On a separate page (2 pages min.) provide a summary of Chapter 10. 50 pts
Analyzing and Composing
About College Writing 1 The Top Twenty: A Quick
Guide to Troubleshooting Your Writing
2 Expectations for College Writing
3 Oral and Multimedia Assignments
student presentation 4 Design for College Writing
The Writing Process 5 Writing Situations 6 Exploring Ideas 7 Planning and Drafting 8 Developing Paragraphs 9 Reviewing and Revising 10 Editing and Reflecting revised student draft student statement
Critical Thinking and Argument 11 Critical Reading 12 Analyzing Arguments student analysis 13 Constructing Arguments student essay
Research 14 Preparing for a Research
Project 15 Doing Research 16 Evaluating Sources and
Taking Notes 17 Integrating Sources and
Avoiding Plagiarism
18 Writing a Research Project
p ag
es 161–213 p
ag es 43 –111
p ag
es 1– 42 p
ag es 113 –160
QUICK ACCESS MENU
Resources
MLA Documentation 48 MLA Style for In-Text
Citations 49 Explanatory and Bibliographic
Notes 50 List of Works Cited 51 student essay, mla style
APA, Chicago, and CSE Documentation 52 APA Style student essay, apa style 53 Chicago Style student essay, chicago style 54 CSE Style student proposal, cse style
For Multilingual Writers 55 Writing in U.S. Academic
Genres 56 Clauses and Sentences 57 Nouns and Noun Phrases 58 Verbs and Verb Phrases 59 Prepositions and
Prepositional Phrases
Writing in the Disciplines 60 Academic Work in Any
Discipline 61 Writing for the Humanities student essay 62 Writing for the Social Sciences student report 63 Writing for the Natural and
Applied Sciences student lab report 64 Writing for Business student documents
p ag
es 577 – 623 p
ag es 477 – 545
p ag
es 425 – 475 p
ag es 547 – 576
Usage and Style
Language 19 Writing to the World 20 Language That Builds
Common Ground 21 Language Variety 22 Word Choice and Spelling 23 Glossary of Usage
Sentence Style 24 Coordination,
Subordination, and Emphasis
25 Consistency and Completeness
26 Parallelism 27 Shifts 28 Conciseness 29 Sentence Variety
Sentence Grammar 30 Basic Grammar 31 Verbs 32 Subject-Verb Agreement 33 Pronouns 34 Adjectives and Adverbs 35 Modifier Placement 36 Comma Splices and Fused
Sentences 37 Sentence Fragments
Punctuation and Mechanics 38 Commas 39 Semicolons 40 End Punctuation 41 Apostrophes 42 Quotation Marks 43 Other Punctuation 44 Capital Letters 45 Abbreviations and Numbers 46 Italics 47 Hyphens
p ag
es 367 – 424 p
ag es 253 –281
p ag
es 215 –252 p
ag es 283 – 365
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The EVERYDAY
Writer With Exercises
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The EVERYDAY
Writer With Exercises
Fourth Edition
BEDFORD / ST. MARTIN’S Boston ◆ New York
Andrea A. Lunsford STANFORD UNIVERSITY
A section for multilingual writers with
Paul Kei Matsuda ARIZONA STATE UNIVERSITY
Christine M. Tardy DEPAUL UNIVERSITY
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For Bedford / St. Martin’s
Senior Developmental Editor: Carolyn Lengel Senior Production Editor: Harold Chester Assistant Production Manager: Joe Ford Senior Marketing Manager: John Swanson Art Director: Lucy Krikorian Text Design: Anne Carter Copy Editor: Wendy Polhemus-Annibell Photo Research: Martha Friedman, Connie Gardner Cover Design: Donna Lee Dennison Cover Art and Illustrations: Eric Larsen Composition: Pre-Press PMG Printing and Binding: Quebecor World Taunton
President: Joan E. Feinberg Editorial Director: Denise B. Wydra Editor in Chief: Karen S. Henry Director of Development: Erica T. Appel Director of Marketing: Karen R. Soeltz Director of Editing, Design, and Production: Marcia Cohen Assistant Director of Editing, Design, and Production: Elise S. Kaiser Managing Editor: Shuli Traub
Library of Congress Control Number: 2009928112
Copyright © 2010 (APA update), 2009, 2005, 2001, 1997 by Bedford/St. Martin’s All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except as may be expressly permitted by the applicable copyright statutes or in writing by the Publisher.
