Neither modern nor ancient teachers of Rhetoric have ever provided a specific process for creating newness in writing. A new e-book, ‘The Secret DNA of Writing Essays – And Everything Else’, claims to supply such a process for creating new ideas, a system called NewView.
Provo, UT – February 23, 2010 (PressReleasePivot) — The CEO of NewView Options, Bill Drew, recently published his new e-book, ‘The Secret DNA of Writing Essays – And Everything Else.’ And in the process of researching the history of writing and the history of Rhetoric, which are closely intertwined, Drew came to the conclusion that Rhetoric and those who are committed to it are completely faking it when they talk about generating newness in writing.
But writing teachers, such as English teachers at the college level as well as in public schools K-12, are constantly demanding something new, aren’t they, Mr. Drew? “As a matter of fact, that’s true. They constantly demand that their students avoid cliches and stock phrases and say something new. But the sad fact is that they never explain how to avoid cliches and stock phrases, and they never define newness so you know when you’ve got it. Most importantly, they never give you a process for generating or making newness. Despite all that, nobody seems to notice this incredible lack. It’s puzzling.”
Drew went on to explain that, because everyone is so caught up in trying to understand all those endless, mindless categories of Rhetoric ( http://bit.ly/AristotlesRhetoric ) and how they apply to writing, that nothing else seems to matter to those steeped in Rhetoric.
He told about his experience in visiting two different universities and conversing with the head of the English Composition section at each of them. In both cases, when he began explaining his NewView approach to teaching newness in writing, he was assured that textbooks already do teach newness and how to get it. In each case, he was referred to a very popular text, They Say, I Say ( http://bit.ly/TheySayISayReview ) , and was told that it does a very good job of teaching how to create newness.
Drew wasn’t familiar with the book, so, after the second recommendation, he immediately went out and bought a copy. He read it from cover to cover and could find no evidence of a process for creating or generating newness. “In fact,” Drew says, “although I found it an excellent book for what it does do, on page 11 of They Say, I Say I found an actual, point-blank denial – get that? a straightforward denial – about generating newness.
“Let me quote,” Drew insisted, “so you’ll know I’m not distorting anything: ‘Furthermore, these templates do not dictate the content of what you say, which can be as original as you can make it, but only suggest a way of formatting how you say it.’ Let me repeat that last part: ‘only suggest a way of formatting how you say it.’ Clearly, templates and formatting have to do only with forms, which can be very useful, but they should never be confused with the new content they are being used to introduce.” Drew concluded that either those two heads of composition departments were blindly taking somebody else’s word for it – or they couldn’t read very well.
Drew said some other books they suggested were a little closer to newness, but none of those, either, did more than point to some essays or articles that said something new and then said, in effect, ‘Do something like that’ without giving readers an actual process for doing it.
“Admitting that newness is important is not the same as showing how to get newness,” Drew pointed out, “and neither modern writing teachers nor ancient teachers of Rhetoric show how to create newness. Some supposed ‘experts’ point to Aristotle’s ‘Commonplaces’ or ‘Topics’ as a source for creating newness, but they appear to be ignorant of what Socrates said in Plato’s Phaedrus: ‘…when you leave the commonplaces, then there may be some originality’ ( http://bit.ly/SocratesCommonplacesQuote ), as Hugh Blair took pains to point out in his twenty-third lecture.”
Drew went on to explain that his book defines “newness” and “oldness”, shows how their respective five sets complement each other like two strands of DNA, and demonstrates how to use that synthesis to create newness in essays and other types of writing, such as business ads. “Even fiction can’t help but use the OldView – NewView relationship – it’s a Universal Law, you see – and I show a bit of how that works in another e-book I’m publishing in the next day or two, ‘The Secret DNA of Analyzing Short Stories’. In the next couple of weeks, I’ll follow that with ‘The Secret DNA of Analyzing Novels’, which is just fascinating. NewView concepts open up a whole new world in literary analysis.”
Drew’s e-book, ‘The Secret DNA of Writing Essays – And Everything Else’, is available now online at http://bit.ly/BuySecretDNABook for $12.50. It is also available on Amazon.com as a Kindle e-book for $9.50. The companion software, NewView Essay Services, which automates the thesis-making process in ‘Secret DNA’, is available at http://bit.ly/SecretDNASoftware on a subscription basis for 3-, 6-, and 12-month terms ($15.50, $20.50, $30.50). Drew’s newest e-book, ‘The Secret DNA of Analyzing Short Stories’, will soon be available for $6.50 on his website.
About NewView Options:
Founded in 2008, NewView Options is a Provo, UT, firm specializing in the teaching and training of writing, for both beginners and the more advanced. The company is focused on promoting its propriety NewView approach to writing, communications, and teaching. NewView Options provides Education Discount rates for school districts. Call 1-801-373-0447, visit http://secretdnaofwritingessays.com/, or e-mail firstname.lastname@example.org.
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