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Writer/Designer by Cheryl Ball; Jennifer Sheppard; Kristin Arola - Third Edition, 2022 from Macmillan Student Store
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Writer/Designer

Third  Edition|©2022  Cheryl Ball; Jennifer Sheppard; Kristin Arola

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About

All writing is designed.

What is the best way to use visuals in an essay or transform your work from paper to digital presentation? How do you compose a website or a video-- and what if you have to work with others to do it? With new case studies and real-world examples, Writer/Designer helps you answer these questions, to help you create projects for any situation and any audience.

Digital Options

E-book

Read online (or offline) with all the highlighting and notetaking tools you need to be successful in this course.

Learn More

Contents

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 Isn't 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

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.


Essential support for multimodal composing.

All writing is designed.

What is the best way to use visuals in an essay or transform your work from paper to digital presentation? How do you compose a website or a video-- and what if you have to work with others to do it? With new case studies and real-world examples, Writer/Designer helps you answer these questions, to help you create projects for any situation and any audience.

E-book

Read online (or offline) with all the highlighting and notetaking tools you need to be successful in this course.

Learn More

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 Isn't 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

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.


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