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communication
A READER-CENTERED
APPROACH
ninth edition
paul V.
anderson
Copyright 2018 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-203
CONTENTS
Preface for instructors xvii Chapter 2 Overview of the Reader-Centered

Approach: Writing for a Job 20
Part I
Understanding Your Reader 20
IntroductIon 1 Your Three-Part Job Application 21
But First: Check Your Online Presence 21
Chapter 1 Communication, Your Career, and
How to Write an Effective Résumé 21
This Book 2 Guid elin e 1: address your résumé to specific employers 21
Communication Expertise Will Be Critical to Your Success 2 Guideline 2: define your résumé’s objectives by learning exactly
Learning Objectives for This Chapter 3 what your reader wants 22
Characteristics of Workplace Writing 3 Guideline 3: think creatively about the ways your knowledge
serves Practical Purposes 3 and experience match the qualifications the employer
wants 23
must satisfy a Wide Variety of readers, sometimes in a single
Communication 4 Guideline 4: Choose the type of résumé that will display your
qualifications most effectively 24
uses distinctive Kinds of Communication 5
Guideline 5: draft your résumé’s text to highlight the qualifications
shaped by Context 5 that will most appeal to the employer 24
adheres to organizational expectations 5 Guideline 6: design your résumé’s appearance to support
Created Collaboratively 7 rapid reading, emphasize your qualifications, and look
uses social media for Practical Purposes 7 attractive 31
At Work, Writing Is an Action 8 Guideline 7: revise your résumé to increase its impact and to
eliminate errors and inconsistencies 32
At Work, Writing Supports the Reader’s Action 8
WrItEr’S tutorIaL using tables to design
The Two Essential Qualities of Effective Writing at Work:
a résumé 33
Usefulness and Persuasiveness 8
Adapting Your Print Résumé or Online Submission for
The Main Advice of This Book: Think Constantly about Your
Computer Evaluation 37
Readers 10
How to Create an Effective Professional
The Dynamic Interaction between
Portfolio 39
Your Communication and Your Readers 12
How to Write an Effective Application Letter 40
readers Construct meaning 12
Guideline 1: learn about each employer 40
readers’ responses are shaped by the situation 13
Guideline 2: use or adapt the conventional organization for
readers react moment by moment 13
workplace letters 41
Six Reader-Centered Strategies
Guideline 3: revise your letter to polish the image it projects
You Can Begin Using Now 14
of you 44
Communicating Ethically 16
Ethical Issues in the Job Search 45
How to Get Lasting Value from This Book and Your Course 17
Writing for Employment in Other Countries 47
reflection 17
Interviewing Effectively 47
Framework 17
Conclusion 48
developing the Habit of reflecting 18
USE WHAT YOU’VE LEARNED 48
vii
viii CONTENTS
Part II How to Conduct a Thorough, Focused Search for Information and

Ideas 72
tHE rEadEr-cEntErEd
Guideline 1: identify the full range of sources and methods that may
coMMunIcatIon ProcESS 49 provide helpful information 72
Guideline 2: use secondary sources your readers will find credible and
Chapter 3 Defining Your Communication’s unbiased 73
Goals 50 Guideline 3: use primary research methods in a credible and unbiased
Your Goal: To Envision Your Reader’s Response to Each Specific way 74
Aspect of Your Communication 50 Guideline 4: Gather information that can be analyzed in
How to Determine What Your Communication Must Do to Be subgroups 74
Useful 51 Guideline 5: take careful notes 75
Guideline 1: describe your reader’s goal 51 Intermission 75
Guideline 2: describe the tasks your reader will perform while reading How to Conduct Evidence-Based Analyses 77
your communication 53 Guideline 1: take another look at your research goals 77
Guideline 3: identify the information and ideas your reader will want Guideline 2: arrange your information in an analyzable form 77
your communication to provide 53
Guideline 3: look for meaningful relationships in your results 78
Guideline 4: describe the way your reader will look for the
information 55 How to Draw Evidence-Based Conclusions 79
How to Determine What Your Communication Must Do to Be Guideline 1: Choose conclusions that align with your readers’
Persuasive 56 decisions and actions 79
Guideline 1: describe your reader’s current attitudes Guideline 2: acknowledge uncertainty 79

and what you want them to be after reading your Guideline 3: explain the significance of your conclusions to your
communication 56 readers 80
Guideline 2: Find out why your reader holds his or her current How to Make Evidence-Based Recommendations 80
attitudes 56 How to Think Critically Throughout Your Research Process 81
How to Identify Factors that May Influence Your Reader's Guideline 1: let go of your anchor 81
Responses to Your Communication 56
Guideline 2: Value counterarguments, counterevidence, and
Guideline 1: describe your reader’s professional role and exceptions 81
characteristics 57
Guideline 3: avoid personal or organizational biases 81
Guideline 2: describe your reader’s relevant personal
How to Observe Intellectual Property Law and Document Your
characteristics 57
Sources 82
Guideline 3: describe the context in which your reader
Ethical Guidelines for Documenting Sources 84
will read 57
Conclusion 85
Guideline 4: Global Guideline: describe your reader’s cultural
characteristics 58 USE WHAT YOU’VE LEARNED 85
Guideline 5: learn who all your readers will be 60
Identify Any Constraints on the Way You Write 64
Chapter 5 Using Six Reader-Centered
How to Treat Your Communication’s Stakeholders Ethically 64 Research Methods 88
Guideline 1: ethics Guideline: identify your communication’s Exploring Your Own Memory and Creativity 88
stakeholders 64 Brainstorming 88
Guideline 2: determine how your communication’s draw a Picture of Your topic 89
stakeholders will view its impact on them 65
Cluster sketch 91
Putting Your Definition into Action: An Example 65
Create and study a table or Graphic of Your data 91
Conclusion 68
Searching the Internet 91
using search engines and internet directories
effectively 92
Chapter 4 Conducting Reader-Centered using search engines efficiently 92
Research: Gathering, Analyzing, and Thinking evaluating Your search results 93
Critically about Information 70 Keeping records 94
What to Focus on Learning in this Chapter 70 Using Social Media 94
What Counts as Good Research in the Workplace? 70 examples of social media used for research 94
How to Conduct Focused Research 71 using social media for Your research 95
CONTENTS ix
Using the Library 95 Guideline 2: Write segments using patterns familiar to your
obtaining assistance from reference librarians 96 readers 126
using the library Catalog 96 Guideline 3: smooth the flow of thought from sentence to
sentence 126
Conducting subject and Word searches 96
Guideline 4: Present background information where it will most help
refining and extending Your search 97
your readers 127
using databases 97
Help Your Readers See the Organization of Your
reference Works 98 Communication 127
Government documents 98 Guideline 1: use headings 128
Interviewing 99 Guideline 2: use the visual arrangement of your text 132
Preparing for an interview 99 Guideline 3: use forecasting statements 133
WrItEr’S tutorIaL: Conducting efficient library Guideline 4: use transitions 134
research 100
Global Guideline: Adapt to Your Reader's Cultural Background 134
Conducting the interview 102
Write a Beginning that Motivates Your Readers to Read 135
Concluding the interview 103
Guideline 1: announce your topic and its benefit to your
Conducting a Survey 103 readers 135
deciding What to ask about 103 Guideline 2: refer to your readers' request 136
Writing the Questions 104 Guideline 3: offer to help your readers solve a problem 136
selecting Your respondents 105 Guideline 4: adjust the length of your beginning to the situation 138
Contacting respondents 106 Guideline 5: adapt your beginning to your readers' cultural
interpreting Your results 107 background 140
How to Write Endings that Support Your Communication’s
Chapter 6 Organizing Reader-Centered Goals 140
Guideline 1: Help your readers remember what you most want them to
Communications 108
take away from your communication 140
Guideline 1: include everything your reader Guideline 2: Help your readers know what to do next 142
needs—and nothing else 108
Guideline 3: Follow applicable social conventions 143
Guideline 2: Group together the items your reader will use
Guideline 4: after you’ve made your last point, stop 143
together 109
Ethics Guideline: Examine the Human Consequences of What You’re
Guideline 3: Give the bottom line first 110
Drafting 143
Guideline 4: adapt an appropriate superstructure or other pattern
mining accidents 143
familiar to your reader 112
Writing with awareness of Human Consequences 144
Guideline 5: organize hierarchically 113
Guideline 6: Plan your graphics 114
Guideline 7: outline, if this will be helpful 115 Chapter 8 Using Eight Reader-Centered
Guideline 8: treat your communication’s stakeholders ethically 116 Patterns for Presenting Information and
How to Check the Usefulness and Persuasiveness of Your
Ideas 147
Organization 118
Conclusion 118 Grouping Items Formally (Formal Classification) 147
USE WHAT YOU’VE LEARNED 119 How Formal Classification Works 148
Grouping Items Informally (Informal Classification) 150
Chapter 7 Drafting Reader-Centered Comparing Alternatives 152
Communications 121 two Patterns for organizing Comparisons 152

