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The process theory of composition (hereafter referred to as "process") is a field of composition studies that focuses on writing as a process rather than a product. Based on Janet Emig's breakdown of the writing process, [1] the process is centered on the idea that students determine the content of the course by exploring the craft of writing using their own interests, language, techniques ...
Level of detail in writing, sometimes known as level of abstraction, refers to three concepts: the precision in using the right words to form phrases, clauses and sentences; [1] the generality of statements; and the organisational strategy in which authors arrange ideas according to a common topic in the hierarchy of detail.
Depth of processing falls on a shallow to deep continuum. [citation needed] Shallow processing (e.g., processing based on phonemic and orthographic components) leads to a fragile memory trace that is susceptible to rapid decay. Conversely, deep processing (e.g., semantic processing) results in a more durable memory trace. [1]
Composition theorists have attacked the problem of accessing writers' thoughts in various ways. Flower and Hayes' essay, "A Cognitive Process Theory of Writing" sought to outline the writer's choice-making throughout the writing process, and how those choices constrained or influenced other choices down the line. [1]
The project explored pedagogy as outlined by what is known today as The National Writing Project. [1] At Lehman, Perl continued to study the writing process. [1] She was involved with the Looking Both Ways Initiative from 1998 to 2006, a platform for high school and college writing teachers to discuss the teaching and assessment of writing. [4]
A writing process is a set of mental and physical steps that someone takes to create any type of text. Almost always, these activities require inscription equipment, either digital or physical: chisels, pencils, brushes, chalk, dyes, keyboards, touchscreens, etc.; each of these tools has unique affordances that influence writers' workflows. [1]
If you leave out important things or events that you know about, the story is strengthened. If you leave or skip something because you do not know it, the story will be worthless. The test of any story is how very good the stuff that you, not your editors, omit." [8] A writer explained how it brings a story gravitas:
Depth sensation is the corresponding term for non-human animals, since although it is known that they can sense the distance of an object, it is not known whether they perceive it in the same way that humans do. [1] Depth perception arises from a variety of depth cues. These are typically classified into binocular cues and monocular cues ...