Is Genre Important in Multimodal Projects?
Genre and Multimodality
Genre
Understanding Genre Conventions
Multimodal Genres: Defining the What and the How
Static and Dynamic Genres
Genre Structure and Design
● TOUCHPOINT: Finding Your Genre
Genre Analysis: Analyzing the What and the How
Analyzing Genre Conventions
Questions for Genre Analysis
● TOUCHPOINT: Analyzing Musical Genres
CASE STUDY Analyzing Multimodal Genres in Game Studies
What if the Genre Is Unclear?
WRITE/DESIGN! ASSIGNMENT: Analyzing Genre Conventions for Your Project
Write/Design! Option: Infographics as Visual-Argument Genres
4 How Do You Start a Multimodal Project?
What Are You Supposed to Produce?
Brainstorming Your Project Ideas
● TOUCHPOINT: Multimodal Brainstorming
Pitching Your Project
Designing Your Pitch
● TOUCHPOINT: Putting a Project Pitch Into Action
CASE STUDY Pitching an App for the National Gallery
Designing for Your Primary Audience
Drafting to Stakeholder Expectations
● TOUCHPOINT: Choosing a Draft Genre
Using the Feedback Loop
● TOUCHPOINT: Anticipating Feedback from Different Audiences
WRITE/DESIGN! ASSIGNMENT: Proposing to Get It All Done
Write/Design! Option: Project Timeline
5 How Do You Design and Revise with Multiple Audiences?
Designing with Your Collaborators
Strategies for Successful Collaboration
● TOUCHPOINT: Write a Team Contract
Collaborative Workflow Options
● TOUCHPOINT: Planning with a Team
Working Alone
● TOUCHPOINT: Working Alone Isnt Really Working Alone
Putting Together a Complete Draft for Your Primary Audience
Delivering Drafts for Peer Review
● TOUCHPOINT: Preparing Audiences for Feedback with a Delivery Plan
Peer Reviewing Multimodal Projects
Read/View/Use the Text
Evaluate the Text
Provide Constructive and Specific Feedback
● TOUCHPOINT: Giving Feedback on a Rough Draft
CASE STUDY Revising an Advertisement Design with Stakeholder Feedback
Revising Your Multimodal Project
Creating a Revision Plan
Finalizing Your Project
● TOUCHPOINT: Revising Your Project
Creating Documentation for Your Stakeholders
Collaborative Wiki
In-Line Comments
● TOUCHPOINT: Creating a Style Guide
Reporting and Reflecting on Your Project
WRITE/DESIGN! ASSIGNMENT: Reporting on Your Project
Write/Design! Option: Reflecting on Your Project
PART TWO The Write/Design Toolkit
6 Working with Multimodal Assets and Sources
Collecting Assets
● TOUCHPOINT: Building an Asset List
Working with Multimodal Sources
Find Credible Sources
Evaluate Sources
● TOUCHPOINT: Annotating Credible Sources in an Asset List
Copyright Issues and Ethics
Copyright
Fair Use
Permissions
When Humans Are the Text
Creative Commons
● TOUCHPOINT: Tracking Copyright and CC-Licensed Work
Citing Assets and Sources
Provide Enough Information for Readers
Use a Credible Citation Style for Your Genre
● TOUCHPOINT: Finding and Citing Sources
Organizing and Sharing Assets
Categorize Your Files Appropriately
Use Good Naming Conventions
Use Version Control
● TOUCHPOINT: Getting Your Assets In Order
7 Working with Technologies
Choosing How to Work with Technologies
● TOUCHPOINT: Learning How to Learn
Deciding Between Analog and Digital
What Does Your Audience Need?
● TOUCHPOINT: Choosing an Analog or Digital Project
Assessing Technological Affordances
● TOUCHPOINT: Conducting a Technology Review
Drafting Your Project: Static, Dynamic, and Timeline-Based Texts
Prototyping for Static Texts
Outlines
Sketches
Models
● TOUCHPOINT: Sketching a Draft
Designing Drafts of Dynamic Texts
Wireframes
Mock-Ups
● TOUCHPOINT: Drafting Your Wireframe and Mock-Up
Composing Timeline-Based Drafts
Storyboards
Scripts
Rough Cuts
● TOUCHPOINT: Drafting Your Storyboard
Getting Feedback on Your Rough Drafts
Preserving Your Assets with Metadata
Preparing for the Multimodal Afterlife
Where Are Your Project Files Located?