Manufactured in the United States of America.
5 4 3 2 1 0 f e d c b a
For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000)
ISBN-10: 0-312-66490-7; ISBN-13: 978-0-312-66490-9
Acknowledgments
Acknowledgments and copyrights appear at the back of the book on pages 624 –625, which constitute an extension of the copyright page.
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How to Use This Book
The Everyday Writer provides a “short and sweet” writing reference you can use easily on your own — at work, in class, even on the run. Small enough to tuck into a backpack or briefcase, this text has been designed to help you find information quickly, efficiently, and easily. I hope that this book will prove to be an everyday reference — and that the follow- ing tips will lead you to any information you need.
Ways into the book
QUICK ACCESS MENU. Inside the front cover you’ll find a list of the book’s contents. Once you locate a general topic on the quick access menu, flip to the tabbed section of the book that contains information on the topic, and check the menu on the tabbed divider for the exact page.
USER-FRIENDLY INDEX. The index lists everything covered in the book. You can look up a topic either by its formal name (ellipses, for example) or, if you’re not sure what the formal name is, by a familiar word you use to describe it (such as dots).
BRIEF CONTENTS. Inside the back cover, a brief but detailed table of con- tents lists chapter titles and major headings.
GUIDE TO THE TOP TWENTY. The first tabbed section provides guidelines for recognizing, understanding, and editing the most common errors in student writing today. This section includes brief explanations, hand- edited examples, and cross-references to other places in the book where you’ll find more detail.
CLEAR ADVICE ON RESEARCH AND DOCUMENTATION. Easy-to-follow source maps walk you step-by-step through the processes of selecting, evaluating, using, and citing sources. Documentation models appear in two tabbed sections — gold for MLA style and white for APA, Chicago, and CSE styles — with the different documentation styles color-coded in these sections.
REVISION SYMBOLS. If your instructor uses revision symbols to mark your drafts, you can consult the list of symbols at the back of the book and its cross-references to places in the book where you’ll find more help.
GLOSSARY OF USAGE. Chapter 19 gives quick advice on commonly con- fused and misused words.
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vi How to use this book
Ways to navigate the pages
GUIDES AT THE TOP OF EVERY PAGE. Headers tell you what chapter or subsection you’re in, the chapter number and section letter, the name of the tab, and the page number.
“AT A GLANCE” BOXES. These boxes at the beginning of most chap- ters — and elsewhere in the book as well — help you check your drafts with a critical eye and revise or edit.
BOXED TIPS THROUGHOUT THE BOOK.
• Tips on academic language, concepts, and style. “Talking the Talk” and “Talking about Style” boxes help you make sense of how writing works in the academic world and help you make stylistic choices for various kinds of writing — in communities, jobs, and disciplines.
• Tips for multilingual writers. Advice for multilingual writers appears in a separate tabbed section and in boxes throughout the book. You can also find a list of the topics covered, including language-specific tips, at the back of the book.
• Tips for considering disabilities. These boxes, which also ap- pear throughout the book, help you make your work accessible to readers with disabilities. If you’re a writer with a disability, these boxes also point out resources and strategies you may want to use.
• Tips on common assignments. Advice about dealing with the most common assignments in first-year writing — and in other disciplines — appears in boxed tips throughout the book.
HAND-EDITED EXAMPLES. Many examples are hand-edited in blue, allowing you to see the error and its revision at a glance. Pointers and boldface type make examples easy to spot on the page.
