Essay Writing Service

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capabilitylevel.Thisimpliestll'lllll'WIII'11111I111111 1111111 I I ' I . '
well as whathe wants to achieve in th IIldl'lI Iii III I I II 111V-
ever, many writers are not train d in cll "II dill II!I 1111111I-
enues for people to acquire writing ski lis LlI'
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Thus, editors should expect situations IIIwill II II III 1111 Ii I I I •
sage, a chapter or a section may need tinl Iill' 1111/11
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better, or in extreme cases, develop idea' th WIi( I III 11111
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adequately. Therefore, the editor should be ski 1 .t! III II I ( I 111111
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be able to assess on author's writing and to b e a b l '( ( l l l 'l (II 11111
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ings in poor ones. Indeed, the Nigerian editor ro 11Iil''. II !III1(1111111111
in writing skills to compensate for the inexp ricnc . 01'111111 1 I 1
the writer, the editor should know:
- exactly whothe target audience is,
- the subject matter and what aspect of it th e u u th o r wnul 1111II
his reader, and
- what the author has done to make sure his all Ii '1 " vii 11111
I I-
stand what he has written.
Let us consider various elements of effective writ ill 0111IIl1d I'
standing of the writing process can serve as a guide for dir "till , vu lu It-
ing and improving the writing process during project dev I pill lit 0 1 ' th
rewriting of portions of a work..ZYXWVUTSRQPONMLKJIHGFEDCBA
N k ech i C h risto p h r
W R IT IN G A N D W IT IN
--
O B J E C T IV E S
The object of this contribution is to enable the read rs t :
• understand that writing as a communicati 11 PI' css is
manding and should be organized;
• appreciate that effective writing is achievable when J m I ts
of the writing/reading communication context are tal en int
consideration right from the beginning ofthe writing pr -
cess;
• explain the elements of writing communication context that
a writer takes into consideration;
Ia n Iin ti r-
n (M r3 ) NkechlM. C h risto p h e r le c tu re s a t th e D e p a rtm e n t o f C o m m u n ic a tio n a n d
{,II/ /lO ll A rts, U n iv e rs/~ o f Ib a d a n . E -m a il: d rn k e c h ic h risto p h e r@ y a h o o .c o .u k .

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present and discuss steps to effective communication
through writing;-
indicate how ideas can be clearly and adequately devel- "
oped by sourcing and using evidence; ,-_
highlight some problems of effective communication to look
out for in one's and other's writing and;
suggest some strategies for rewriting one's and someone 02
else's work.cbaZYXWVUTSRQPONMLKJIHGFEDCBA
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•
•
O U T L IN E
.:. Introduction
.:. Steps in Writing
• Pre- Writing Stage
• Planning/Organizing/Outlining
• Writing the First Draft
• Rewriting (by the Writer)
.:. Rewriting the Author
.:. Summary
S T E P S IN W R IT IN G
"Because writing requires concentrated thought, it is about the
most enervating work that humans perform" (Adelstein, 1985 :35). It is
such a complex intellectual activity that even the endowed storyteller may
find it difficult to reel off his tales on paper; and so, many preachers
derive the materials for their books from their tape-recorded messages.
Unlike regular speech, writing must be structured to be effective for com-
municating with the reader who unlike the listener may not be able to ask
for clarification and has no access to nonverbal (and verbal) cues that
accompany speech in face-to-face communication encounters. The pro-
cedure that writers follow to put down and polish what they know entails:
.:. stating a thesis
.:. designing an outline
.:. writing the first draft
.:. revising and polishing drafts
The thesis states the main idea the writer is going to develop, andA
Writing and Rewriting 'III 't'( I I I ( (JOn
is broken down into manageable bits in th (J lIII" (Ilil III I II III III I
subheadings and sub-subheadings of a h ilt I 11 I 1111 ) III lit It 11 I II
writer develops the thesis, using differ nt 1111'1 r" II I I I I II II
main ideas. At the initial stage the writer is 1 1 ' 'Ill I Willi I 1111'1 III
content, ill subsequent revisions, he ensures tl it III . I I I 11 III I II
expressedandthenchecksthepiecetoeliminat inn' III IVI Itld It III' 1
me rough edges .