How Long Are You Responsible for the Project?
● TOUCHPOINT: Creating a Sustainability Plan
Index
Product Updates
More diverse, inclusive examples and images highlight new perspectives and the creative ways in which multimodal composition can amplify historically marginalized voices. Selections in the third edition span a variety of real-world write/design situations meant to raise awareness for social justice issues, including the Black Lives Matter movement, the Dakota Access Pipeline, LGBTQ+ representation, struggles faced by those with disabilities and chronic illness, and more.
More student examples showcase multimodal texts created by actual students in relatable rhetorical situations. While Writer/Designer emphasizes the value and impact that writer/designers compositions will have in the real world, the third edition packs in even more creative student models to guide authors as they write/design throughout their academic careers.
New Case Studies analyze timely and realistic examples of rhetorical situations, design choices, technological affordances, and the multimodal design process. New examples include a deep dive into a COVID-19 impact map in Chapter 1, and an analysis of Chemeketa Community Colleges website in Chapter 2.
New Write/Design Toolkit marginal callouts connect foundational concepts covered in Part One to relevant best practices included in Part Two: The Write/Design Toolkit. These marginal callouts encourage students to start thinking about important considerations -- like searching for and documenting sources, collaborating with others, technological affordances, and preparing for the multimodal afterlife -- early on in the design process.
Authors
-
Cheryl E. Ball
Cheryl E. Ball
Cheryl E. Ball is a queer, cis, white woman residing in metro Detroit--the ancestral and contemporary lands of the Anishinaabe peoples, which she honors daily by caring for the land and all of its spirits. Dr. Ball (pronoun flexible) is director of the Digital Publishing Collaborative in the libraries at Wayne State University, where she collaborates with and mentors faculty, staff, and students on digital publishing projects including digital research websites, open educational resources, open-access publications, digital humanities project management, digital pedagogy, and other digitally based scholarly communications needs. Her favorite work time is spent training interns in publishing pedagogy. Dr. Ball also edits the longest running scholarly multimedia journal, Kairos: A Journal of Rhetoric, Technology, and Pedagogy, and is Editor-in-Chief for the Library Publishing Curriculum. Publications include a scholarly multimedia collection The New Work of Composing (co-edited with Debra Journet and Ryan Trauman, C&C Digital Press) and the print-based RAW: Reading and Writing New Media (co-edited with Jim Kalmbach, Hampton Press).Through these and other efforts, she strives to teach folks how to publish their multimodal work in inclusive, anti-racist, and accessible ways
-
Jennifer Sheppard
Jennifer Sheppard is a faculty member in the Rhetoric and Writing Studies Department at San Diego State University, where she serves as the Associate Director of Lower Division Writing. She regularly teaches courses in visual communication, digital and popular culture rhetorics, and professional communication. Her research and publication projects have focused on the intersection of theory and practice in digital writing, new media composing, professional communication, and pedagogy for face-to-face and online instruction. Her work has appeared in the Journal of Literacy and Technology, Hybrid Pedagogy, Computers and Composition, and several edited collections, including Designing Texts: Teaching Visual Communication and RAW: Reading and Writing New Media. She lives in San Diego, CA, with her partner, Kathryn, and their son, Eli.
-
Kristin L. Arola
Kristin L. Arola is an Associate Professor in the Department of Writing, Rhetoric, and American Cultures at Michigan State University. Her work brings together composition theory, digital rhetoric, and American Indian rhetorics so as to understand digital composing practices within larger social and cultural contexts. Her most recent book, Composing (Media) = Composing (Embodiment) [with Anne Frances Wysocki, Utah State UP, 2012] is an edited collection that explores how the media we produce and consume embody us in a two-way process. She is also the co-editor of the third edition of CrossTalk in Comp Theory: A Reader [with Victor Villanueva, NCTE, 2011]. Her work has appeared in Computers and Composition, Harlot: A Revealing Look at the Arts of Persuasion, and the Journal of Literacy and Technology. She resides in Pullman, WA, with her amazing husband and charming dog.
Table of Contents
Preface for Instructors
Introduction for Students
PART ONE The Multimodal Process
1 What Are Multimodal Projects?
What Is Multimodal Composing?
Why Should Multimodal Composing Matter to You?
Writing/Designing as a Process
The Typical Writing Process
The Multimodal Composing Process
Touchpoints
● TOUCHPOINT: Understanding Multimodal Processes
How Does Multimodality Work?
