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Full Chapter Strategies For Successful Writing A Rhetoric Research Guide Reader and Handbook Rental Edition 12Th Edition Reinking PDF
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Strategies for
Successful
Writing
A Rhetoric, Research Guide, Reader, and Handbook
TWELFTH EDITION
Strategies for
Successful
Writing
A Rhetoric, Research Guide,
Reader, and Handbook
James A. Reinking
Acknowledgements of third party content appear on appropriate page within text, which constitutes an extension of this
copyright page.
Copyright © 2020, 2017, 2014 by Pearson Education, Inc. 221 River Street, Hoboken, NJ 07030. All Rights Reserved.
Printed in the United States of America. This publication is protected by copyright, and permission should be obtained
from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by
any means, electronic, mechanical, photocopying, recording, or otherwise. For information regarding permissions, request
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PEARSON, ALWAYS LEARNING, and Revel are exclusive trademarks in the U.S. and/or other countries owned
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between the owner and Pearson Education, Inc. or its affiliates, authors, licensees or distributors.
Names: Reinking, James A., author. | Von der Osten, Robert, author.
Title: Strategies for successful writing : a rhetoric, research guide,
reader, and handbook / James A. Reinking, Robert Von Der Osten.
Description: Twelfth edition. | Boston : Pearson Education, Inc., 2018. |
Includes index.
Identifiers: LCCN 2018017201| ISBN 9780135203415 (Student edition) | ISBN
0135203414 (Student edition)
Subjects: LCSH: English language–Rhetoric–Handbooks, manuals, etc. |
English language–Grammar–Handbooks, manuals, etc. | Report
writing–Handbooks, manuals, etc. | College readers.
Classification: LCC PE1408 .R426 2018 | DDC 808/.0427–dc23 LC record available at
https://lccn.loc.gov/2018017201
Rental Edition
ISBN-10: 0-13-520341-4
ISBN-13: 978-0-13-520341-5
Instructor’s Review Copy
ISBN-10: 0-13-520349-X
ISBN-13: 978-0-13-520349-1
Loose-Leaf Edition
ISBN-10: 0-13-520351-1
ISBN-13: 978-0-13-520351-4
Access Code Card
ISBN-10: 0-13-516479-6
ISBN-13: 978-0-13-516479-2
Revel Combo Card
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ISBN-13: 978-0-13-525990-0
13 Comparison:
Showing Relationships 230
vi
Julie Mehretu Reaches for New Heights Why Colleges Have a Right to Reject
by Hillary M. Sheets 497 Hateful Speakers Like Ann Coulter
by Aaron R. Hanlon 570
Illustration
No One Is Prepared to Stop the Robot
Accidental Discoveries by Lexi Krock 501
Onslaught. So What Will We Do When
If You’re Happy and You Know It, Must I It Arrives? by Steve LeVine 574
Know, Too? by Judith Newman 506
Workers Refuse to Rage Against the Machine:
A Pain Pill Among Friends: The Quick and Some Employees Embrace Automation,
Quiet Way Young People Are Getting and Keep Their Job by Nathan Bomey 581
Hooked on Opioids by Elizabeth Millard 509
Classification
A Tale of Four Learners by Bernice McCarthy 515 Thematic Table of Contents
7 Types of Employees to Weed Out Who We Are
by Jeff Schmitt 521 “The Cigarette” from Persepolis: The Story
What Kind of Procrastinator Are You? of a Childhood by Marjane Satrapi 473
by Alina Vrabie 524 “Aunt Parnetta’s Electric Blisters”
Comparison by Diane Glancy 468
Grant and Lee: A Study in Contrasts “A Pain Pill Among Friends: The Quick and
by Bruce Catton 528 Quiet Way Young People Are Getting
What’s the Key to Turning Around Rust Hooked on Opioids” by Elizabeth Millard 509
Belt Cities? by Alana Semuels 531 “A Tale of Four Learners” by Bernice McCarthy 515
Are Video Games Now More Sophisticated “What Kind of Procrastinator are You?”