In practice, however, writing is not a strict lln 'I I I I
process, as the list suggests, since in the actual proc s III W I iI I I
go back and forth as the thought develops. For examp I , I 111 I
ment may be arrived at when the writing is well advan I, p 11111
writing the first draft. In another way of examining th wri li11 I JO
writer indulges in a series of activities which are categoriz xl in to :
• P re -w ritin g : usingpre-writingtechniqu s t llh I
• P la n n in g : using structures to organize f r wri till
• D ra ftin g : putting ideas down on paper; cxploi ill 11 W
ideas during writing
• P o st-w ritin g (Saskatchewan Education, 19 7
Furthermore, Adelstein (I 985), in explaining the writin pro ..
categorizes and assigns time to each stage of'theprocess thus:
Worrying 15%
Planning 10%
Writing 25%
Revising - 45%
Proofreading 5%
At the worrying or prewriting stage the writer should determin
what he knows and what is expected of him on the subject matter being
written on. To manage the subject, the writer can ask and answer ques-
tions around thesubject. This exercise will enable him to bring the as~
pects of the subject he needs to write about into focus, guide the search
for materials and determine how the topic should be developed. In addi-
I
tion to many brainstorming methods, these twenty questions can be used
by the writer asthought starters: '
- !ff,

3. T h e m e s in C o m m u n ic a tio n W ritin g ZYXWVUTSRQPONMLKJIHGFEDCBA
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T H O U G H T S T A R T E R S wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
1. What ¥~es X!llean? (Definition)cbaZYXWVUTSRQPONMLKJIHGFEDCBA
2 . What are the various features of X? (Simple Analysis)
3. What are thecomponent parts of X? (Analysis)
4. How is X made or done? (Process Analysis)
5. Howshoutd Xbe made or done? (Directional Analysis)
6. What is the essential function of X (Functional Analysis)
7. What are the causes of X? (Causal Analysis)
8. What 2'-e the consequences of X? (Causal Analysis)
9. What are the types of X? (Classification)
1 0 . How is X like or Urilike Y? (Comparison)
1 1 . What is the presentstatus of X? (Comparison)
12. What is the significance of X? (Interpretation)
13. What are the facts about X? (Reportage)
14. How did X happen? - (Narration)
1 5 . What kind of person is X? (Characterization/Profile)
16. What is my personal response to X? (Reflection)
17. What is my memory of X? (Reminiscence)
18. What is the value of X? (Evaluation)
1 9 . What are the essential major points or features of X? (Summary)
2 0 . What cases can be made for or against X? (persuasion)
* Adapted from Jacqueline Berke's T w e n ty Q u e stio n s/o r th e W rite r
by Perdue University Online Writing Lab
T H E P U R P O S E
Looking again at the twenty questions above, the words in pa-
rentheses indicate the type of essay (or the function the piece is serving).
he importance of determining the purpose is that "it is the overall design
that governs what writers do in their writing" (Trimmer & McCrimmon,
1985: 1 6 ). It guides decisions to be made at the early stage of writing, and .
i h Ips the writer to determine what type of information he needs and
how to organize it in developing the main point of the composition. Pur-
l) influences the choice of organization, style and choice oflanguage.
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W H O IS T H E A U D IE N C E ?
Thewritershouldaskhimself:"Wh ami w ritru /111'" 'III .• •
topher (2 0 0 5 ) emphasizes in a workshop paper, "th I I II I I I I " 1III 1 I1
the writer, should be seen as the important per 011." 'u n u rn I, lilt ( II H )
cited by Adesanoye (1 9 9 5 : 112) similarly notes that: .. III I I I I
is only one person in the communication proces. an II h I I I
important one. His readers ... are the really centr I f " .. ' ,
Editorsdescribetheirvariousaudiencesandknowlh III ',1 1 II'
situations and environments. Ifforinstance a book is bcin I d v ,llll1 IIIlt
children in public and private schools, the difference in th '1111I1 II' I .•
mographic backgrounds may be pertinent in describin wl (I III r I I I'
is, and also be a criterion for judging whether the writ in '011111 II i ' II
adequately or not to both groups. The editor is in the posi lio n tI I II h
writer know how he is to satisfy the information needs r a i v II III li-
ence; or be ready to do a lot of rewriting later.