Linguistic Mode
Visual Mode
Aural Mode
Spatial Mode
Gestural Mode
Understanding Modes, Media, and Affordances
CASE STUDY Mapping the Impact of COVID-19
Multimodal Affordances
● TOUCHPOINT: Mode, Media, and Affordance in Everyday Texts
WRITE/DESIGN! ASSIGNMENT: Mapping Your Multimodal Process
Write/Design! Option: Multimodal Literacy Narratives
2 How Does Rhetoric Work in Multimodal Projects?
Rhetoric and Multimodality
Analyzing a Rhetorical Situation
Author
Audience
● TOUCHPOINT: Analyzing Audience
Purpose
● TOUCHPOINT: Analyzing Purpose
Context
● TOUCHPOINT: Analyzing Context
Analyzing Design Choices
Emphasis
Contrast
Color
Organization
Alignment
Proximity
● TOUCHPOINT: Analyzing a Website’s Rhetorical Design Choices
Writing and Designing Rhetorically
CASE STUDY Analyzing the Chemeketa CC Website
WRITE/DESIGN! ASSIGNMENT: Designing a Rhetorical Analysis
Write/Design! Option: Writing a Rhetorical Analysis
3 Why Is Genre Important in Multimodal Projects?
Genre and Multimodality
Genre
Understanding Genre Conventions
Multimodal Genres: Defining the What and the How
Static and Dynamic Genres
Genre Structure and Design
● TOUCHPOINT: Finding Your Genre
Genre Analysis: Analyzing the What and the How
Analyzing Genre Conventions
Questions for Genre Analysis
● TOUCHPOINT: Analyzing Musical Genres
CASE STUDY Analyzing Multimodal Genres in Game Studies
What if the Genre Is Unclear?
WRITE/DESIGN! ASSIGNMENT: Analyzing Genre Conventions for Your Project
Write/Design! Option: Infographics as Visual-Argument Genres
4 How Do You Start a Multimodal Project?
What Are You Supposed to Produce?
Brainstorming Your Project Ideas
● TOUCHPOINT: Multimodal Brainstorming
Pitching Your Project
Designing Your Pitch
● TOUCHPOINT: Putting a Project Pitch Into Action
CASE STUDY Pitching an App for the National Gallery
Designing for Your Primary Audience
Drafting to Stakeholder Expectations
● TOUCHPOINT: Choosing a Draft Genre
Using the Feedback Loop
● TOUCHPOINT: Anticipating Feedback from Different Audiences
WRITE/DESIGN! ASSIGNMENT: Proposing to Get It All Done
Write/Design! Option: Project Timeline
5 How Do You Design and Revise with Multiple Audiences?
Designing with Your Collaborators
Strategies for Successful Collaboration
● TOUCHPOINT: Write a Team Contract
Collaborative Workflow Options
● TOUCHPOINT: Planning with a Team
Working Alone
● TOUCHPOINT: Working Alone Isnt Really Working Alone
Putting Together a Complete Draft for Your Primary Audience
Delivering Drafts for Peer Review
● TOUCHPOINT: Preparing Audiences for Feedback with a Delivery Plan
Peer Reviewing Multimodal Projects
Read/View/Use the Text
Evaluate the Text
Provide Constructive and Specific Feedback
● TOUCHPOINT: Giving Feedback on a Rough Draft
CASE STUDY Revising an Advertisement Design with Stakeholder Feedback
Revising Your Multimodal Project
Creating a Revision Plan
Finalizing Your Project
● TOUCHPOINT: Revising Your Project
Creating Documentation for Your Stakeholders
Collaborative Wiki
In-Line Comments
● TOUCHPOINT: Creating a Style Guide
Reporting and Reflecting on Your Project
WRITE/DESIGN! ASSIGNMENT: Reporting on Your Project
Write/Design! Option: Reflecting on Your Project
PART TWO The Write/Design Toolkit
6 Working with Multimodal Assets and Sources
Collecting Assets
● TOUCHPOINT: Building an Asset List
Working with Multimodal Sources
Find Credible Sources
Evaluate Sources
● TOUCHPOINT: Annotating Credible Sources in an Asset List
Copyright Issues and Ethics
Copyright
Fair Use
Permissions
When Humans Are the Text
Creative Commons
● TOUCHPOINT: Tracking Copyright and CC-Licensed Work
Citing Assets and Sources
Provide Enough Information for Readers
Use a Credible Citation Style for Your Genre
● TOUCHPOINT: Finding and Citing Sources
Organizing and Sharing Assets
Categorize Your Files Appropriately
Use Good Naming Conventions
Use Version Control
● TOUCHPOINT: Getting Your Assets In Order
7 Working with Technologies
Choosing How to Work with Technologies
● TOUCHPOINT: Learning How to Learn
Deciding Between Analog and Digital
What Does Your Audience Need?