Than Cinema? by Jane Graham 533 by Alina Vrabie 524
“What’s the Key to Turning Around Rust
Cause and Effect Belt Cities?” by Alana Semuels 531
For Cops, Citizen Videos Bring Increased
“Why We Keep Stuff: If You Want to
Scrutiny. Are Incidents Caught on Tape
Understand People, Take a Look at
Hindering Officers? by Kevin Johnson 538
What They Hang on To” by Caroline Knapp 545
Your Addiction to Social Media Is No
“From E. B. White to Colin Kaepernick: What
Accident by Julian Morgans 542
Does Democracy Mean Today?”
Why We Keep Stuff: If You Want to Understand by Rick Hampson 553
People, Take a Look at What They Hang on
“Freedom of Speech on Campus Is an Essential
To by Caroline Knapp 545
Part of College” by Elliot Hirshman 567
Definition “Why Colleges Have a Right to Reject Hateful
The Blended Economy by Marc Zwelling 549 Speakers Like Ann Coulter”
Krumping by Marti Bercaw 551 by Aaron R. Hanlon 570
From E. B. White to Colin Kaepernick: “No One Is Prepared to Stop the Robot
What Does Democracy Mean Today? Onslaught. So What Will We Do When
by Rick Hampson 553 It Arrives?” by Steve LeVine 574
Argument “Workers Refuse to Rage Against the Machine:
Some Employees Embrace Automation,
Going Nuclear by Patrick Moore 558
and Keep Their Job” by Nathan Bomey 581
Ten Reasons Why New Nuclear Was a
Mistake—Even Before Fukushima Our Relationship to Nature
by Alexis Rowell 562 “Aunt Parnetta’s Electric Blisters”
Freedom of Speech on Campus Is an by Diane Glancy 468
Essential Part of College “When the Full Moon Shines Its Magic over
by Elliot Hirshman 567 Monument Valley” by John V. Young 482
“What It Feels Like to Lie Face Down and “Your Addiction to Social Media Is No
Let a Wildfire Burn Over You” Accident” by Julian Morgans 542
by Brian Mockenhaupt 487 “The Blended Economy” by Marc Zwelling 549
“Ground-Source Heat Pumps: Mother Earth “Krumping” by Marti Bercaw 551
Will Wrap You in Warmth” by Perfect “Freedom of Speech on Campus Is an Essential
Home HVAC Design.Com 490 Part of College” by Elliot Hirshman 567
“Let’s Get Vertical!” by Beth Wald 494 “Why Colleges Have a Right to Reject
“Going Nuclear” by Patrick Moore 558 Hateful Speakers Like Ann Coulter”
“Ten Reasons Why New Nuclear Was a Mistake– by Aaron R. Hanlon 570
Even Before Fukushima” by Alexis Rowell 562
Science and Technology
Education, Learning, and Work “What It Feels Like to Lie Face Down and
“The Perfect Picture” by James Alexander Thom 466 Let a Wildfire Burn Over You”
“Aunt Parnetta’s Electric Blisters” by Brian Mockenhaupt 487
by Diane Glancy 468 “Ground-Source Heat Pumps: Mother Earth
“The Cigarette” from Persepolis: The Story of a Will Wrap You in Warmth” by Perfect Home
Childhood by Marjane Satrapi 473 HVAC Design.com 490
“Julie Mehretu Reaches for New Heights” “Accidental Discoveries” by Lexi Krock 501
by Hillary M. Sheets 497 “A Pain Pill Among Friends: The Quick and
“Accidental Discoveries” by Lexi Krock 501 Quiet Way Young People Are Getting
“A Tale of Four Learners” by Bernice McCarthy 515 Hooked on Opioids” by Elizabeth Millard 509
“What Kind of Procrastinator Are You?” “Are Video Games Now More Sophisticated
by Alina Vrabie 524 Than Cinema?” by Jane Graham 533
“Freedom of Speech on Campus Is an Essential “For Cops, Citizen Videos Bring Increased
Part of College” by Elliot Hirshman 567 Scrutiny. Are Incidents Caught on Tape
“Why Colleges Have a Right to Reject Hindering Officers?” by Kevin Johnson 538
Hateful Speakers Like Ann Coulter” “Your Addiction to Social Media Is No
by Aaron R. Hanlon 570 Accident” by Julian Morgans 542
“No One Is Prepared to Stop the Robot “Going Nuclear” by Patrick Moore 558
Onslaught. So What Will We Do When It “Ten Reasons Why New Nuclear Was a