The audience has influence on what we write and 11 willi q.
proach is selected for writing, writing style (formal, friendly, scri: 11. , th
make-up of the message (text alone, text with illustrations, tabl s, ,( i.),
language use (technicallnon-technical), etc. In everyday writin , l's y
letter, we have a reader in mind as well as a purpose for writing, and th s
combine to provide us with a context which guide what we writ n h w
we write. The writer should analyse his audience and try t an rw c r th
following questions:
J
I
.:. What does the reader know or thinks he 1 0 1 W ' ab It
the subject? ---
.:. How much background does the writer need to give the
reader considering the reader's attitude to the S rb ] ct,
his position on the subj ect and his experience will tl
subject?
.:. What does the reader need to know and how be t h uld

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it be given?
.:. How can the reader's interest to read the subject be won?
.:. Will the reader likely agree or disagree with the writer's
position?
.:. How can the reader be helped to read the writing?
Answers to these questions will guide the writer in his search for and
presentation of materials.cbaZYXWVUTSRQPONMLKJIHGFEDCBA
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E V ID E N C E
Adelstein's discussion on "worrying" centres on the writer taking
time to think about the subject matter so he could have a firm grip on it
and seek information for proper definition of the task. The facts and in-
formation the writer gathers is what Keenan (l985):refers to as evidence,
and can be collected in three way:
.:. Careful observation
.:. Intelligent field work (talking to the appropriate persons)
.:. Library research
In many instances, readers fail to derive enough meaning from
books/articles because the writer failed to look for materials that would
yield enough information for developing an idea adequately. No mater
how mundane a subject is, doing some research should increase the writer's
kno~~edge a.n.~
~el~ the information that will be used in making his points
explicit, The distinction, for examples, between American and British novels
on the one hand and most of those published in Nigerian on the other
seems to lie in the extent of research work done by the writers. It is also
. unfortunate (more so because covers usually boasts of multiple authors)
that some educational textbooks contain little more than what is listed in
~hecurriculum with the themes hardly developed. The mere listing offacts
111 a school book leaves the child with little choice than to memorize the
points liste I ifhe must pass - perhaps a little explanation would give
?ettel' L~det' tanding of the points being presented. Similarly, investigative
Journalism that searches beyond the immediate situation has become nee-
os ary lnrep rting events.
Many short-comings on the part of the writer contributor should
-- - - - .
W r itin g a n d R e w r itin g C h r is to p h e r N . (2 0 0 6 ) 45
squarely be blamed on the editor, who as the first partaker of the mes-
sage, and as a communication expert, should consider if the m t rial com-
municates enough to him, and what problems the reader i Ii I ely to en-
counter, so as to have them rectified. Having an attitude of ind itf renc t
content of manuscripts being worked on and dealing with nly m hani-
cal details would hurt the publishing profession, and th e e Iit r c a n n t
make a name for himself.
P L A N N IN G / O R G A N IZ IN G / O U T L IN IN G
Planning the form the final work should take is im tx rta n e and
should attract 1 0 % ofthe writer's time, says Adelstein (1985). T h e u t-
line allows the writer to have a gestalt view of the task bcf rc him, t
break down the thesis into meaningful bits, to organize the order in which
the bits will be presented and to distinguish supporting detai Is fr m th
main ideas. Essentially, it enables him to design a direction for th e writi n g
process. The schematic representation of the message can b o rg a n iz e d
chronologically (46 years of Nigeria's independence), spatially (Nigeria'
vegetation belts), logically (Why Nigeria should have a sovereign c nf r-
ence), problem-analysis-solution (The way forward), ord r r im ] f -
tance (Why we should defend the integrity of marriage), etc.
As earlier indicated, any aspect in the writing proc S5 can c
reorganized, so also an outline can be revised as writing progresse ,e -
pecially since new ideas or a better ways of presenting some idea may
come to mind during actual writing. The fmal outline may eventually rv
as the guide to breaking up a piece of writing into chunks th read r an
manage, that is, subheadings and sections. At the early stage 0 f th e w ri t-
ingprocess, planning helps the writer to uncover, explore an I evaluate
the topic.