● TOUCHPOINT: Choosing an Analog or Digital Project
Assessing Technological Affordances
● TOUCHPOINT: Conducting a Technology Review
Drafting Your Project: Static, Dynamic, and Timeline-Based Texts
Prototyping for Static Texts
Outlines
Sketches
Models
● TOUCHPOINT: Sketching a Draft
Designing Drafts of Dynamic Texts
Wireframes
Mock-Ups
● TOUCHPOINT: Drafting Your Wireframe and Mock-Up
Composing Timeline-Based Drafts
Storyboards
Scripts
Rough Cuts
● TOUCHPOINT: Drafting Your Storyboard
Getting Feedback on Your Rough Drafts
Preserving Your Assets with Metadata
Preparing for the Multimodal Afterlife
Where Are Your Project Files Located?
How Long Are You Responsible for the Project?
● TOUCHPOINT: Creating a Sustainability Plan
Index
Product Updates
More diverse, inclusive examples and images highlight new perspectives and the creative ways in which multimodal composition can amplify historically marginalized voices. Selections in the third edition span a variety of real-world write/design situations meant to raise awareness for social justice issues, including the Black Lives Matter movement, the Dakota Access Pipeline, LGBTQ+ representation, struggles faced by those with disabilities and chronic illness, and more.
More student examples showcase multimodal texts created by actual students in relatable rhetorical situations. While Writer/Designer emphasizes the value and impact that writer/designers compositions will have in the real world, the third edition packs in even more creative student models to guide authors as they write/design throughout their academic careers.
New Case Studies analyze timely and realistic examples of rhetorical situations, design choices, technological affordances, and the multimodal design process. New examples include a deep dive into a COVID-19 impact map in Chapter 1, and an analysis of Chemeketa Community Colleges website in Chapter 2.
New Write/Design Toolkit marginal callouts connect foundational concepts covered in Part One to relevant best practices included in Part Two: The Write/Design Toolkit. These marginal callouts encourage students to start thinking about important considerations -- like searching for and documenting sources, collaborating with others, technological affordances, and preparing for the multimodal afterlife -- early on in the design process.
Essential support for multimodal composing.
Grounded in multimodal theory and supported by practice in the classroom, Writer/Designer streamlines the process of composing multimodally by helping students make decisions about content across a range of modes, genres, and media from words to images to movement. Students learn by doing as they write for authentic audiences and purposes. With more and diverse real-world and student examples, the new edition illustrates how multimodal composition can amplify historically underrepresented voices and help to enact change.This brief, accessible text is designed to be flexible, supporting core writing assignments and aligning with course goals in introductory composition or any course where multimodality matters.
Looking for instructor resources like Test Banks, Lecture Slides, and Clicker Questions? Request access to Achieve to explore the full suite of instructor resources.
Instructor Resources
Instructor Resources
Download Resources
You need to sign in to unlock your resources.
2e to 3e Transition Guide
Instructor's Resource Manual for Writer/Designer (Online Only)
Cheryl Ball; Jennifer Sheppard; Kristin Arola | Third Edition | ©2022 | ISBN:9781319415785You've selected:
Click the E-mail Download Link button and we'll send you an e-mail at with links to download your instructor resources. Please note there may be a delay in delivering your e-mail depending on the size of the files.
Warning! These materials are owned by Macmillan Learning or its licensors and are protected by copyright laws in the United States and other jurisdictions. Such materials may include a digital watermark that is linked to your name and email address in your Macmillan Learning account to identify the source of any materials used in an unauthorised way and prevent online piracy. These materials are being provided solely for instructional use by instructors who have adopted Macmillan Learning’s accompanying textbooks or online products for use by students in their courses. These materials may not be copied, distributed, sold, shared, posted online, or used, in print or electronic format, except in the limited circumstances set forth in the Macmillan Learning Terms of Use and any other reproduction or distribution is illegal. These materials may not be made publicly available under any circumstances. All other rights reserved. For more information about the use of your personal data including for the purposes of anti-piracy enforcement, please refer to Macmillan Learning's.Privacy Notice
Thank you!