Arrives?” by Steve LeVine 574 Mistake–Even Before Fukushima”
“Workers Refuse to Rage Against the Machine: by Alexis Rowell 562
Some Employees Embrace Automation, “No One Is Prepared to Stop the Robot
and Keep Their Job” by Nathan Bomey 581 Onslaught. So What Will We Do When
It Arrives?” by Steve LeVine 574
Popular Culture and the Arts
“Workers Refuse to Rage Against the
“The Perfect Picture” by James Alexander Thom 466
Machine: Some Employees Embrace
“The Cigarette” from Persepolis: The Story of a Automation, and Keep Their Job”
Childhood by Marjane Satrapi 473 by Nathan Bomey 581
“Julie Mehretu Reaches for New Heights”
by Hillary M. Sheets 497 Our Economy
“If You’re Happy and You Know It, Must I “7 Types of Employees to Weed Out”
Know, Too?” by Judith Newman 506 by Jeff Schmitt 521
“Are Video Games Now More Sophisticated “What’s the Key to Turning Around Rust
than Cinema?” by Jane Graham 533 Belt Cities?” by Alana Semuels 531
“Why We Keep Stuff: If You Want to Understand “Why We Keep Stuff: If You Want to Understand
People, Take a Look at What They Hang People, Take a Look at What They Hang
on To” by Caroline Knapp 545 on To” by Caroline Knapp 545
T
he twelfth edition of Strategies for Successful context and to research the roles of and expecta-
Writing: A Rhetoric, Research Guide, Reader, tions for writing in various fields and academic
and Handbook is a comprehensive text that disciplines. These features enhance the transfer
offers ample material for a full-year composition of learning from the classroom to the workplace.
course. Instructors teaching a one-term course can • An emphasis on visual rhetoric focuses on
make selections from Chapters 1 to 18, from what- multimedia approaches to writing and texts.
ever types of specialized writing suit their stu- New images appear at the start of each chapter,
dents’ needs, and from appropriate essays in the and each image is accompanied by a Journal
Reader. Activity to encourage prewriting.
Because we strongly believe that an effective
• Journal Activities across the text increase stu-
composition text should address students directly,
dent participation and offer a wide range of
we have aimed for a style that is conversational yet
prewriting prompts. The Revel version includes
clear and concise. We believe that our style invites
Shared Writing activities that allow students to
students into the book, lessens their apprehensions
collaborate on a single writing assignment.
about writing, and provides a model for their own
prose. This style complements our strong student- • The Reader has been enhanced. Nearly half of
based approach to writing, and together they help the professional selections are new to this edi-
create a text that genuinely meets students’ needs. tion, with essays reprinted from a variety of
media in a range of styles on current topics. To
acknowledge the increasing emphasis on vis-
What’s New in the ual texts and to match student interest, a selec-
Twelfth Edition tion from a graphic novel has been included.
The enthusiastic response to the eleven previ-
ous editions both by teachers and students has Classic Pedagogy
been very gratifying. The twelfth edition retains
In addition to the new features discussed above,
the many popular features of the previous edi-
the twelfth edition continues the pedagogy of pre-
tions, including the strong and consistent focus
vious editions.
on critical thinking throughout the text, and it
• Color highlighting of key passages in sample
incorporates a number of improvements sug-
texts identifies different writing strategies in
gested by users and reviewers that will consider-
action.