When to use each Pattern 152
The Similarities among Paragraphs, Sections, Chapters, and Short
Communications 121 Describing an Object (Partitioning) 155
Starting Segments 122 example: Partitioning a Car 155
Guideline 1: Begin by announcing your topic 122 description organized by Partitioning 155
Guideline 2: Present your generalizations before Describing a Process (Segmenting) 156

your details 124 Principles of Classification for segmenting 157
Draft Clear, Coherent, and Persuasive Segments 125 Describing a Cause-and-Effect Relationship 159
Guideline 1: move from most to least important or impressive 125 Helping readers understand a Cause-and-effect relationship 159
x CONTENTS
Persuading readers that a Cause-and-effect relationship exists 159 Guideline 1: simplify your sentences 196
logical Fallacies Common in arguments Guideline 2: Put the action in verbs 197
about Cause and effect 162 Guideline 3: use the active voice unless you have a good reason
Describing a Problem and Its Solution 162 to use the passive voice 198
Proposing the solution to a Problem 162 Guideline 4: emphasize what’s most important 199
reporting on a Past Problem-solving Project 163 Guideline 5: Vary your sentence length and structure 200
Combining Organizational Patterns 164 Guideline 6: Global Guideline: adapt your sentences for readers who
USE WHAT YOU’VE LEARNED 166 are not fluent in your language 201
Choose Words that Convey Your Meaning Clearly and
Chapter 9 Persuading Your Readers 168 Precisely 201
Guideline 1: use concrete, specific words 201
The Competitive and Collaborative Uses of Persuasion 168
G u i d e li n e 2 : use specialized terms when—and only when—your
To Persuade, Influence Your Readers’ Attitudes 168
readers will understand them 203
Focus on Your Readers’ Goals and Values 169
Guideline 3: use words accurately 204
organizational Goals 170
Guideline 4: Choose plain words over fancy ones 205
Values-Based Goals 170
Guideline 5: Choose words with appropriate
Personal Growth and achievement Goals 171 associations 205
Reason Soundly 171 Guideline 6: Global Guideline: Consider your readers’ cultural
Guideline 1: Present sufficient and reliable evidence 174 background when choosing words 206
Guideline 2: explicitly justify your line of reasoning 174 Guideline 7: ethics Guideline: use inclusive language 207
Guideline 3: respond to—and learn from—your readers’ concerns Conclusion 208
and counterarguments 175 USE WHAT YOU’VE LEARNED 208
Build an Effective Relationship with Your Readers 176
Guideline 1: establish your credibility 177 Chapter 11 Writing Reader-Centered
Guideline 2: Present yourself as a partner, not a critic 178 Front and Back Matter 211
Organize to Create a Favorable Response 180 How to Plan Front and Back Matter 211
Guideline 1: Choose between direct and indirect organizational Guideline 1: review the ways your readers will
patterns 181 use the communication 211
Guideline 2: Create a tight fit among the parts of your Guideline 2: review your communication’s persuasive
communication 182 goals 212
Introduce Emotional Arguments if Relevant 183 Guideline 3: Find out what’s required 212
Global Guideline: Adapt to Your Readers’ Cultural Background 184 Guideline 4: Find out what’s expected 212
Ethics Guideline: Persuade Ethically 184 A Word about Conventions and Local Practice 212
Conclusion 185 How to Write a Reader-Centered Transmittal Letter 212
USE WHAT YOU’VE LEARNED 187 How to Write Reader-Centered Front Matter 213
Cover 214
Chapter 10 Developing an Effective,
title Page 215
Professional Style 190 summary or abstract 216
Create an Effective, Professional Voice 190 table of Contents 219
Guideline 1: Find out what’s expected 190 lists of Figures and tables 219
Guideline 2: Consider the roles your voice creates for your readers How to Write Reader-Centered Back Matter 219
and you 193
appendixes 219
Guideline 3: Consider how your attitude toward your subject will
references list, endnotes, or Bibliography 221
affect your readers 193
Glossary and list of symbols 221
Guideline 4: say things in your own words 193
index 221
Guideline 5: Global Guideline: adapt your voice to your readers’
cultural background 194
Chapter 12 Creating Reader-
Guideline 6: ethics Guideline: avoid stereotypes 195
Centered Graphics 224
How to Construct Sentences Your Reader
Will Find Easy to Understand, Easy to Remember, Identify Places Where Graphics Would Increase Your
and Interesting 196 Communication’s Effectiveness 224
CONTENTS xi
Guideline 1: Find places where graphics would make your WrItEr’S tutorIaL: organizational Charts 258
communication easier to use 224 WrItEr’S tutorIaL: schedule Charts 259
Guideline 2: Find places where graphics can increase your
communication’s persuasiveness 225 Chapter 14 Designing Reader-Centered
Choose the Type of Graphic Best Matched to Your Communication’s
Goals 226
Pages and Documents 261
Guideline 1: Consider your readers’ tasks 226 Design Elements of a Communication 262
Guideline 2: Consider your readers’ attitudes 226 Help Your Reader See How Your Communication Is Organized 262
Make Your Graphics Easy for Your Readers to Understand and Guideline 1: Create a grid to serve as the visual framework for your
Use 228 page 263
Guideline 1: design your graphics to support your readers’ WrItEr’S tutorIaL: designing Grid Patterns for Print 265
tasks 228 introduction to Guidelines 2 through 4 267
Guideline 2: Consider your readers’ knowledge and Guideline 2: align related elements with one another 267
expectations 228 Guideline 3: Group related items visually 268
Guideline 3: simplify your graphics 228 Guideline 4: use contrast to establish hierarchy
Guideline 4: label the important content clearly 229 and focus 270
Guideline 5: Provide informative titles 229 Other Visual Organizers 271
Use Color to Support Your Message 230 Use Word Processors to Create Page Designs 271
Use Graphics Software and Existing Graphics Effectively 234 Use Page Design to Unify a Long Communication Visually 271
How to Integrate Your Graphics with Your Text 235 Select Type that Is Easy for Your Readers to Read 274
Guideline 1: introduce your graphics in your text 235 Choose the Physical Characteristics That Support Your
Guideline 2: Place your graphics near your references Communication’s Goals 275
to them 235 Conclusion 275
Guideline 3: state the conclusions you want your readers to USE WHAT YOU’VE LEARNED 275
draw 236
Guideline 4: When appropriate, include explanations in your Chapter 15 Revising Your Drafts 278
figures 236
Global Guideline: Adapt Your Graphics When Writing The Three Activities of Revising 278
to Readers in Other Cultures 236 Identify Ways to Improve Your Draft 279
Use Graphics Ethically 237 Guideline 1: Check from your readers’ point of view 279
Guideline 1: ethics Guideline: avoid graphics that mislead 237 Guideline 2: Check from your employer’s point of view 279
ethical Bar Graphs and line Graphs 237 Guideline 3: distance yourself from your draft 279
ethical Pictographs 237 Guideline 4: read your draft more than once, changing your focus
ethical use of Color 238 each time 280
Guideline 2: ethics Guideline: obtain permission and cite the sources Guideline 5: use computer aids to find (but not cure) possible
for your graphics 238 problems 280
Conclusion 238 Guideline 6: take special care with social media 281
USE WHAT YOU’VE LEARNED 240 Guideline 7: ethics Guideline: Consider the stakeholders’
perspective 281
Checklist for Checking 281
Chapter 13 Creating Eleven Types of
Obtain Truly Helpful Advice from People Who Review Your Drafts—
Reader-Centered Graphics 241 And Give Good Advice when You Are Reviewing Someone Else’s
WrItEr’S tutorIaL: tables 242 Draft 282
WrItEr’S tutorIaL: line Graphs 244 Guideline 1: discuss the objectives of the communication and the
review 283
WrItEr’S tutorIaL: Bar Graphs 246
Guideline 2: Build a positive interpersonal relationship with your
WrItEr’S tutorIaL: Pictographs 248
reviewers or writers 283
WrItEr’S tutorIaL: Pie Charts 249
Guideline 3: rank suggested revisions—and distinguish matters of
WrItEr’S tutorIaL: Photographs 250 substance from matters of taste 284
WrItEr’S tutorIaL: drawings 252 Guideline 4: explore the reasons for your suggestions 284
WrItEr’S tutorIaL: screenshots 254 Guideline 5: Present your suggestions in the way that will be most
WrItEr’S tutorIaL: Flowcharts 256 helpful to the writer 285
xii CONTENTS
Guideline 6: ethics Guideline: review from the stakeholders’ Guideline 3: make a project schedule 310
perspective 286 Make Team Meetings Efficient and Highly Productive 311
Writer’s Guide for reviewing 287 Guideline 1: set and follow an agenda 311
Produce the Maximum Improvement in Limited Time 287 Guideline 2: encourage discussion, debate,
Guideline 1: adjust your effort to the situation 288 and diversity of ideas 311
Guideline 2: make the most significant revisions first 289 Guideline 3: take special care when revising drafts 312
Guideline 3: to revise well, follow the guidelines for writing Guideline 4: Global Guideline: Help your team work across cultural
well 290 differences 312
Guideline 4: revise to learn 290 Use Internet and Cloud Technology for Drafts 314
Conclusion 291 Guideline 1: Choose the computer technology best suited to your
USE WHAT YOU’VE LEARNED 291 team’s project 314
Guideline 2: use social media to your advantage 315
Chapter 16 Testing Your Drafts Guideline 3: For virtual teams, foster personal relationships and
conversational interchanges 316
for Usefulness and Persuasiveness 293
Learning Team Skills through Feedback 316
The Logic of Testing 293
How to Define the Goals of Your Test 293
How to Choose Test Readers 295 Chapter 18 Creating and Delivering
How to Test Your Draft’s Usefulness 295
Listener-Centered Oral Presentations 319
Guideline 1: ask your test readers to use your draft
the same way your target readers will 295 Define Your Presentation’s Objectives 319
G u i d e li n e 2 : interview your test readers after they have used your Guideline 1: determine who your listeners are, what
draft 298 task they want to perform, and what they need and expect from
you 319
Guideline 3: minimize the impact of your presence 299
Guideline 2: define your persuasive goals 320
How to Test Your Draft’s Persuasiveness 299
Select the Oral and Visual Media Most Likely to Achieve Your
Guideline 1: use likert-scale questions to evaluate Objectives 320
persuasiveness 300
Guideline 1: Choose the type of oral delivery by considering your
Guideline 2: avoid biasing your test results 300 audience and purpose 320
How to Interpret the Results of Your Test 301 Guideline 2: Choose your visual medium by considering your audience,
How to Test Communications You Write to Readers in Another topic, and purpose 321
Culture 301 Help Your Listeners Fully Understand and Remember Your Main
How to Treat Test Readers Ethically 302 Points 322
Conclusion 303 Guideline 1: identify the main points you want to make 323
USE WHAT YOU’VE LEARNED 304 Guideline 2: Create a simple structure built around your major
points 323
Guideline 3: Help your listeners follow the structure of your
Part III presentation 323
aPPLIcatIonS oF tHE rEadEr- Guideline 4: make easy-to-understand visuals 324
cEntErEd aPProacH 305 Guideline 5: Plan the verbal and visual parts of your presentation as a
single package 326
Chapter 17 Creating Communications G uid elin e 6 : adapt to your listeners’ cultural background 327
with a Team 306 Maintain Your Listeners’ Attention and Goodwill 329
Varieties of Team Structures 306 Guideline 1: speak in a conversational style 329
Keys to Team Success 307 Guideline 2: establish and maintain a personal connection with your
audience 330
Treat Other Team Members with Sensitivity and Respect 307
Guideline 3: respond effectively to your audience’s comments and
Develop a Shared Understanding of Team Goals and questions 332
Procedures 308
Guideline 4: rehearse 332
Guideline 1: Create a shared understanding of the communication’s
goals 309 Guideline 5: accept your nervousness—and work with it 333
Guideline 2: develop and share a detailed plan for the finished Make Effective Team Presentations 333
communication 309 Guideline 1: Plan thoroughly as a team 334
CONTENTS xiii
Guideline 2: Maintain overall consistency while allowing for individual Guideline 2: Global Guideline: Design your website to serve
differences 334 readers from countries and cultures other than your own 364
Guideline 3: Make smooth transitions between speakers 334 Follow Ethical and Legal Practices Concerning Your Website’s
Guideline 4: Rehearse together 334 Content 365
Conclusion 334 Guideline 1: Observe copyright law and acknowledge your