Your download request has been received and your download link will be sent to .
Please note you could wait up to 30 to 60 minutes to receive your download e-mail depending on the number and size of the files. We appreciate your patience while we process your request.
Check your inbox, trash, and spam folders for an e-mail from InstructorResources@macmillan.com.
If you do not receive your e-mail, please visit macmillanlearning.com/support.
FAQs
-
-
Are you a campus bookstore looking for ordering information?
MPS Order Search Tool (MOST) is a web-based purchase order tracking program that allows customers to view and track their purchases. No registration or special codes needed! Just enter your BILL-TO ACCT # and your ZIP CODE to track orders.
Canadian Stores: Please use only the first five digits/letters in your zip code on MOST.
Visit MOST, our online ordering system for booksellers: https://tracking.mpsvirginia.com/Login.aspx
Learn more about our Bookstore programs here: https://www.macmillanlearning.com/college/us/contact-us/booksellers
-
-
-
Our courses currently integrate with Canvas, Blackboard (Learn and Ultra), Brightspace, D2L, and Moodle. Click on the support documentation below to find out more details about the integration with each LMS.
Integrate Macmillan courses with Blackboard
Integrate Macmillan courses with Canvas
-
-
-
If you’re a verified instructor, you can request a free sample of our courseware, e-book, or print textbook to consider for use in your courses. Only registered and verified instructors can receive free print and digital samples, and they should not be sold to bookstores or book resellers. If you don't yet have an existing account with Macmillan Learning, it can take up to two business days to verify your status as an instructor. You can request a free sample from the right side of this product page by clicking on the "Request Instructor Sample" button or by contacting your rep. Learn more.
-
-
-
Sometimes also referred to as a spiral-bound or binder-ready textbook, loose-leaf textbooks are available to purchase. This three-hole punched, unbound version of the book costs less than a hardcover or paperback book.
-
-
-
We can help! Contact your representative to discuss your specific needs for your course. If our off-the-shelf course materials don’t quite hit the mark, we also offer custom solutions made to fit your needs.
-
ISBN:9781319415815
Take notes, add highlights, and download our mobile-friendly e-books.
ISBN:9781319245054
Keep your book open while you write with spiral-bound texts.
FAQs
-
-
Are you a campus bookstore looking for ordering information?
MPS Order Search Tool (MOST) is a web-based purchase order tracking program that allows customers to view and track their purchases. No registration or special codes needed! Just enter your BILL-TO ACCT # and your ZIP CODE to track orders.
Canadian Stores: Please use only the first five digits/letters in your zip code on MOST.
Visit MOST, our online ordering system for booksellers: https://tracking.mpsvirginia.com/Login.aspx
Learn more about our Bookstore programs here: https://www.macmillanlearning.com/college/us/contact-us/booksellers
-
-
-
Our courses currently integrate with Canvas, Blackboard (Learn and Ultra), Brightspace, D2L, and Moodle. Click on the support documentation below to find out more details about the integration with each LMS.
Integrate Macmillan courses with Blackboard
Integrate Macmillan courses with Canvas
-
-
-
If you’re a verified instructor, you can request a free sample of our courseware, e-book, or print textbook to consider for use in your courses. Only registered and verified instructors can receive free print and digital samples, and they should not be sold to bookstores or book resellers. If you don't yet have an existing account with Macmillan Learning, it can take up to two business days to verify your status as an instructor. You can request a free sample from the right side of this product page by clicking on the "Request Instructor Sample" button or by contacting your rep. Learn more.
-
-
-
Sometimes also referred to as a spiral-bound or binder-ready textbook, loose-leaf textbooks are available to purchase. This three-hole punched, unbound version of the book costs less than a hardcover or paperback book.
-
-
-
We can help! Contact your representative to discuss your specific needs for your course. If our off-the-shelf course materials don’t quite hit the mark, we also offer custom solutions made to fit your needs.
-
Writer/Designer
Grounded in multimodal theory and supported by practice in the classroom, Writer/Designer streamlines the process of composing multimodally by helping students make decisions about content across a range of modes, genres, and media from words to images to movement. Students learn by doing as they write for authentic audiences and purposes. With more and diverse real-world and student examples, the new edition illustrates how multimodal composition can amplify historically underrepresented voices and help to enact change.
This brief, accessible text is designed to be flexible, supporting core writing assignments and aligning with course goals in introductory composition or any course where multimodality matters.
Select a demo to view:
Sample Achieve