ably enhance the utility of the text. The following
changes are noteworthy. • Graphic organizers in the form of flowcharts
• Civil Writing is discussed in every chapter. To (found at the end of most chapters) provide
address the growing cultural challenges posed guidelines for the recursive process of devel-
by social media and the increasingly hostile oping essays.
discourse in many media, this text stresses the • Sample student essays (one in each of the writ-
importance and characteristics of civil writing ing strategies chapters) are annotated to draw
to supplement the already strong emphasis on students’ attention to writers’ strategies.
ethical writing. • Learning objectives frame each chapter’s con-
• Exploring Your Field of Writing throughout tent to guide students in achieving the goals of
the text encourages students to view writing in the chapter.
xiii
• The text provides short, relevant, and engag- and subordinating ideas and using parallelism
ing samples of the principles and writing strat- help students increase the versatility of their writ-
egies being discussed. ing. The concluding section offers practical advice
• Connected-discourse exercises remain a hall- on crafting and arranging sentences so that they
mark of the handbook. work together harmoniously. Some instructors
may wish to discuss the chapters on paragraphs
and sentences in connection with revision.
Organization Chapter 7, designed to help students improve
their writing style, deals with words and their
The text is divided into four parts: the rhetoric, the
effects. We distinguish between abstract and con-
research guide, the reader, and the handbook
crete words as well as between specific and general
terms, and we also discuss the dictionary and the-
The Rhetoric saurus. Levels of diction—formal, informal, and
The Rhetoric consists of 18 chapters, grouped into technical—and how to use them are explained, as
four parts. The first part includes four chapters. are tone, various types of figurative language, and
Chapter 1 introduces students to the purposes of irony. The chapter concludes by pointing out how
writing; the need for audience awareness, which to recognize and avoid wordiness, euphemisms,
includes a discussion of discourse communities; clichés, mixed metaphors, and sexist language.
and the qualities of good writing, including atten- The nine chapters in the third part (Chapters
tion to document design. Chapter 2 offers sugges- 8–16) feature the various strategies, or modes,
tions for effective and critical reading and thinking. used to develop papers. These strategies, which
Chapter 3 looks at planning and drafting stages. follow a general progression from less to more
Chapter 4 takes students through the various revi- complex, are presented as natural ways of think-
sion stages, starting with a systematic procedure for ing, as problem-solving strategies, and therefore as
revising the whole essay and then moving to point- effective ways of organizing writing. One chapter
ers for revising its component parts. Checklists pose is devoted to each strategy. Each chapter includes
key questions for students to consider. Chapters 3 (among other relevant topics) a section on think-
and 4 are unified by an unfolding case history that ing critically about the mode, writing in a civil
includes the first draft of a student paper, the initial manner, exploring writing in different fields,
revision marked with changes, and the final ver- considering the ethics of writing in that mode, and
sion. Notes in the margin highlight key features of critically synthesizing sources.
the finished paper. Students can relate the sequence The discussion in each chapter follows a simi-
of events to their own projects as they work lar approach: first explaining the key elements of
through the various stages. Both chapters offer sug- the strategy; next pointing out typical classroom
gestions for writing online, and Chapter 4 explains and on-the-job applications to show students its
peer evaluation of drafts, collaborative writing, and practicality; and then providing specific planning,
maintaining and reviewing a portfolio. drafting, and revising guidelines. Practical heuris-
In the second part, we shift from full-length tic questions are also posed. A complete student
essays to the elements that comprise them. Chapter essay, accompanied by questions, follows the dis-
5 first discusses paragraph unity; it then takes up the cussion section. These student essays represent real-
topic sentence, adequate development, organization, istic, achievable goals and spur student confidence,
coherence, and finally introductory, transitional, and while the questions reinforce the general principles
concluding paragraphs. Throughout Chapter 5, as of good writing and underscore the points we
elsewhere, carefully selected examples and exercises make in our discussions. Carefully chosen writing
form an integral part of the instruction. suggestions follow the questions in most chapters.