CROSS-REFERENCES TO THE WEB SITE. The Everyday Writer Web site expands the book’s coverage. The cross-references to the Web site point you to practical online resources — tutorials, interactive exer- cises, model papers, research and documentation help, and more.
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308 Grammar Adjectives and adverbs34b
AT A GLANCE
• Scrutinize each adjective and adverb. Consider synonyms for each word to see whether you have chosen the best word possible.
• See if a more specific noun would eliminate the need for an adjective (mansion rather than enormous house, for instance). Do the same with verbs and adverbs.
• Look for places where you might make your writing more specific or vivid by adding an adjective or adverb.
• Check that adjectives modify only nouns and pronouns and that adverbs modify only verbs, adjectives, and other adverbs. (34b) Check especially for proper use of good and well, bad and badly, real and really. (34b and c)
• Make sure all comparisons are complete. (34c)
Editing Adjectives and Adverbs
Adverbs to modify verbs, adjectives, and adverbs
In everyday conversation, you will often hear (and perhaps use) adjec- tives in place of adverbs. For example, people often say go quick instead of go quickly. When you write in standard academic English, however, use adverbs to modify verbs, adjectives, and other adverbs.
carefully. � You can feel the song’s meter if you listen careful.
^really � The audience was real disappointed by the show.
^
34b
Using Adjectives with Plural Nouns
In Spanish, Russian, and many other languages, adjectives agree in number with the nouns they modify. In English, adjectives do not change number this way: the kittens are cute (not cutes).
FOR MULTILINGUAL WRITERS
bedfordstmartins.com/everydaywriter For exercises, go to Exercise Central and click on Adjectives and Adverbs.D
viiHow to use this book
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3
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Preface
Today, perhaps more than ever before, everyone can be a writer — every day. From contributing entries to Wikipedia to blogging, texting, and posting to YouTube and Facebook, student writers are participating widely in what philosopher Kenneth Burke calls “the conversation of humankind.” As access to new writing spaces grows, so too do the po- tential audiences: many writers, for example, are in daily contact with people around the world, and their work goes out to millions. In such a time, writers need to think more carefully than ever about how to craft effective messages and how best to represent themselves to others.
These ever-expanding opportunities for writers, as well as the chal- lenges that inevitably come with them, have inspired this edition of The Everyday Writer — from the focus on thinking carefully about audience and purposes for writing and on attending to the “look” of writing, to the emphasis on the ways writing works across disciplines, to the ques- tions that new genres and forms of writing raise about citing and docu- menting sources and about understanding and avoiding plagiarism. What remains constant is the focus on the “everydayness” of writing and on down-to-earth, practical advice for how to write well in a multi- tude of situations.
What also remains constant is the focus on rhetorical concerns. In a time of such challenging possibilities, taking a rhetorical perspective is particularly important. Why? Because a rhetorical perspective rejects either/or, right/wrong, black/white approaches to writing in favor of asking what choices will be most appropriate, effective, and ethical in a given writing situation. A rhetorical perspective also means paying careful attention to the purposes we want to achieve and the audiences we want to address. Writers today need to maintain such a rhetorical perspective every single day, and The Everyday Writer, Fourth Edition, provides writers with the tools for doing so.
A note about MLA style
As you may know, the Modern Language Association publishes two different sets of guidelines: the MLA Handbook for Writers of Research Papers, Sixth Edition (2003), for student writers; and the MLA Style Manual, Third Edition (2008), for scholars and professional writers. MLA has recommended that undergraduate writers continue to fol- low the guidelines outlined in the sixth edition of the MLA Handbook until the seventh edition is published in 2009. The Everyday Writer fol- lows that recommendation.
However, if you wish to follow the MLA Style Manual’s guidelines, you can request free copies of Documenting Sources: Supplement for Lunsford
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Handbooks (ISBN-10: 0-312-55455-9 or ISBN-13: 978-0-312-55455-2). Students and instructors can also download a free .pdf file of this booklet at bedfordstmartins.com/everydaywriter.