sources 365
Guideline 2: Provide thorough, accurate information that won’t harm
others 365
Chapter 19 Managing Client and Service-
Writer’s Guide and Other Resources 366
Learning Projects 337
Project Management and Client Communication 337
Establish a Detailed, Mutual Understanding Chapter 21 Writing Reader-Centered
of All Important Aspects of the Project 338 Correspondence: Letters, Memos, and
Guideline 1: Determine what your client wants and why 338 Emails 368
Guideline 2: Develop your own assessment
Use the Appropriate Level of Formality 368
of the situation 339
Take a Reader-Centered “You Attitude” 369
Guideline 3: Define what you will do for your client and how you will
do it 339 Apply Reader-Centered Advice from Other Chapters to Your
Correspondence 369
Guideline 4: Give your client a written proposal—and ask for a written
agreement 341 Guideline 1: State your main point up front—unless you expect your
readers to react negatively 369
Maintain a Productive Relationship with Your Client throughout Your
Project 346 Guideline 2: Keep it short 370
Guideline 1: Communicate candidly with your client during Guideline 3: Use headings and lists 370
the project 346 Guideline 4: Avoid communication clichés 370
Guideline 2: Advocate and educate, but defer to your client 347 Guideline 5: Global Guideline: Learn the customs of your readers’
Hand off Your Project in a Way Your Client Will Find Helpful 347 culture 370
Conclusion 347 Guideline 6: Follow format conventions and other customs 371
USE WHAT YOU’VE LEARNED 348 Writing Reader-Centered Letters 371