Chapter 6 focuses on strategies for creating All chapters conclude with a section titled “Criti-
effective sentences. Such strategies as coordinating cal Synthesis with Sources.” These sections explain
and illustrate how students can advance their writ- Association and current online updates as well as
ing purpose by synthesizing material from vari- the 2016 (eighth) edition of the MLA Handbook.
ous sources. Synthesis, of course, helps students Our detailed treatment in Chapters 19, 20, and 21
develop and hone their critical reading and think- should make supplemental handouts or a separate
ing skills. Furthermore, the instructor’s resource research-paper guide unnecessary.
manual, Teaching Composition with Strategies for Chapter 22 offers an in-depth discussion of inter-
Successful Writing, includes suggestions for using view, questionnaire, and direct-observation reports.
the Reader essays and writing strategies to build After pointing out the nature, usefulness, and require-
assignments around themes. ments of primary research, we explain how to plan
The fourth and final part of the Rhetoric con- and write each report, concluding with an annotated
centrates on two specialized types of college and on- student model that illustrates the guidelines.
the-job writing. Chapter 17 offers practical advice
on studying for exams, assessing test questions, and The Reader
writing essay answers. To facilitate student compre- The Reader, sequenced to follow the order of the
hension, we analyze both good and poor answers strategies presented in the Rhetoric, expands the
to the same exam question and provide an exercise text’s utility by providing a collection of 30 care-
that requires students to perform similar analyses. fully selected professional models that illustrate the
Chapter 18 focuses on writing about literature, film, various writing strategies. These readings display a
and television. The chapter focuses on plot, point wide variety of style, tone, and subject matter and
of view, character, setting, symbols, irony, theme, were originally published in a wide range of sources.
and other elements that students will most likely These essays, together with the nine student mod-
be asked to write about. For each element, we first els that accompany the various strategy chapters,
present basic features and then offer writing guide- should make a separate reader unnecessary.
lines. Diverse examples illustrate these elements. Supplementing Chapter 2 on reading strate-
The chapter distinguishes writing an explication, gies, the Reader comes with reading suggestions
a review, and a literary analysis. The chapter ends for each strategy that detail how to read the essays
with sections that detail the development of a stu- of a given type, how to read essays critically, and
dent paper and explain how to include the views of how to read the essays as a writer.
others when writing about literature. Each essay clearly illustrates the designated
pattern; each has been thoroughly checked for stu-
The Explore, Research, Write Guide dent interest; and each provides a springboard for
The Research Guide consists of four chapters. a stimulating discussion. In making our selections
Chapter 19 is a thorough and practical guide to we have aimed for balance and variety:
writing library research papers. A sample pacing 1. Some are popular classics by acknowledged
schedule not only encourages students to plan their prose masters; some, anthologized for the first
work and meet their deadlines but also enables time, are by fresh, new writers.
them to track their progress. As in Chapters 3 and
2. Some are straightforward and simple some
4, a progressive case history gradually evolves
challenging and complex.
into an annotated student paper. The chapter also
3. Some adopt a humorous, lighthearted
includes a detailed account of how to handle a
approach; some a serious, thoughtful one.
variety of quotations and avoid plagiarism.
Chapter 20 details and illustrates the correct 4. Some take a liberal stance, some a conserva-
formats for bibliographical references and in-text tive one; and some address ethnic, gender,
citations for the MLA style, and Chapter 21 does and cultural diversity.
the same for the APA systems of documentation. 5. A few are rather lengthy; most are relatively brief.