Highlights
ATTENTION TO GOOD WRITING, NOT JUST TO SURFACE CORRECTNESS. The Everyday Writer helps students understand that effective texts follow conventions that always depend on their audience, situation, and discipline.
HELP FOR THE MOST COMMON WRITING PROBLEMS. A new nationwide study that I conducted with Karen Lunsford — revisiting the original 1986 research that Bob Connors and I conducted on student writing — shows the problems U.S. college students are most likely to have in their writing today. This book’s first chapter presents a quick guide to troubleshooting the Top Twenty — with examples, explanations, and information on where to turn in the handbook for more detailed infor- mation. Additional findings from the study inform advice throughout the book.
UP-TO-DATE ADVICE ON RESEARCH AND DOCUMENTATION. As best prac- tices for research continue to evolve, so does The Everyday Writer. In this edition, you’ll find integrated coverage of library and online research to help students find authoritative and credible information in any medium, plus advice on integrating sources, avoiding plagiarism, us- ing social bookmarking tools for research, and citing sources in MLA, APA, Chicago, and CSE documentation styles. Visual source maps in all four documentation sections show students how to evaluate, use, and document print and online sources.
COMPREHENSIVE COVERAGE OF CRITICAL THINKING AND ARGUMENT. My work on Everything’s an Argument has strengthened my belief that argu- ment is integral to many kinds of writing, and I have expanded the cov- erage of critical thinking and argument in this edition and placed them in a separate tab to make the information even easier to find and use. Chapters 11–13 offer extensive advice on critical reading and analysis of both visual and verbal arguments, instruction on composing argu- ments, and two complete student essays.
EXPANDED HELP FOR WRITING IN THE DISCIPLINES. Along with strategies for understanding discipline-specific assignments, vocabulary, style, and use of evidence, this edition offers more student writing samples than ever before, including research projects in MLA, APA, Chicago, and CSE styles, business documents, and sample writing from introductory humanities, social sciences, and natural sciences courses.
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New to this edition
New advice based on Andrea Lunsford’s teaching and research
UNIQUE COVERAGE OF LANGUAGE AND STYLE. Unique chapters on lan- guage help students think about language in context and about the con- sequences that language choices have on writers and readers. Boxed tips throughout the book help students communicate effectively across cultures — and use varieties of language both wisely and well.
INTEGRATED EXERCISES. Exercises to help students practice writing, re- vising, thinking critically, and editing appear throughout the book. (An answer key appears in the Instructor’s Notes.)
AN INVITING DESIGN. The Everyday Writer makes information easy to find and appealing to read.
x Preface
• New “Talking the Talk” boxes answer real questions students ask about academic concepts.
• New “Common Assignments” boxes provide tips for succeeding with the kinds of writing projects and assignments that research shows students today are most likely to encounter in their classes.
• A new chapter on expectations for college writing helps students grapple with academic work.
Conventions TALKING THE TALK
“Aren’t conventions really just rules with another name?” Not entirely. Conventions — agreed-on language practices of grammar, punctuation, and style — convey a kind of shorthand information from writer to read- er. In college writing, you will want to follow the conventions of standard academic English unless you have a good reason to do otherwise. But unlike hard-and-fast rules, conventions are flexible; a convention appro- priate for one time or situation may be inappropriate for another. You may even choose to ignore conventions to achieve a particular effect. (You might, for example, write a sentence fragment rather than a full sentence, such as the Not entirely at the beginning of this box.) As you become more experienced and confident in your writing, you will develop a sense of which conventions to apply in different writing situations.
You are almost certain to get some form of analysis assignment during your first year of college. One common variety is the rhetorical analy- sis assignment, which essentially answers two big questions — What is the purpose of the text you are analyzing? How is that purpose achieved? — and focuses on how the text gets its meaning across.
SPECIAL CONSIDERATIONS OF A RHETORICAL ANALYSIS ASSIGNMENT
• Identify the purpose or purposes of the text. If the text has multiple purposes, point out any conflicts.
