Soundwriting
A Guide to Making Audio Projects
  • Publication Date: November 30, 2022
  • ISBN: 9781554815111 / 1554815118
  • 250 pages; 6" x 9"

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Ebook will also be available for purchase upon publication.

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Soundwriting

A Guide to Making Audio Projects

  • Publication Date: November 30, 2022
  • ISBN: 9781554815111 / 1554815118
  • 250 pages; 6" x 9"

Written in an encouraging and accessible way, this textbook is about how to compose with sound—to make powerful soundwriting like podcast episodes, audio essays, personal narratives, and documentaries. Using ideas and language from rhetoric and writing studies as well as the authors’ personal experiences with soundwriting, this book teaches soundwriters how to approach the world with a listening ear and body, determine a writing process that feels right, target the perfect audience, use such rhetorical tools as music and sound effects, and work in an audio editor.

The many exercises throughout the book and the supportive resources on the companion website will further help budding makers to strengthen their skills and their understanding of what it takes to make compelling audio projects.

Chapter 1: Sound, Soundwriting, and Rhetoric
Interlude 1: Revising a Written Memoir into Soundwriting: How Kyle Composed “Pincushion”

Chapter 2: Listen Like a Soundwriter
Interlude 2: Activating Rhetorical and Genre Awareness To Make Soundwriting: How Tanya Composed “Peaceful Warriors”

Chapter 3: A Toolbox of Choices
Interlude 3: Podcasting with a Partner: How Kyle Composed “Grumble, Grumble”

Chapter 4: Planning and Gathering Sounds
Interlude 4: Working Within Constraints at the Transom Traveling Workshop: How Tanya Composed “Play it Loud”

Chapter 5: Editing, Revising, and Sharing

Tanya K Rodrigue is Associate Professor of Writing and Rhetoric at Salem State University. Kyle D Stedman is Associate Professor of English at Rockford University.

  • ● Written in a playful, engaging, and accessible voice
  • ● The first textbook on audio work grounded in rhetoric and composition
  • ● Draws on multiple scholars’ work in composition and rhetoric
  • ● Student activities called “Try-Its” throughout the book that can be used as in-class activities, homework assignments, or can be adapted for high-stakes assignments
  • ● Interludes between each chapter give readers a chance to read extended personal narratives from the authors about their own soundwriting experiences
  • ● A supplemental companion website with resources such as documents to support the soundwriting process, links to websites that host sounds that can be downloaded, and audio-editing tutorial videos
  • ● Affordable price
  • ● Flexible for different audiences—designed for university students in all levels of rhetoric and writing courses, but also applicable to any class assigning work in audio production and to beginning podcasters outside of the classroom
  • ● Can productively be read in order or out-of-order, using numerous cross-references throughout to draw connections between chapters
  • ● Consistent attention to accessibility throughout, with exercises that work for hearing, hard-of-hearing, and d/Deaf people, and with attention to transcripts and full-body forms of listening