Guidelines are based on the 2009 edition of the The first essay in each strategy section is anno-
Publication Manual of the American Psychological tated in the margin to indicate the features of the
strategy. These annotations not only facilitate stu- Learn more about Revel
dent understanding but also help link the Rhetoric www.pearson.com/revel
and Reader into an organic whole. A brief biograph-
ical note about the author precedes each selection, Pearson English Assignments Library
and stimulating questions designed to enhance stu-
dent understanding of structure and strategy follow Available with your adoption of any © 2019 or
it. A journal activity before the selection encour- © 2020 Pearson English course in Revel is the
ages students to engage in prewriting before they English Assignments Library comprising 500
read the essay. In addition, a section titled “Toward essay and Shared Media prompts:
Key Insights” poses one or more broad-based ques- • A series of 300 fully editable essay assignments
tions prompted by the essay’s content. Answering invite students to write on compelling, wide-
these questions, either in discussion or writing, ranging writing topics. You can choose from an
should help students gain a deeper understanding array of writing prompts in the following gen-
of important issues. Finally, we include a writing res or methods of development: Argument/
assignment suggested by the essay’s topic. The final Persuasion; Comparison/Contrast; Critique/
selection for each strategy identifies the ways in Review; Definition; Description; Exposition;
which the essay uses multiple strategies. Illustration; Narration; Process Analysis; Pro-
posal; and Research Project. Assignments can
The Handbook be graded using a rubric based on the WPA
Outcomes for First-Year Composition. You can
The comprehensive Handbook, which features tab
also upload essay prompts and/or rubrics of
indexing on each page for easy access to all mate-
your own.
rial, consists of three parts: “Sentence Elements,”
“Editing to Correct Sentence Errors,” and “Editing • 200 Shared Media assignments ask students
to Correct Faulty Punctuation and Mechanics.” to interpret and/or produce various multime-
Explanations skirt unneeded grammatical terminol- dia texts to foster multimodal literacy. Shared
ogy and are reinforced by sets of sentence exercises. Media activities include analyzing or critiquing
We also include connected-discourse exercises— short professional videos on topics of contem-
unfolding narratives that engage and retain student porary interest; posting brief original videos
interest and therefore facilitate learning—in the or presentation slides; and sharing original
“Sentence Errors” and “Punctuation and Mechanics” images—such as posters, storyboards, concept
sections. Extra sets of 20-item exercises that parallel maps, or graphs.
those in the Handbook are available in the down-
loadable Instructor’s Manual (ISBN 9780135203361) Format Options
to instructors who adopt the book. Instructors can
Below are format options by which Strategies for
use the Handbook either as a reference guide or as a
Successful Writing is available.
basis for class discussion.
Revel Access Card
RevelTM Students can purchase a physical Revel access code
Revel is an interactive learning environment that card at their campus bookstore.
deeply engages students and prepares them for class.
INSTANT ACCESS Students can purchase access
Media and assessment integrated directly within the
directly from Pearson to start their subscription
authors’ narrative let students read, explore interac-
immediately.
tive content, and practice in one continuous learn-
ing path. Thanks to the dynamic reading experience PRINT UPGRADE Students can choose to have
in Revel, students come to class prepared to discuss, a printed loose-leaf version sent to them with free
apply, and learn from instructors and from each other. shipping.
Edwin Cummings, Bryant and Stratton College; Special thanks are also due to the outstanding
Sonia Delgado-Tall, Kennedy-King College; Lisa team at Pearson, whose editorial expertise, genial
Eutsey, Diné College; Tammy M. Forbes, Patrick guidance, and promotional efforts have been vital
Henry Community College; Anthony Gancarski, to this project: Aron Keesbury, Pearson’s Portfo-
Virginia College; Maura Irving, Lackawanna Col- lio Manager for English; Cynthia Cox, Managing
lege; Suzanne Martens, Grand Rapids C ommunity Editor for English at Ohlinger Studios; Steven
College; Arch Mayfield, Wayland Baptist Uni- Rigolosi, Development Editor and Editor-in-Chief
versity; Robin McGinnis, Daymar College Bowl- at Cambria & Calibri; Tom Stover, Project Man-
ing Green; Torria Norman, Black Hawk College; ager; and Ali Arnold, whose marketing expertise
S ummerlin Page, Central Carolina Community will help our book find its way.
College; Sarah Peters, Collin College; Philip Poul- Special thanks go to Kyra Hunting and Elyse
ter, Texas State Technical College; Jim Richey, Tyler Glass, who have provided the personal support
Junior College; Nancy M. Risch, Caldwell Com- that has made both the work of teaching as well
munity College; Kevin Sanders, University of as the editing of this book possible, and to my new
Arkansas–Pine Bluff; Arvis Scott, McLennan Com- grandson, Asher, who inspires me with the possi-
munity College; Andrea Serna, National American bility for the future.