Conventional Format for Letters 371
Chapter 20 Creating Reader-Centered Special Considerations for Writing Letters 371
Websites and Professional Portfolios 350 Writer’S tutorial: Writing Letters 372
Writing Reader-Centered Memos 374
How to Gain the Most Value from This Chapter 350
Memo Format 374
This Chapter’s Example: Digital Portfolio Websites 350
Special Considerations for Writing Memos 374
Define Your Website’s Goals 351
Writing Reader-Centered Email 375
Writer’S tutorial: Creating a Website Using Tables 352
Writer’S tutorial: Writing Memos 376
Research to Identify Useful, Persuasive Content 355
Writer’S tutorial: Writing Email 377
Organize to Help Your Readers Quickly Find What They Are
Looking for 355
Chapter 22 Writing Effectively on Social
Draft Your Website To Be Easy To Use, Persuasive,
and Attractive 356 Media at Work 378
Guideline 1: Include a variety of navigational guides in your web pages Kinds of Social Media Used at Work 378
and website 356 Reader-Centered Guidelines for Writing Effectively
Guideline 2: Design your pages so readers can immediately on Social Media 379
understand their organization 358 Guideline 1: Understand your readers and their reasons for
Guideline 3: Make your text easy to read 359 reading 379
Guideline 4: Unify your website verbally and visually 359 Guideline 2: Follow local conventions for the social media you are
using 380
Writer’S tutorial: Designing Grid Patterns for Web
Pages 360 Applying the General Guidelines for Three Major On-the-Job
Writing Tasks 380
Design Your Website for Diverse Readers 362
Writing to Obtain Information 380
Guideline 1: Ethics Guideline: Construct your website for use by
readers with disabilities 362 Sharing Information 381
xiv CONTENTS
using social media to Help a team Work effectively and Conducting Research for Feasibility Reports 430
efficiently 382 Organizing Feasibility Reports 430
Ethical Guidelines for Using Social Media 382 Crafting the Major Elements of a Feasibility Report 431
USE WHAT YOU’VE LEARNED 383 introduction 431
Criteria 436
Chapter 23 Writing Reader-Centered
method 438
Proposals 384
overview of alternatives 438
The Variety of Proposal-Writing Situations 384 evaluation of the alternatives 438
example situation 1 384 Conclusions 439
example situation 2 385 recommendations 440
How Readers Use and Evaluate Proposals 385 Sample Feasibility Report 440
Superstructure for Proposals 386 Writer’s Guides and Other Resources 440
Crafting the Major Elements of a Proposal 387
introduction 387 Chapter 26 Writing Reader-Centered
Problem 388 Progress Reports 449
objectives 389 Typical Writing Situations 449
solution 390 Readers’ Concern with the Future 449
method 391 How Readers Use and Evaluate Progress Reports 450
resources 392 Superstructure for Progress Reports 451
schedule 392 Crafting the Major Elements of a Progress Report 451
Qualifications 392 introduction 451
management 393 Facts and discussion 452
Costs 393 Conclusions 454
Bringing It All Together 394 recommendations 455
Sample Proposals 394 Tone in Progress Reports 456
Writer’s Guides and Other Resources 395 Writer’s Guide and Other Resources 456
Chapter 24 Writing Reader-Centered Chapter 27 Writing Reader-Centered

Empirical Research Reports 403 Instructions 458
Typical Writing Situations 403 How Readers Use and Evaluate Instructions 458
How Readers Use and Evaluate Empirical Research Reports 403 Superstructure for Instructions 459
Superstructure for Empirical Research Reports 404 Guiding You through the Process of Preparing
Crafting the Major Elements of an Empirical Research Report 405 Instructions 459
introduction 405 defining Your instruction’s Goals 459
objectives of the research 406 Planning 460
method 407 drafting and revising 460
results 408 Crafting the Major Elements of Instructions 461
discussion 408 introduction 461
Conclusions 408 description of the equipment 464
recommendations 410 list of materials and equipment needed 464
Sample Empirical Research Reports 410 directions 465
Writer’s Guides and Other Resources 411 troubleshooting 469
Physical Construction of instructions 469
Chapter 25 Writing Reader-Centered sample Printed instructions 470
Feasibility Reports 428 Web Page Instructions 476
How Readers Use and Evaluate Feasibility Reports 428 Video Instructions 479
Superstructure for Feasibility Reports 429 Writer’s Guides and Other Resources 479
CONTENTS xv
appendix a Documenting Your Print sources 492

Sources 481 electronic sources 495
additional Common sources 496
Which Documentation Style To Use 481
Where to Place In-Text Citations 482 appendix B Reflecting for Transfer 497
How to Write APA In-Text Citations 482
Reflection 1: Transfer from the Past and into the Future 497
How to Write an APA Reference List 483
Reflection 2: Context 497
Print sources 483
Reflection 3: Reader-Centered Process 498
electronic sources 486
Reflection 4: The Nature of Workplace Writing 498
Reflection 5: Superstructure or Genre 498
How to Write IEEE In-Text Citations 487
Reflection 6: What Makes You Most Proud? 498
How to Write an IEEE Reference List 487
Reflection 7: What Makes Writing Effective
Print sources 488 in the Workplace? 498
electronic sources 490
References 499
How to Write MLA In-Text Citations 491 index 501
How to Write an MLA Works Cited List 492
PREFACE FOR INSTRUCTORS
W elcome to the Ninth Edition of Technical Communication: A Reader-Centered

Approach. This edition, like the previous ones, has a single central goal: to
help you prepare your students to write effectively in their careers. Once again,
I am deeply indebted to the generous suggestions of instructors and students—my
own and others.
Key Features
While this edition includes many new features, it retains the features that instructors
and students have found most helpful.
Reader-centered approach. No matter what your students’ future (or current)

careers, their success as writers will depend on the responses they are able to elicit
through their writing from their readers. But people at work differ from one another,
just as they do in the rest of their lives. To write effective on-the-job communications,
students will have to learn about their specific readers and use that knowledge to cre-
ate communications that these particular persons will find helpful and persuasive.
The book’s advice and examples apply this reader-centered approach, whether
focusing on content, organization, and other large issues or on the smallest details
of sentence construction and table design.
You at the center. Unlike the many textbooks that, by implication, put you in the
secondary role of teaching what they say, this book places you at the center of your
course. It emphasizes the many indispensable ways you contribute to your students’
learning—that your knowledge of your students and their career plans enables you to
choose what parts of the book to cover, what to emphasize, and even what to disagree
with. It also highlights your ability to give something a book cannot: individualized
guidance and feedback.
Support for the course you design. The book’s broad coverage and simple, three-part
design enable you to choose the topics, assignments, and course design that will best
prepare your students with sophisticated yet transferable skills they can use wherever
they choose to work after graduation. The book’s “Writer’s Planning Guides” and
“Checklists,” its “Libraries of Projects and Cases,” and many of its other resources
can be downloaded in Word so you can tailor them to your course.
In-depth coverage in an easy-to-learn manner. In most chapters, the major points

are distilled into easy-to-remember guidelines whose implications and applications
are then elaborated. The guidelines themselves reinforce one another because they
all flow from a common set of reader-centered principles and processes.
xvii
xviii PREFACE FOR INSTRUCTORS
Numerous richly annotated examples and sample documents. To students, guide-

lines can be mere abstractions accompanied by concrete examples illustrating their
application. Throughout, the book includes sample communications with annota-
tions that illustrate the use of its advice. Moreover, these annotations focus on the
writer’s purpose, thereby drawing students’ attention to the writer’s reader-centered
decisions and strategies.
New to This Edition