W R IT IN G T H E F IR S T D R A F T
The first draft should be considered a first attempt t pr ducc a
sustained piece of writing (Trimmer & McCrinunon, 1985). A .cordin t
. these authors, many experienced writers try several drafts b .Iorc th y
'come close to what they want to say and how to say it. Th . ext nt f
~,work to be done will differ with projects. Unfortunately, r hnv . h iard

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T h e m e s in C o m m u n ic a tio n W ritin g 46
peopl~~ay that once they get through with writing (the-first draft), they
don't like to take another look at their work. Writing the first draft can be
. daunting, even to established writers. Therefore, to develop his writing
skills, a writer/editor is advised to read different types of texts as a habit
as this develops one's imaginative power and read good works critically,
noting the devices the writer has used in achieving his purpose. Impor-
tantly, writing frequently will enable the cultivation of good writing habits
and confidence.
W r itin g a n d R e w r itin g C h r is to p h e r N . (2 0 0 .6 ) 47
rial to see if the main idea is supported by the paragraphs and if
the paragraphs are well ordered (The writer may write ut th
main idea of each paragraph).
Consider whether the audience will understand what he
is saying without needing to "get inside" the head of th wri t r.
See if the paper/passage has been developed wi th S L I rfi-
cient details, and if the logic is valid.
Check whether he has connected the major points in
paragraphs, and the details with the main point within III • p a ra -
graph (through "b e use of transition devices, for exampl ),
Consider alternatives to verbosity, for example, th ' L IS '
of illustrations, tables.photographs, etc.
See if some abstract ideas should be concretized or III '
expression rephrased.ZYXWVUTSRQPONMLKJIHGFEDCBA
R E T ' R IT IN G (B Y T H E W R IT E R ) ( t
Some writers believe their task is done once they are able to put
down their thoughts on paper, and so simply check for minor errors and
then submit their work. However, the first draft is only a raw material for
producing the piece that will meet the writer's and reader's needs. Often,
the first draft is author-based and should be transformed to a reader-
based piece. Adelstein (1'985) apportions 45% to the ta k of rewritinz/A
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revising and only 25% to the writing of the first draft. He says that "-the
work done b e fo re the first draft in the prewriting process and a fte r the
draft in the revising process is often the difference between successful
communication and time wasting confusion -" The importance of this
stage in the writing process is exemplified by what renowned writers did
while working at achieving their goals: to finish his book on A F a re w e ll to
A rm s Hemingway is said to have written the last page 39 times; and
Tolstoy revised W a r a n d P e a c e (reputed as one of the world's longest
and greatest novels) five times.
After writing a draft, the writer needs to change roles from that of
a writer to that of a critic to allow him see what needs redoing. The writer
will also employ some strategies to transform the writinz to read better
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bearing in mind the purpose, audience and the direction the writing is
leading the reader. He will take some steps to check various aspects of
th writing, sometime reading aloud slowly to capture any inadequacies
by b th or one of the senses (of seeing and hearing). He should evaluate
the entire passage:
Effort should be made to eliminate errors in grammar, a w k w u r I
sentences, confusing sentences, cliches, etc. Also to be checked arc sp 11-
ing, punctuation, subject-verb agreement, etc.
r /
R E W R IT IN G !}'Y T H E A U T H O R
/
.-
The editor that is well equipped with writing skills is in the posi-
tion both to design and discuss with the author the plan of a bo 1 ' t LhL:
initial stage, and to monitor and evaluate the development o fth e n ia n u -
script as writing progresses. He can contribute immens ly t lICC .ss ILl 1
writing workshops, seeing to it that certain details are attended to (IIui n g
the writing process. All the same, not all projects present the e d i tor w i III
the opportunity to have things sorted out neatly whi Ie the autlu r is 'IL
hand. Therefore, in most cases, editors review, rewri te as we 118 S cd il tI H .:
work of writers. Guzman II (1989: 151-152) intimates u s that i 11~l state
(Philippines) book project:
... editors rearranged and occasionally rewrote wh lc chapt 'rs t
improve organization. When there was time, they a ISl look 'd 1')1'
other stories with similar pedagogical objectives an I cont 'n l I() I' '-
Check the thesis statement and organization of the mate

6. "ZYXWVUTSRQPONMLKJIHGFEDCBA
T h e m e s in C o m m u n ic a tio n W ritin g 48
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place the uninspired ones in the ,Ipanuscript. They pruned the text
to tighten it, enlivened the pages with better-convinced illustrations,
and included more "fun" activities, ;:.
: f '~. '
W ritin g a n d R e w ritin g C h risto p h e r N . (2 0 0 6 ) 49
..
