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| Preface | |
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| Rewrite before Writing | |
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| Why Do We Resist Rewriting? | |
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| An Invitation: Write with Me | |
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| How Do You Find Something to Write About? | |
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| Brainstorming | |
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| Interview Yourself | |
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| Circle the Subject | |
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| Try Out Lines | |
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| Play with Images | |
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| Make Connections | |
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| What If | |
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| Be Specific | |
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| End-of-Chapter Interviews | |
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| Interview with a Published Writer | |
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| How to Get the Writing Done: Tricks of the Writer's Trade | |
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| Nulla Dies Sine Linea | |
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| Establish Achievable Deadlines | |
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| Break a Writing Assignment into Small Daily Tasks | |
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| Know Tomorrow's Task Today | |
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| Keep a Daybook | |
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| Rehearse | |
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| A Writer's Place | |
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| Reading for Revision | |
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| Test Readers | |
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| Where Do We Find Test Readers? | |
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| What Test Readers Do | |
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| The Danger of Test Readers | |
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| Setting the Reader's Agenda | |
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| Reading Writing in Process | |
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| Techniques of Responding | |
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| Methods of Reader Response | |
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| Rewrite with Focus | |
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| Elements of Focus | |
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| Selection | |
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| Emphasis | |
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| Clarity | |
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| Premature Focusing | |
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| How to Focus | |
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| The List | |
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| The Discovery Draft | |
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| What if I Don't Discover in My Discovery Draft? | |
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| How Do I Make an Instructor's Idea My Own? | |
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| Understand the Assignment | |
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| Interview the Assignment | |
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| Rewrite by Context | |
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| Connect | |
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| How Do I Make the Boss's Idea My Own? | |
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| Focus Repair | |
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| Diagnosis: No Focus | |
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| Testing Your Focus | |
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| If the Diagnosis Is Positive | |
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| Say One Thing | |
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| How Can I Find That One Thing? | |
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| But What about All the Other Good Stuff? | |
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| Frame Your Meaning | |
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| What to Leave Out | |
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| What to Keep In | |
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| Set the Distance | |
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| When to Use Close-ups | |
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| When to Step Back | |
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| When to Zoom | |
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| Interview with a Published Writer | |
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| Rewrite with Genre | |
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| Choosing the Genre | |
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| Genre Provides Meaning | |
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| The Five-Paragraph Theme | |
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| The Unshaped Material | |
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| Diagnosis: Ineffective Genre | |
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| Genre Communicates Meaning | |
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| Discovering the Genre for the Draft | |
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| The Internal Genre | |
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| The External Genre | |
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| The Essential Narrative | |
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| Narrative's Clock | |
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| Questions Answered: Questions Asked | |
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| Walking Beside the Reader | |
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| Reading the Listener | |
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| Entertaining the Reader | |
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| Design Your Own Genre | |
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| The Discovered Genre | |
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| The Invented Genre | |
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| Create an Effective Design | |
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| What Is Saved | |
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| What Is Discarded | |
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| Case History of a Student Writer | |
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| Rewrite with Structure | |
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| Diagnosis: Disorder | |
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| Answer the Reader's Questions | |
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| Outline After Writing | |
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| Expose the Structure of a Draft | |
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| Outline After Writing | |
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| Adapt the Structure | |
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| Redesign the Structure | |
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| Interview with a Student Writer | |
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| Rewrite with Documentation | |
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| Diagnosis: Too Little Information | |
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| The Writer's Eye | |
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| The Importance of Information | |
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| Provides Reader Satisfaction | |
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| Establishes Authority | |
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| Produces Lively Writing | |
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| The Qualities of Effective Information | |
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| Accuracy | |
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| Specificity | |
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| Significance | |
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| Fairness | |
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| The Basic Forms of Information | |
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| Where Do You Find Information? | |
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| Memory | |
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| Observation | |
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| Internet | |
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| Interview | |
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| Library | |
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| Attribution | |
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| Writing with Information | |
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| The Craft of Selection | |
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| Style | |
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| Interview with a Student Writer | |
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| Rewrite to Develop | |
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| Diagnosis: Superficial | |
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| Techniques of Development | |
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| Develop with Information | |
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| Develop with Authority | |
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| Develop with Clarity | |
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| Put Meaning in Context | |
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| Rewriting Starts with Rereading | |
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| Read Fragments | |
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| Read What Isn't Written | |
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| Problem: No Territory | |
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| Solution | |
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| Problem: No Surprise | |
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| Solution | |
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| Problem: No Writer | |
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| Solution | |
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| Problem: No Respect | |
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| Solution | |
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| Problem: Too Little | |
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| Solution | |
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| Problem: Too Much | |
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| Solution | |
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| Problem: Too Private | |
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| Solution | |
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| Problem: No Significance | |
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| Solution | |
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| Problem: No Connection | |
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| Solution | |
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| Rewrite within the Draft | |
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| Emphasize the Significant | |
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| Pace and Proportion | |
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| Length | |
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| Rewrite by Ear | |
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| What Is Voice? | |
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| Hearing Your Own Writing | |
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| Diagnosis: No Voice | |
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| Hearing the Writer's Voice | |
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| Hearing Your Own Voice | |
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| Your Language or Mine? | |
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| The Importance of Voice | |
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| The Expected Voice | |
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| The Formal Voice | |
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| The Informal Voice | |
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| Genre Voices | |
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| The Voice of the Draft | |
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| Case History of a Professional Writer | |
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| Rewrite with Clarity | |
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| Twenty Ways to Unfinal a Draft | |
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| The Attitude of the Editing Writer | |
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| Writing Is Editing | |
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| Imagine the Reader | |
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| My Ear Is a Better Editor Than My Eye | |
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| The Draft Will Tell You What It Needs | |
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| Welcome Surprise | |
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| Language Is Alive and Changing | |
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| Accept Limitations | |
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| Establish Achievable Standards | |
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| Interview Your Draft | |
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| Solutions to Common Editing Problems | |
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| How Do I Recognize Surprise? | |
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| How to Read to Edit | |
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| How to Edit a Boring Draft so It Isn't | |
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| The Craft of Editing | |
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| The Tools of Revision | |
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| A Student Case History | |
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| The Student's Original Draft | |
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| A Professional's Editing | |
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| The Student's Reaction to Professional Editing | |
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| The Student's Revision | |
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| The Craft of Letting Go | |
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| Why Writers Don't Let Go | |
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| Fear of Exposure | |
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| Obsession with Correctness | |
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| Continuing Discovery | |
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| How to Let Go | |
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| Deadlines | |
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| Collaboration | |
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| Decreased Discovery | |
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| When You Let Go | |
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| Readers Make the Draft Theirs | |
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| Free to Write | |
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| Index | |