Of course, this new edition offered me a welcome opportunity to refine, update, and
respond to new developments in technical communication research and practice. It
is also an opportunity to act on recent suggestions from instructors and students,
Consequently, this edition includes the following new features.
■ New chapter on “Writing Effectively on Social Media at Work.” Many
organizations have learned that social media can increase efficiency—if
used in a business-oriented way. This new chapter builds on what students
already know about social media and explains how workplace uses of so-
cial media differ from their social uses. Several other chapters elaborate on
special uses of social media at work.
■ Integration of transfer of learning. Research over the past two de-
cades demonstrates how difficult it can be for students to adapt and
apply what they learned in college to the writing they do on the job.
However, more recent research has also uncovered strategies for in-
creasing the transfer of learning to novel situations. Building on this
research, Chapter 1 introduces the importance of learning in ways
that promote transfer. “Ref lect for Transfer” exercises are included at
the end of many chapters. A new Appendix B presents ref lection as-
signments you can ask students to complete when they turn in their
finished projects.
■ New section of creating professional portfolios in Chapter 2, “Overview
of the Reader-Centered Approach: Writing for a Job.” Professional port-
folios have become an important, widely used supplement to résumés and
job application letters. Chapter 2 also includes a new discussion of the
importance of creating a positive presence in social media, which, research
shows, most employers check before making job offers.
■ Simplified organization. To increase flexibility for your teaching and en-
hance student learning, the book’s overall organization has been modified
from nine parts in the previous edition to three. Also, the order and con-
tent of some chapters are revised. Details are provided below, in the section
titled “Organization of this Edition.”
■ Streamlined presentation. When I asked engineering and science stu-
dents how I could improve this edition, they told me to retain its central
features but also suggested several revisions. Their strongest advice was to
“Eliminate repetition, redundancy, and things we already know.” (See the
acknowledgments.) Looking at my text in light of their advice enabled me
to create a book that is significantly shorter and sharper, even though it
contains additional material.
■ Increased attention to building on what students already know. The goal
is to help students adapt and build on the writing and speaking skills they
bring to the course.
PREFACE FOR INSTRUCTORS xix
■ Chapter 3, “Defining Your Communication’s Goals,” is shortened to em-

phasize more emphatically its key advice for learning what readers want
and what will influence their attitudes and actions.
■ Chapter 4,“Conducting Reader-Centered Research,” includes new discus-
sions of “What Counts as Good Research in the Workplace?” and ways to
conduct research that meets those criteria.
■ Chapter 5, “Using Six Reader-Centered Research Methods,” adds a new
section on “Using Social Media in Your Research.”
■ Chapter 6, “Organizing Reader-Centered Communications,” is recon-
structed to present its advice in a crisper, more engaging manner.
■ Chapter 7, “Drafting Reader-Centered Communications,” presents more
comprehensive advice by supplementing the guidelines on organizing the
body of a communication with advice on drafting its beginning and end-
ing, which had previously appeared in separate chapters.
■ Chapter 9, “Persuading Your Readers,” extracts, revises, and relocates in
a more logical place advice from the previous edition. The supporting re-
search is updated.
■ Chapter 11, “Writing Reader-Centered Front and Back Matter,” includes
new examples that provide more helpful guidance to students.
■ Chapter 15, “Revising Your Drafts,” includes a new discussion on revising
social media messages at work.
■ Chapter 17, “Creating Communications with a Team,” replaces earlier sec-
tions with new advice based on the latest research, including a five-year
study of 180 teams by Google.
■ Appendix A, “Documenting Your Sources,” includes the new, substantially
different (and improved) MLA style, as well as the current APA and IEEE
styles.
■ Appendix B, which is also entirely new, presents “Reflecting for Transfer”
assignments that are designed for use by students when they turn in
course projects.
Other Major Features

In addition to the major preserved features already named, I have also kept the fol-
lowing because instructors have told me that they increase the book’s breadth and
effectiveness for teaching and learning.
■ Writer’s Tutorials. The tutorials demonstrate ways students can achieve
some of the outcomes described in the text—for instance, by guiding stu-
dents step-by-step through certain processes. Some are included in the
text (see pages 33–35 and 352–354 for examples), and others are accessible
in MindTap.
■ Planning Guides and Revision Checklists. Integrated at key points in the
text, they assist students in applying the book’s advice as they work on
their course projects. Additional ones are available in MindTap. As men-
tioned above, all can be downloaded in Word so you can modify them to
your specific course and assignments.
■ Careful attention to international and intercultural communication.
Global Guidelines, integrated into the chapters, help students learn the
xx PREFACE FOR INSTRUCTORS
many ways that cultural differences affect communication and provide

concrete suggestions for increasing their effectiveness in cross-cultural
communications.
■ Marginal notes to extend learning. Three categories of marginal notes
summarize major principles, provide cross-references among chapters
(“Learn More”), and challenge students to apply key strategies to their own
experiences (“Try This”).
■ Continuous attention to ethics. Chapter 1 introduces the topic of ethics
in technical communication. Ethics guidelines are integrated into the
chapters, so ethics becomes a continuous topic throughout a course rather
than the topic for one day’s reading. In addition, most chapters include
special exercises that focus on ethical issues particular to the topic of
those chapters.
■ “Use What You've Learned” exercises. At the end of most chapters,
four types of exercises promote students’ ability to apply the book’s ad-
vice: “Apply Your Expertise,” “Explore Online,” “Collaborate with Your
Classmates,” and “Apply Your Ethics.” In addition, “Reflect for Transfer”
exercises challenge students to think about ways they could use what they
have learned in a chapter when writing on the job.
Organization of this Edition

I have simplified the organization of this edition to make it easier for you to select
the order in which you want to use the chapters and to provide you with a clearer
way to explain to your students the relationships among the chapters you’ve chosen.
■ Introduction. Part I includes two chapters. Chapter 1 can help you explain the
nature of writing in the workplace and the ways it differs from most (or all)
the writing students do in other courses. Chapter 1 also introduces the reader-
centered approach as well as the book’s approach to ethics and the transfer of
what students learn in your course to the writing they will do on the job.
I include Chapter 2, which focuses on writing for a job, in the intro-
duction because it helps students see in a very personal way why thinking
about their reader at every point in the process is the key to writing work-
place communications that achieve the results they want. However, other
instructors enjoy equal success assigning writing for a job at another point
in their courses or not at all.
■ The Reader-Centered Communication Process. Part II helps you pro-
vide your students with reader-centered guidance for each of the major
activities in the technical communication process, beginning with defin-
ing the goals for their communications through researching, organizing,
drafting, and revising. Four chapters focus on skills that are especially
important in technical communication but not most other writing
courses: creating graphics, crafting page designs (two chapters), and
user-testing drafts.
Most instructors (including me) assign these chapters out of order. As stu-
dents are working on each course project, we select the chapters from Part II
whose content students learn most effectively by applying it to that project.
■ Applications of the Reader-Centered Approach. Part III includes a va-
riety of chapters from which you can choose the ones that, based on your
PREFACE FOR INSTRUCTORS xxi
knowledge of your students and their career plans, will most help them de-
velop and learn to apply their reader-centered knowledge and skills. These
chapters provide detailed advice for communicating in a variety of work-
place writing situations, such as writing with a team, writing correspon-
dence, and writing on social media. They also guide students in preparing
five major workplace superstructures (genres): proposals, empirical research
reports, feasibility studies, progress reports, and instructions. Downloadable
projects involving these applications are available in MindTap as Word files,
so that you can modify them to suit your particular course and students.
I’ve also included two appendices. Appendix A is a reference resource that explains
how to use the APA, IEEE, and MLA documentation styles. Appendix B includes
Reflecting for Transfer activities you can ask students to complete when they turn
in their course assignments.
Supporting Materials for Students and Instructors

On CengageBrain.com students can save on their course materials through our full
spectrum of options. Students have the option to rent their textbooks, purchase print
textbooks, e-textbooks, individual e-chapters, and audio books, all for substantial
savings over average retail prices. CengageBrain.com also includes access to Cengage
Learning’s broad range of homework and study tools.
MindTap® English
MindTap is a digital learning solution that helps instructors engage students and
transform them into critical thinkers. Each MindTap course also comes with a se-
lection of apps to encourage interactivity, engagement, personalization, and more.
MindTap for Technical Communication, Ninth Edition includes:
■ MindTap® Reader eBook.
■ Aplia homework. Aplia significantly improves outcomes and elevates
thinking by increasing student effort and engagement.
■ InSite. InSite from Cengage Learning is a full integrated, productivity-
enhancing classroom solution that delivers an all-in-one perspective on
your students' work.
■ Questia. Access a vast library of books and articles that instructors can add
to the course learning path or eBook and students can use to research.
■ NetTutor ®. NetTutor is staffed with U.S.-based tutors and facilitated by a
proprietary whiteboard created for online collaboration in education.
■ Library of Case Studies. Referenced in several text chapters, Case Studies
help students hone their reader-centered communication skills. Some Case
Studies are suitable for homework or class discussion; others are appropri-
ate for course projects.
■ Library of Projects. The Library of Projects provides instructors with a
wider selection from which to choose assignments that are most appropri-
ate for their students.
■ Additional annotated sample documents. These model reader-centered
communication in a realistic format.
■ Downloadable and customizable Planning and Revision Guides. These help
students navigate the process of creating many kinds of communication.
xxii PREFACE FOR INSTRUCTORS
■ Additional Writer's Tutorials. These guide students step-by-step through