• Identify the primary audience for the text and any secondary au- diences, and explore how the text meets audience expectations or needs.
• Examine the author’s stance or attitude toward the topic: is it favor- able, critical, suspicious, neutral, or mocking? Identify parts of the text where such attitudes are evident, and show how they work to appeal to the audience.
• Explain how the text uses deliberate strategies (such as tone, word choice, sentence structure, design, special effects, choice of medium, choice of evidence, and so on) to achieve its purposes.
COMMON ASSIGNMENTS
Rhetorical Analysis
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• New and expanded coverage of reviewing and revising clarifies the relationship between review and revision, with advice on how to offer useful comments on peers’ writing and how to benefit from com- ments from both peers and instructors.
• A new section on reflecting on writing guides students in thinking back on their completed writing projects. A student reflective essay models the writing students are often asked to do for portfolio assessment.
9 Reviewing and Revising 82 a Reread 82 b Get responses from peers 84 c Consult instructor comments 88 d Revise 91
A student’s reflective statement
Here is a shortened version of the cover letter that James Kung wrote to accompany his first-year writing portfolio.
December 6, 2007
Dear Professor Ashdown:
“Writing is difficult and takes a long time.” This simple yet powerful
statement has been uttered so many times in our class that it has
essentially become our motto. During this class, my persuasive writing
skills have improved dramatically, thanks to many hours spent writing,
revising, polishing, and thinking about my topic. The various drafts,
revisions, and other materials in my portfolio show this improvement.
101Reflect Writ Process10b
James Kung
Student Writer
Reflective Statements
Research done for this book shows that one of the most common writ- ing assignments in college today is a reflective statement — in the form of a letter, a memo, or a home page — that explains and analyzes the contents of a portfolio.
SPECIAL CONSIDERATIONS OF A REFLECTIVE ASSIGNMENT
• Think carefully about the overall impression you want the portfolio to create, and make sure that the tone and style of your reflective statement set the stage for the entire portfolio.
• Unless otherwise instructed, include in your cover letter a descrip- tion of what the portfolio contains and explain the purpose of each piece of writing you have chosen.
• Reflect on the strengths and weaknesses of your writing, using spe- cific passages from assignments in your portfolio to provide evi- dence for each point you make.
• Reflect on the most important things you have learned about writ- ing and about yourself as a writer.
• Conclude with plans for ongoing improvement in your writing.
COMMON ASSIGNMENTS
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• Integrated coverage of writing and media helps students understand that smarter rhetorical choices produce better writing, no matter what the genre or format.
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• New coverage for multilingual writers clarifies U.S. academic writing for every student with a multilingual background.
493
Xiaoming Li, now a college English teacher, says that before she came to the United States as a graduate student, she had been a “good writer” in China — in both English and Chinese. Once in the United States, however, she struggled to grasp what her teachers expected of her col- lege writing. While she could easily use grammar books and dictionar- ies, her instructors’ unstated expectations seemed to call for her to write in a way that was new to her.
Of course, writing for college presents many challenges; such writ- ing differs in many ways from high school writing as well as from per- sonal writing like text messaging or postings to social networking sites. If you grew up speaking and writing in other languages, however, the transition to producing effective college writing can be even more com- plicated. Not only will you have to learn new information and new ways of thinking and arguing, but you also have to do it in a language that may not come naturally to you — especially in unfamiliar rhetori- cal situations.
U.S. academic writing
The expectations for college writing are often taken for granted by in- structors. To complicate the matter further, there is no single “correct” style of communication in any country, including the United States. Ef- fective oral styles differ from effective written styles, and what is con- sidered good writing in one field of study is not necessarily appropriate in another. Even the variety of English often referred to as “standard” covers a wide range of styles (see Chapter 21). In spite of this wide vari- ation, several features are often associated with U.S. academic English:
• conventional grammar, spelling, punctuation, and mechanics • organization that links ideas explicitly
55a