'.- < ~Writerhas not don~ exhaustive revision of writing to make
it suitahlerfor publication without more work being done;
.seme sections do not address the curriculum (or subj ect
matter) ad~qU3.telyor inthe prescribed sequence, leading to this
familiar situation described below:
.i,t4~'textb00ks were in fact not very well synchronized
'-.'willi;fr{gofficial curriculum, although the project ensured
thatrriost curricular objectives were covered by the new
.maten~Ts, It took three rounds of teacher training to con-
.:Viiice'1!hefield that the new materials met the minimum
~ . ;:;,,-,,--~,}. .•..
: cufricular requirements, although not always in the se-
quence prescribed by the bureaus (Guzman II, 1989:
1~1)!_<
m:arftiscript is poorly developed (for example, written
outside tfferequrredreadao,ility level, or vocabulary use is poorly
, controlled} A veryevidentSiling of most manuscripts developed
by the project was bad writing. The stories were dull, the situa-
tions forcedand clumsily narrated. illustrative examples given in
the text often obscured rather than clarified the concept being
taught, the teacher's guides read like a cookbook, with num-
bered step-by-step procedures written in telegraphic prose or
with a script prescribing in unnecessary detail the teacher's
every move in the classroom (Guzman II, 1989: 151).
writer has used bad grammar;
the piece has problem of style - wrong choice of tyle
or/and inconsistency of style;
there is inadequacy in the use oflanguage of communi -
tion. It is obvious that the writer knows what he is sayin • ut it
has not been expressed effectively;
_ writing is not reader-friendly - writing lacks read r
etc.A
-I,
Some deficiencies in a piece of writing may star th di-
tor in the face, others he has to search out. He is in a po iti n
a critical reader, to assess a writer's work, and is (or should b )
endowed to figure out the message the author wants to pas r s
to the reader as well as how it should be done (Ifhe has a y d ubt
about the message he should ask the writer). In assessing a man l-
script/contribution before or during editing, the editor ~ ds ~o
check if the writer has met the criteria expected for effectiv writ-
ing (for example, the quality of the material, general organiz t.i n
and division into paragraphs). We take for granted that th dit r
will usually take care of cliches, punctuation, issues of gra.rn.m '
etc. and other mechanical elements. Other important con ider-
ations for effective communication that should be assessed ar ,if
the writer has:
It is almost unlikelythat a book/article could be published with-
out some sections needing rewriting by the editor. Here are some reasons
why rewritingmay'be necessary: '
. . ,
information or supporting details are inadequate;
ideas are poorly organized (and could leave the reader
confused);
;.
1. put his main idea early in the writing and then back d it
up with reasons or background information needed to under-
stand it. Sometimes, one reads a whole column of a one-j ag d
newspaper artiele without getting an idea of what the gist i .. .
2. used language appropriate for the target reader, avoiding
the use of jargons or technical terms for non-technical r d r
(but using them for technical readers, or else the writing m y
boring);
3. used appropriate paragraph length and devel p d
graphs adequately (ensuring unity, coherence and compl t n

7. - - - - ---- - --- ---------cbaZYXWVUTSRQPONMLKJIHGFEDCBA
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T h e m e s in C o m m u n ic a tio n W ritin g ZYXWVUTSRQPONMLKJIHGFEDCBA
5 0 W ritin g a n d R e w ritin g C h risto p h e r N . (2 0 0 6 ) 5 1
description on how to get to their houses.) The rewriter should organize
materials around the reader's probable questions.
'. -4'
4. the sentences are not too complex for thareader (and
sentence types are varied within paragraphs); etc.
.: It was mentioned earlier that we tend to write for ourselves. Linda
• ~ . , . - I
Flower's (1985) discussion on transforming author-based prose to reader-
based-prose can prove a useful guide for the editor (as well as the writer)
in rewriting an author'? work. She gave four strategies, which are briefly
discussed below:
S tra teg y 3 : G iv e y o u r rea d er cu es
-The reader needs to be guided through the writing by:
.:. using cues that will help the reader see what is coming and how it
is organized - the division of a work into clear-cut sections, use
of illustrations and other similar devices that the copy or produc-
tion editor does as a routine;
.:. creating expectations and fulfil them. Introductions are usually used
to tell the reader what a work is about;
.:. indicating relative importance of points and establish relationship
between points and between a point and su~porting details; and
.:. using topic sentences.