certain communication processes.
■ Style Guide. This provides brief, user-friendly guidance on issues of
grammar, punctuation, style, and usage.
■ Web Resources. These direct students to additional online tools and
technical communication sites of interest.
■ and more!
Instructor’s Manual
Accompanying this edition of Technical Communication: A Reader-Centered Approach
is an updated instructor’s manual that includes a thorough introduction to the course,
information on how to integrate supplemental materials into the class, advice on
teaching the exercises and cases in the textbook, and more. Instructors may download
a PDF version from MindTap or from the Instructor Resource Center.
Author’s Acknowledgments
Writing a textbook is truly a collaborative effort to which numerous people make
substantial contributions. I take great pleasure in this opportunity to thank the many
people who generously furnished advice and assistance while I was working on this
ninth edition of Technical Communication: A Reader-Centered Approach. I am grateful
to the following individuals, who prepared extensive and thoughtful reviews of the
eighth edition and my preliminary plans for the ninth edition: Krys Adkins (Drexel
University), Alyce Baker (Lock Haven University), Scott Banville (Nicholls State
University), Ellen Barker (Nicholls State University), Catherine Bean (Anoka-Ramsey
Community College), Magdalena Berry (Missouri State University), Heather Burford
(Ivy Tech Community College), and Thomas Chester (Ivy Tech Community College).
I would also like to thank the following persons who reviewed the previous
two editions and who assisted in the evolution of this book over the past few years:
Craig Baehr (Texas Tech University), Gertrude L. Burge (University of Nebraska),
Diljit K. Chatha (Prairie View A&M University), Zana Katherine Combiths (Virginia
Polytechnic University), Janice Cooke (University of New Orleans), Nancy Coppola
(New Jersey Institute of Technology), Tracy Dalton (Missouri State University),
Dr. Geraldine E. Forsberg (Western Washington University), Roger Friedmann
(English Department, Kansas State University), Dawnelle A. Jager (Syracuse
University), Linda G. Johnson (Southeast Technical Institute), Matthew S. S. Johnson
(Southern Illinois University Edwardsville), Carole M. Mablekos, Ph.D. (Department
of Engineering Management, School of Engineering, Drexel University), Jodie Marion
(Mt. Hood Community College), L. Renee Riess (Hill College), Wayne Schmadeka
(University of Houston–Downtown), Barbara Schneider (University of Toledo), and
William West (University of Minnesota–Minneapolis).
While developing this edition, I have benefited from the thoughtful and energetic
assistance of an extraordinary group at Cengage Learning. Ed Dodd and Michael
Lepera skillfully shepherded the book through the many phases of development and
production. I am very grateful to Ed Dionne for his exceptional support during pro-
duction. Mathangi Anantharaman and Aruna Sekar contributed abundant resource-
fulness and tenacity while conducting photo research and text research, respectively.
I am indebted to all my students for their keen critiques of the book and for the
originality of their work, which provides a continuous supply of new ideas. In particu-
lar, I thank Jessica Bayles, Erin Flinn, Allen Hines, Billy O’Brien, Joseph Terbrueggen,
Preface fOr INSTrUcTOrS xxiii
Curtis Walor, and Tricia M. Wellspring, whose thorough, thoughtful work provided
examples and helped me develop several of the discussions and examples.
This edition owes a great deal to the positive comments and—especially—incisive
suggestions from the following science and engineering students at the University
of Cincinnati: Daniel Barr, Theo Charles Brooks, Hayden Dillon, Jacob Dorrance,
Sam Fintel, Elliott Ice, Timothy Kelleher, Tim Koch, Cameron Meece, Kolawole
Omoyosi, Carolyn Kelley Patterson, Brady Perkins, Eduardo Pocasangre, Chelsea J.
Rothschild, Chris Sabetta, Osama Saleh, Ethan H. Slaboden, Joseph Treasure, Lam
Tse, and Scott J. Welsh.
For this edition, Betty Marak, who has read this book more than anyone else over
the years, assisted once more in preparing the manuscript. Diane Bush contributed
exceptionally astute copyediting, for which my readers will be as thankful as I am.
Tom Collins and Steve Oberjohn have provided enduring assistance over the years.
All my work in technical communication benefits from many conversations with and
numerous examples of excellent teaching provided by Jean Lutz and Gil Storms. I owe
a special thanks to Jeremy Rosselot-Merritt, University of Minnesota, for helping me
gather students, advice for making this edition more reader (student)-centered. I am
deeply grateful to all of these individuals.
Finally, I thank my family. Their encouragement, kindness, patience, and good
humor have made yet another edition possible.
PAUL V. ANDERSON
Miami University
Oxford, Ohio
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"Oh, boy!" he giggled. "The expression—on your—face—!" Then he
was away again, leaning across the window-sill weakly, shaking with
laughter.
Jerry Gilroy tiptoed quietly up behind him. A quick movement and he
lowered the window until it was against Chet's back.
The practical joker suddenly stopped laughing, and turned his head.
"Hey! What's the matter?" he inquired.
He was pinned down by the window and he could not see Jerry
picking up the flat piece of board that had been the instrument of
torture a few minutes previously. But a suspicion of the truth came to
him, and a roar of laughter from the other boys warned him that
vengeance was due.
It came.
Smack!
Chet Morton wriggled and squirmed, but he was pinned helplessly by
the weight of the window against his shoulders, and he presented a
more tempting target for Jerry's ministrations with the flat stick, and a
more stationary target as well, than Jerry had presented for him.
Smack! Smack! Smack!
He roared with pain and, helpless as he was, danced vainly on the
floor in his efforts to escape. Jerry Gilroy belabored him across the
rear with that stinging stick until his desire for revenge had been fully
satisfied, while the other boys howled with glee at the manner in
which the tables had been turned.
Finally, when Jerry tossed the flat stick away and joined the others in
their laughter, Chet managed to raise the window and escape.
"Can't see what you're all laughing at," he grumbled, as he sat down
carefully on a near-by box. Then he rose hurriedly and rubbed the
tender spot.
"He laughs best who laughs last," quoted Jerry Gilroy.
"Guess I've got to get home," announced Biff, a moment later, and
soon he and the others were on their way, dodging through the rain.
Then Frank and Joe put the barn in order and went into the house.
They felt particularly carefree and never dreamed of the news they
were to hear or of how it was to affect them and their chums.
CHAPTER III
A Shady Trio
"I am sure my man is in Chicago. I know for a fact that he went West,
and the Windy City would naturally be his hiding place."
Fenton Hardy tapped the library table reflectively with a pencil. Mrs.
Hardy put aside the magazine she had been reading.
"Are you going to follow him?"
"I'll trail him right to the Pacific Coast if necessary."
Frank and Joe Hardy, who had been standing by the window,
disconsolately watching the rain streaking down the pane, looked
around.
"Who is he, dad?" asked Frank.
"One of the cleverest and most daring bank robbers in the country.
I've been after him for almost a year now and it's only been within
the last few weeks that I've ever come anywhere near catching him."
"What's his name?"
Fenton Hardy laughed. "I've made you curious, eh? Well, this chap
has about a dozen names. He has a new alias every week, but so
far as the police are concerned he's known as Baldy Turk, because
he's as bald as an egg. He and his gang held up a bank in a small
New Jersey town about a month ago and got away with over ten
thousand dollars in broad daylight. That's how I managed to get
trace of him again. Even the police didn't know Baldy Turk was
mixed up in the affair because he was wearing a wig that day, but he
double-crossed one of the members of his gang out of his share in
the loot."
"And that fellow told the police," ventured Joe.
Mr. Hardy shook his head.
"Not the police. He didn't dare go near them because he was wanted
for two or three robberies himself. But he came to me and tipped me
off as to where Baldy Turk could be found. He wanted revenge. I
went to New York, where Baldy was in hiding; but evidently some of
his friends knew I was on his trail and he disappeared before I could
lay my hands on him."