University; Marianne Trale, Community College
of Allegheny County; Gina Wilkerson, Black Hawk J.A.R.
College; and Josh Woods, Kaskaskia College. R.v.d.O.
N
o matter what career you choose, your ability to communicate clearly and
effectively will directly affect your success. In the classroom, your instructor
will often evaluate your mastery of a subject by the papers and examinations
you write. Prospective employers will make judgments about your qualifications
and decide whether to offer you an interview on the basis of your job application
letter and résumé. On the job, you will be expected to write clear, accurate reports,
memos, and letters.
There is nothing mysterious about successful writing. It does not require a spe-
cial talent, nor does it depend on inspiration. It is simply a skill, and like any other
skill, it involves procedures that can be learned. Once you understand them and the
more you practice, the easier writing becomes.
Strategies for Successful Writing will help you become a successful writer. And
after you graduate it can serve as a useful on-the-job reference. The first, third, and
fourth chapters explore the fundamentals of writing and the general steps in plan-
ning, drafting, and revising papers. Chapter 2 will help you read more effectively
for college and show you how to read as a writer. The next three chapters focus on
paragraphs, sentences, and writing style. The next nine chapters explain the basic
writing strategies you can use for most writing projects. The final six chapters turn
to specialized writing—essay examinations, papers about literature, library research
papers, and papers based on your own original research results. The book concludes
with a Reader and, if you are using the complete version of the text, a Handbook.
From time to time you have probably had the unpleasant experience of using
textbooks that seemed to be written for instructors rather than students. In preparing
this book, we have tried never to forget that you are buying, reading, and using it.
As a result, we have written the text with your needs in mind. The book uses simple,
everyday language and presents directions in an easy-to-follow format. The chapters
on writing strategies provide examples of student essays that supplement the profes-
sional essays in the Reader. These student examples represent realistic, achievable
goals. When you compare them to the professional examples, you’ll see that students
can indeed do excellent work. We are confident that by learning to apply the prin-
ciples in this text, you will write well, too.
Here’s wishing you success!
J.A.R.
R.v.d.O.
xix
Learning Objectives
Why write? Aren’t texting, e-mail, voice mail, and smartphones dooming ordinary
writing? Not long ago, some people thought and said so, but events haven’t supported
that prediction. In fact, many forms of electronic communication, such as blogging and
tweeting, have increased the amount of writing that people do. The written word still
flourishes both on campus and in the world of work.
Writing offers very real advantages to both writers and readers:
• It gives writers time to reflect on and research what they want to communicate,
letting them shape and reshape the material to their satisfaction.
• It makes communication more precise and effective.
• It provides a permanent record of thoughts, actions, and decisions that can be
viewed by multiple readers.
• It lets us process more complex information and ideas, because we can reread
material.
What kind of writing will people expect you to do?
• At college you may be asked to write lab reports, project proposals, research
papers, essay exams, or marketing plans. Some instructors may ask you to create
webpages, blogs, or professional online posts.
• Job hunting requires application letters. On the job, you might describe the
advantages of new computer equipment, report on a conference you attend,
explain a new procedure, or suggest a new security system.
• Personally, you may need to defend a medical reimbursement, request a refund
for a faulty product, or find a solution to a personal problem.
The ability to write will help you earn better grades, land the job you want, and
advance in your career. Writing will help you create the future you want in a com-
petitive world.
When we write, it is often in response to a situation that shapes the purpose of
and audience for our writing. We rarely write in isolation. Instead, we write to others
who have an interest in our message.
Following are four common general writing purposes, two or more of which often
join forces in a single piece:
TO INFORM We all have our areas of expertise and often share that infor-
mation with one another. On a class instructional site, a student in computer
science could post a blog on how to create a webpage. In publications, a medi-
cal researcher can share her research with other doctors and other research
professionals.