Furthermore, it may not always be sufficient to express a point of
view, because the view expressed by the writer may conflict with what
the reader knows or believes. This takes us to thefourth strategy.
S tra teg y I: S et u p a sh a red g o a l
'.' The writer/rewriter ensures that his reasonAf',~r.writing a piece
IT· eets his/writer's reason for reading it, and then organizes/reorganizes
the writing around ibis common goal. When the writer considers the knowl-
edge, attitudes and need of the reader as background to his writing, he
will likely.produce awriting that:
.:. can motivate the audience to read (and remember) what the writer
has to say. The editor can tap into his knowledgeand experience
in-writing and of the reader to make up where the author has
failed to communicate clearly;
.:. can increase comprehension (Have ideas been expressed in ab-
stracttenns orwithjargons?); and
.:. willmotivate the reader to read by providing a context for under-
standing thewriter's ideas and reasons (Therefore get the reader
interested in-the writing from the beginning-in the case of book,
right from the blurb).
S tra teg y 4 : D ev elo p a p ersu a siv e a rg u m en t .
At some points, the writesmay need to show that he fully appre-
ciates the reader's point of view before giving his own (A sentence as "It
is true that we own our bodies and can dress as we like" may win the
interest ~f a teenage reader on the topic of proper dressing than an out-
right condemnation of youth's dressing style from the outset of a discus-
sion). "A successful argument is a reader-based act. It considers attitudes
and images the reader already holds" (Flower, 1985 :62). A good writer,
uses different patterns to communicate convincingly to the reader - defi-
nition, comparison/contrast, relationship, testimony, and circumstances.
Invariably, when confronted with writings that will not effectively tell the
reader what he needs to know or what the writer is saying, the edit r
should:
S tra teg y 2 : D ev elo p a rea d er-b a sed stru ctu re
Even though the writer sets out to write for a reader, many a
tim s a first draft will be more writer-based than the writer intends it,
csp cially with increasing complexity (of the type of problem being
handled). Flower (1985: 47) notes that "... an organization that functions
w II f r thinking about a topic often fails to communicate that thinking to
tI li t ner (reader). A strategy that is effective for the speaker (writer)
m. y be terribly confusing to a listener (reader)." (Take for example people's
.:. be sure he fully understands what the author is saying,
.:. clearly defme what is wrong with the work,

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,.:" determine how it can be rectified/improved,
.:. wTIt~/~ewritethe relevant section, and , "
•:. subject the resultant writing toeffectivecommunication test, as
already explained", _'"
In some cases, it may be necessary to let the auilibr know and agree with
what has been done with his work - as we must bear in mind that even
though the editor does the job a book carries the author's name, and so
he should agre~with what his name is to be appended to,
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,A good piece ,0 a product of a process rather than a one-time
pouring out ofwhat is in the Writer's mind, The effective writer considers
his reader, derepnines the pUl]Josefor writing and decides on bow best to
commU{iicate what hehas to say, However, although the writer may bear
t1i~~~'inmlntl~her;~ting, he'~ay not' beabl~ to satisfy them along with
developing his thought and topic while on the first draft. Rewriting subse-
quently, he i~in a position to employ language and other devices to meet
• • _<':... . _ ,••.
, ,"l' ~ • .., _ J: • _ '-'('" ,. ,
his need as well as that of the reader. Writing is a non-linear process,
since the ~ter~~v~s 'back ~nd forth the different stages to satisfy the
requirements {Qrclear and effective writing, Even where the author has
followed all th.estepsto'effective writing, we should still note what John
Fischer asserts in his article, ','The Editor's Trade":
•...~.. . -. ~... . -' - ... .
--~~; 'A";rea~ej~lhbe~o~~'p~ssroii.ately'con~erned with a publication
only when its editors believe, truly and passionately that they are
trying t~rdo something important.If they don't, their lack of enthu-
siasm will show on every page - in the uncombed syntax, the
jaded idea, the unweeded cliches. , ,
Editors are in the 'position to ensure, on the one hand, that what
leaves the house to the outside world is within the company's publishing
policy and house style, and on the other hand, satisfies a need out there.