"Where did he go then?" asked Frank, with interest.
"He hid out on Long Island for a while, but I managed to pick up the
trail again and went after him, but he was too smart for me. He got
away in a fast automobile and took a couple of shots at me in the
bargain. I managed to get the number of the car and traced it to
Manhattan and later found that Baldy Turk had left the East
altogether. He bought a ticket to Cleveland, doubled back to Buffalo
and managed to shake me off."
"What makes you think he is in Chicago?"
"Because another member of his gang went to Chicago just a week
ago. So I imagine Baldy Turk was to meet him there. In any case,
Chicago is a thieves' paradise, so it seems logical that Baldy Turk
would make for there."
"And you're going after him! Gee, I wish I could go," declared Joe.
Fenton Hardy smiled.
"It's no job for a boy," he said. "Baldy Turk is a bad man with a gun. If
I ever do find him it will take some maneuvering to get the handcuffs
on him, I'll tell you."
"You'll be careful, won't you, Fenton," said Mrs. Hardy anxiously. "I'm
always frightened whenever I know you're after one of these
desperate criminals."
"I'll be as careful as I can, Laura," promised her husband; "but in my
business I have to take chances. Baldy Turk knows I'm after him and
he doesn't mean to be caught if he can help it. He or any of the men
in his gang would shoot me on sight. There's a standing reward of
five thousand dollars out for Baldy and, besides, the Bankers'
Association have promised me a handsome fee if I can get him
behind the bars and break up the gang."
"I won't rest easy in my mind until you're back home safe," Mrs.
Hardy declared.
"Don't worry about me," replied her husband, going over to her and
patting her shoulder reassuringly. "I'll get back safely all right, and
Baldy Turk will be in jail if I have to chase him all over the States.
The boys will look after you while I'm away."
"You bet we will!" Frank promised.
"I'm sorry it keeps you from going on that motorboat trip with Chet
and Biff," Mr. Hardy remarked. "Perhaps you can arrange another
jaunt after I come back."
"We're not worrying about that, dad. We don't mind staying at home."
"That's the spirit," approved their father.
"When do you leave?" Frank asked.
"I'm waiting for a letter from a friend of mine in Chicago. If he writes
as I expect he will write, I should be away by the day after to-
morrow."
"Then let Baldy Turk watch his step!" observed Joe.
"We'll both have to watch our step," answered Mr. Hardy, smiling. "If I
don't get him, he'll probably get me."
"Well, I'm betting on you."
Mrs. Hardy shook her head doubtfully, but said nothing. She knew
that her detective husband had escaped death at the hands of
desperate criminals many times in the course of his career and there
seemed to be no reason why he should not bring Baldy Turk to book
just as he had captured many other notorious criminals in the past;
but this time she had a vague premonition of danger. She knew that
her husband would laugh at her fears if she expressed them, so she
remained silent.
The rain had stopped, as Frank noticed when he glanced out the
window again.
"It's clearing up. What say we go out for a spin, Joe?"
"Suits me."
"Let's go."
"Don't be late for supper," warned Mrs. Hardy, as the boys started
out the door.
"We'll be in time," they promised, and the door closed behind them.
The Hardy boys went out to the shed where they kept their
motorcycles. Both Joe and Frank had machines, given to them by
their father, and in their spare time they spent many hours speeding
about the roads in and around Bayport.
Their native city had a population of about fifty thousand people and
was on the Atlantic coast, on Barmet Bay. There were good roads
along both northern and southern arms of the bay, besides the State
highway and the numerous country roads that led through the
farming country back of Bayport.
Chet Morton, whose father was a real estate dealer with an office in
the city, lived on a farm some distance off the road along the north
arm of the bay, Chet making the daily journey to school and back in
a roadster that had been given to him by his father. Chet was as
proud of his roadster as the Hardy boys were proud of the motorboat
that they had bought from the money they had received as reward
for solving the Tower Mystery.
"Where shall we go?" asked Joe, as the Hardy boys rode out of the
lane.
"Let's go to the Morton farm and see Chet."
"Good idea. I wonder if he's able to sit down yet," replied Joe,
alluding to Chet's practical joke earlier in the day.
The motorcycles roared and spluttered as the boys sped along the
gleaming pavements of the city. They rode through the main streets,
threading their way easily through the traffic until at last they were at
the outskirts of Bayport. Finally they left the city behind and reached
the road leading toward the Morton farm. The leaves of the trees
were still wet with rain and the luxuriant grass by the road-side
glistened with the heavy drops. The air was cool and sweet after the
storm. The roads had dried quickly, however, and the boys
experienced no inconvenience.
They reached the Morton farmhouse in good time and Chet's sister,
Iola, answered their knock. Iola was a pretty girl of about fifteen, one
of the few girls at whom Joe Hardy had ever cast more than a
passing glance. He lowered his eyes bashfully when she appeared
in the doorway.
"Chet just left in the car about ten minutes ago," she said smilingly, in
answer to their inquiry. "It's strange you didn't meet him."
"He probably went by the other road. We'll catch up to him."
"Won't you come in?"
"N-no thanks," stammered Joe, blushing. "Guess we'll be going."
"Oh, do come in," said Iola coaxingly. "Callie Shaw is here."
"Is she?" Frank brightened up at this intelligence, and at that
moment a brown-eyed, dark-haired girl about his own age appeared
in the hall.
"Hello!" she called, smiling pleasantly, and displaying small, even
teeth of a dazzling whiteness.
"Let's go," muttered Joe, tugging at Frank's sleeve. He was incurably
shy in the presence of girls, especially Iola.
But Frank did not go just then. He chatted with Callie Shaw for a
while, and Iola tried to make conversation with Joe, whose answers
were mumbled and muttered, while he inwardly wished he could talk
as freely and without embarrassment as his brother. At length Frank
decided to go and Joe sighed with relief. The girls bade them good-
bye after again urging them to come inside the house, and the boys
departed.
"Whew!" breathed Joe, mopping his brow. "I'm glad that's over."
Frank looked at him in surprise.
"Why, what's the matter? I thought you liked Iola Morton."
"That's just the trouble—I do," answered Joe mysteriously, and Frank
wisely forbore further inquiry.
They mounted their motorcycles again and rode down the lane, out
to the road. Hardly had they gone more than a few hundred yards,
however, than Frank suddenly gestured to his brother and they
slowed down.
Pulled up beside the road was an automobile, and as the boys drew
near they saw that three men were in the car. The men were talking
together and they looked up as the boys approached.
Something in the attitude of the trio aroused Frank's suspicions, and
this prompted him to ride slower. There seemed no apparent reason
why the men should have pulled their car up beside the road, for
they were not repairing a breakdown and they were still a little
distance from the lane leading to the Morton farmhouse. Then, as
the motorcycles slowly passed the car and the three men sullenly
regarded the two boys, Frank suppressed an exclamation of
surprise.
The three men in the car were the three men who had pursued the
boys in the motorboat earlier in the day!
Frank and Joe drove past, conscious of the scrutiny of the unsavory
trio in the automobile. The men did not speak, although Frank
noticed that one of them drew his cap down over his eyes and
muttered something to one of his companions.
When they had gone by, Joe glanced back. The man were paying no
further attention to them, but were leaning close together, evidently
having resumed their interrupted conversation. There was something
stealthy and secretive in their demeanor that was far from
reassuring.
"Did you recognize them?" asked Frank, when they were out of
earshot.
"I'll say I did! The same gang that followed us in the motorboat."
"I wonder what they're up to."
"Up to no good, by the looks of them."
"That's a queer place to park their car—so close to the Morton farm,
too."
"They look like a bad outfit to me," remarked Joe.
"I'd like to know more about them. There was something funny about
the way they chased us in the boat. And don't you remember how