TO PERSUADE You probably have strong views on many issues, and these feel-
ings sometimes impel you to try swaying your reader. In a letter to the editor, you
might attack a proposal to establish a nearby chemical waste dump. Or, alarmed by a
sharp jump in state unemployment, you might write to your state senator and argue
for a new job-training program.
TO EXPRESS YOURSELF When you text a friend, you choose words and phrases
that show who you are. By your topics, word choices, examples, and turns of phrase,
you display a bit of yourself.
5
Of all the activities associated with distracted driving, sending text
messages is the most dangerous. A person is 23 times more likely to have
a motor vehicle crash while sending a text message, than if they were only
driving. That number towers over the other activities associated with dis-
tracted driving.
more
TEXT MESSAGING Dialing 2.8X risk
MAKES A CRASH UP TO
more
Talking or listening 1.3X
23X more likely risk
more
Reaching for device 1.4X risk
Source: NHTSA.gov
7
A big part of the problem: People don’t think it’s a problem.
8
77 percent of young adults are very or somewhat confident that they can
safely text while driving. 55 percent of young adult drivers claim it’s easy to
text while they drive.
9
But it’s a big problem: Teens who text while driving spend approximately
10% of their driving time outside of their lane.
Sources: distraction.gov; textinganddrivingsafety.com
....but it is a problem.
17
There are also many different resources for parents to help educate their
kids about distracted driving. From text-free-driving pledges to drivecams that
monitor a driver’s activity and provide real-time video, there are lots of ways to
curb this growing epidemic.
Source: Based on http://www.textinganddrivingsafety.com/texting-and-driving-stats
Clearly restates the
Conclusion: It’s Dangerous! Just Don’t Do It! intent of the piece.
48%
of kids age
12–17 have
been in a car
while the driver
was texting
Clearly the purpose here is to get people not to text and drive. It uses a bold title
and visuals to catch readers’ attention. It provides clear reasons identified in bold
and supports them with evidence. It uses visuals to present data and to hold reader
attention. All the reasons focus on the same purpose: persuading readers of the
dangers of texting and driving. It ends with a bold and clear conclusion that is
memorable.
Now examine this paragraph, which does not have a specific purpose:
Imagine people so glued to their computers that they forget to eat or sleep and
even miss work. It is like a strange version of a zombie movie. What could have
eaten their brains? Video games can be addictive as players struggle to get to the
next level. Still, this negative effect is exaggerated. But there are a number of quali-
ties that make a video game player want to keep coming back to the game, and
any good game designer needs to know those qualities.
The stereotype of gamers holds that they are so glued to their computers that they
forget to eat, sleep, or work. While this stereotype is a gross exaggeration, game
designers do want their players to be hooked on their games. There are in fact sev-
eral qualities that make video players want to keep returning to a favorite game,
and any good game designer needs to know those qualities.
Face-to-Face Writing
You can observe body language and You don’t get to see how people are
vary what you are saying in response. responding.
You can respond to immediate It is hard for people to get questions
questions. to you.
There is little record of what you say. Readers can reread your text.
Once written work has left your hands, it’s on its own. You can’t call it back to clear
up a misunderstanding or adjust your tone. What this means is that as a writer, you
need to anticipate your readers’ needs and responses.
Establishing rapport with your audience is easy when you’re writing for your friends
or someone else you know a great deal about. You can then judge the likely response to
what you say. Often, though, you’ll be writing for people you know only casually or not
at all: employers, customers, fellow citizens, and the like. In such situations, you’ll need to
assess your audience before starting to write and/or later in the writing process.
« Je vais demander s’il n’y aurait pas moyen, pour une partie
tout au moins de ces actes notariés, de faire établir des
procurations. Mais je crains que pour certains d’entre eux ma
présence soit nécessaire. Je serai fixé demain, — après-demain
au plus tard, et je vous écrirai aussitôt.
« Mes souvenirs affectueux.
« Robert Nordement. »