His role in the communication process between the writer and reader-is
to ensure that every obstacle to communication is eliminated. Many books!
articles are.tiflsiitc~s'SfUV1Jee.;ru§€!
theiwntepfailedit6~sati'sfY1h& m!~d of
I.. , i
W ritin g a n d R e w ritin g 'ltrlstu ] " 'r . ( ()(/(j)
the reader, and the editor allowed it to I rb li h I w illt 111111111 ivln
it-whil~in~om~cases,theideasmayhav'l I ilill '111111 It v I•
oped, in some others the ideas may not have h ' '11 PI'Op II III III 'I I I'
writtenwiththereaderinrrund.Therefore,g d 'litOI', 111-1111 I p lI!1
tion of a publishing firm and contribute to th · U S !'11 IIIl I I I II I I
good writers/contributors and an ever-growing audi .nc ,
R eferen ces
Adelstein, E. M.'(I 985). "Th~ Writing Proce.ss." Il; I-larly.J. I v ln Ii I.).
S tra te g ie s fo r b u sin e ss a n d te c h n ic a l w ritin g , 2 m l cdn. S IIII lJio 0 :
Harcourt Brace Javanovich, Publishers,
Adesanoye, F. A. (1995), T ize b o o k in N ig e ria : so m e c u rrA
'"II.','u'.',
Ibadan: Sam Bookman.
Christopher, N . M . (2'0,05)."Editing and proofreading report .." 1 I II' r
prepared fodmAWABE workshop, held on May 18,2005 lA /'r'j n
Regional Centre for Information Science (ARClS), University I a d 1.
Guzman II,A. de. (1989). ';The Philippines: A Textbook Case." In Farcll,
J. P. & Heyneman, S. P. (Eds.), T e x tb o o k s in th e d e v e lo p in g w o rld :
e c o n o m ic a n d e d u c a tio n a l c h o ic e s. Washington D , C .; The W rld
Bank.
Fisher, J. (1971) "The editor's trade," In Kujoth, r.s. (Ed.), soo« p u b -
lish in g : in sid e v ie w s. M e tu c h e n : The Scarecrow Press Inc.
Flower, L .. (1985). "Transform writer-based prose to reader-ba eel
prose." In Harty, J. Kevin (Ed.), S tra te g ie s fo r b u sin e ss a n d te c h n i-
c a l w ritin g , 2nd edn. San Diego: Harcourt Brace Javanovich, Publish-
ers,
Hedge, T. 1988. W ritin g (Resource Book for Teachers). Oxford: Ox-
ford University Press.
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9. T h e m e s in C o m m u n ic a tio n W ltitin g 54cbaZYXWVUTSRQPONMLKJIHGFEDCBA
• - .. _ ,~. ;~.',.. <wvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
~l'" : - - - _. ~ - • •
Keenan, 1: 0 985y.'''Using PAFECO Plarinirig." Ip.Harty). Kevin (Ed.),
S tra te g ie s fo r' b u sin e ss a n d te c h n ic a l w ritin g ; 2nd
edn. San Diego:
Harcourt gaceJavanovich, Publishers. _ :.' - .
-c- - •.• - _.-. .-
- - ' .
Online WritIngLab. (I 995-2004). "Planning (invention): thought starters
(asking the right question)". Retrieved September 2004"from Purdue
University Web Site: http://owl.english. purdue.edulhandouts/generall
glJ)lan.html
Saskatchewan Ed~cation. (1997). E n g lish la n g u a g e a rts: a
c u rric u lil.'m g u id e !o r th e m id d le le v e l (g ra d e s 6-9). Saskatchewan:
c..:.;S.3Skat ·'W~Educ~tion. .,.... . . ", " ,',-'
.. :.~ ~ "': .; .~.~.
. .
Trimmer, F. J. & McCrimmon, I.M. (1988). W ritin g w ith a P u rp o se ,
9th
edn. BoStOn:Houghton Mifflin Company.
Warriner, J. E. (1982). W a rrin e r's E n g lish g ra m m a r a n d c o m p o si-
tio n : c o m p le te c f!u rse . Orlando: Harcourt Brace Jovanovich.
White, V.R. (l,980). T e a c h in g w ritte n E n g lish (P ra c tic a l la n g u a g e
te a c h in g siiie s)~ J )]< fo .rd : Heinemann International.
. . ~ '- ':~ ';'~ 2 : - ;, ':n:':-'? "-. .- - . . -
"