closely they looked at Chet and Biff? It seems funny to see them
hanging around the farm."
"Well, they haven't done us any harm. I suppose it's none of our
business—but I'd sure like to know what their game is. Let's find
Chet and tell him."
They increased their speed and before long overtook Chet Morton
on the shore road. But Chet laughed at their fears.
"You're too suspicious," he said. "They had probably just stopped to
fix a tire when you came along. However, we'll go back to the farm
and see if they're still on hand."
But when the boys drove back to the Morton farm they found that the
mysterious trio in the automobile were no longer in sight.
CHAPTER IV
The Send-Off
On Monday, Chet Morton and Biff Hooper set out on their motorboat
trip up the coast. They were well equipped with provisions and
supplies and had been up since six o'clock that morning getting the
boat in readiness.
The Hardy boys went down to the dock to bid them good-bye, and
although they chaffed the adventurers and laughed with them,
neither Frank nor Joe could repress the disappointment they
naturally felt at being unable to go with their chums.
Chet was busy stowing away the last of the provisions and Biff was
tuning up the engine when the Hardy boys arrived. In a few minutes
Tony Prito, at the helm of his own motorboat, arrived on the scene
with Jerry Gilroy and Phil Cohen. Then, down the dock, came
tripping Iola Morton and Callie Shaw.
"Hail, hail, the gang's all here!" roared Chet, when he saw them.
"Oy, what a fine day you pick for your trip!" exclaimed Phil Cohen,
looking up at the clouds. For the sky was overcast and there was no
sun.
"That's all right," answered Chet. "We made up our minds to start to-
day and we'd start if there was a thunderstorm on."
"Brave sailors!" mocked Callie Shaw, with a smile.
"How long will you be away?" shouted Frank.
"Until the grub runs out."
"That should be about next December," ventured Iola. "It looks to me
as if you have enough provisions there to last you a year."
"Not with Chet Morton on the trip, we haven't," grunted Biff Hooper,
looking up from the engine. "We'll be lucky if it lasts us a week. I've
seen him eat before."
"I'll do my share," Chet promised modestly.
"We should have had the City Band down to give you a proper send-
off," Joe Hardy remarked.
"It doesn't matter. We'll forgive you this time. But be sure and have
the band here to welcome us when we come back."
"You'll be back by to-morrow night," declared Iola. "I know you! Why,
I'll bet you'll both be scared green when darkness comes on. One
night will cure you of sleeping in the open."
"Rats!" replied Chet good-naturedly. "I'm not afraid of the dark."
"Cut out the jawing and let's get started," said Biff Hooper. "No use
hanging around here. Are you ready?"
"All set!"
"Let's go then. Good-bye, everybody."
"Good-bye!" every one shouted. Frank and Joe cheered, the girls
clapped their hands, and the Envoy slowly moved away from the
dock, with Chet Morton and Biff Hooper waving to their chums.
Tony Prito swung his motorboat around.
"I'll go along with you to the end of the bay," he shouted.
Frank glanced at Joe.
"Why didn't we think of that?"
"It isn't too late yet. Let's get the boat."
"Would you and Iola care to come?" said Frank to Callie. "We're
going to get our boat and follow them down the bay a bit."
"Oh, that'll be great!" exclaimed Callie. "I'd love to go. Wouldn't you,
Iola?"
"I'll say!" Iola replied, slangily.
They hurried down from the dock and went along the roadway back
of the boathouses until they came to the boathouse where Frank and
Joe kept their craft.
In a few minutes, the Sleuth was nosing its way out into Barmet Bay,
but already Chet and Biff were a considerable distance in the lead.
"We'll have to step on it," said Joe.
"We'll catch them, all right. There isn't a boat on the bay can beat the
Sleuth."
The engine roared and the boat seemed fairly to leap out of the
water as it plunged forward. Spray dashed over the bows as the fleet
launch headed out in pursuit of the others.
Frank glanced at the sky.
Biff and Chet had certainly chosen a bad day for their departure. The
sky had been none too promising at dawn, but now it was clouding
over with every promise of a downpour, and there was a heavy cloud
on the horizon. Then, too, there was a suspicious absence of wind,
and the bay was in a flat calm.
"I wish they'd picked some other day," he remarked quietly to Joe. "It
looks like squally weather out at sea."
"I don't like the looks of the sky myself. However, they're away, so
there's no use saying anything. It might alarm Iola."
The Sleuth was rapidly overhauling the other boats, although Tony
and Biff were engaging in a spirited race down the bay. The girls
enjoyed the swift progress and were laughing with excitement as
they saw the distance narrowing between Frank and the others.
Suddenly a low rumble of thunder caused Frank to glance up at the
sky again. With remarkable rapidity, the huge cloud he had
previously noticed had spread over the entire sky, causing gloom to
spread over the bay. A few white caps were apparent on the surface
of the water and there was a splatter of rain.
"Guess we'd better turn back," he said, turning to the others.
"Why, what's the matter?" asked Callie.
"Storm coming up."
The girls had been so intent on the chase that they had not noticed
the lowering clouds, but now Callie gave a murmur of astonishment.
"Why, it's going to pour! And I haven't brought my slicker with me.
We'll be drenched."
"But what about Biff and Chet?" exclaimed Iola.
"I think they'll turn back too when they see what they're heading
into," replied Frank. "It looks like a bad storm."
As though in corroboration of his words, a sheet of lightning and a
violent clap of thunder heralded the beginning of the downpour. The
wind came in from the sea with a violence that surprised them, came
whistling down across the bay over a wide line of tossing whitecaps,
driving before it a leaden wall of rain.
The two motorboats in the lead were blotted from view, although
Frank had seen that Tony Prito was already turning back before the
gloomy wall of rain hid him from sight. Slowly, he brought the
motorboat around.
The moaning of the wind rose in volume. Waves slapped at the sides
of the boat. White spray rose above the bows. The sky was black.
The speeding craft fled before the oncoming storm.
But the wall of rain swept down upon them with a whistle and a howl.
The streaming sheets of water poured from the dark sky, whirled
onward by the raging wind. The boat rocked in the tossing waves.
Frank crouched at the helm, his jaw set, his face stern. The girls
huddled in the stern, seeking protection from the sudden downpour.
Joe found a sheet of tarpaulin in a locker, and gave it to the two girls,
who draped it over their heads, and it afforded them some shelter.
The boat was swaying madly as it ran on through the huge waves
that surged on every side.
Frank could scarcely see Bayport ahead through the blinding rain
and gloom.
"Where is the other boat?" shouted Joe, above the clamor of the
storm.
Frank looked back.
Tony Prito's boat had disappeared. Frank wondered how the other
boys were faring. He had every confidence that Tony would make
land in safety, for the Italian lad was skilful at the helm and he had
iron nerves, but he was not so sure that Biff Hooper and Chet Morton
would weather the gale so easily. Biff had only mastered the
rudiments of motorboating and a storm such as this was enough to
test the mettle of the most skilful sailors.
He wondered if he should not turn back and go in search of Biff and
Chet. When he had last seen them they had been heading directly
into the teeth of the gale, out to the open sea. Surely they would not
be foolhardy enough to go on!
He glanced back and when he saw Iola's frightened face he knew
that it was impossible to turn back now, for he was responsible for
the safety of the girls and there was grave peril in braving the storm
just then. He opened the throttle further and felt the Sleuth respond
as it leaped ahead into the tossing whitecaps through the shifting
screen of rain.
Thunder rolled and crashed. Lightning flickered across the gray void
and rent the dark sky in livid streaks. The waves were tossing like
white-crested monsters seeking to devour them. Frank peered
through the raging gale and he could vaguely discern the city lying
ahead. A few lights were twinkling feebly, for the storm brought the
darkness of twilight with it.
The gale had sprung up so suddenly that they had been entirely
unprepared. Frank devoutly wished that he had taken heed of the
warning given by that ominous sky before he started out in the
motorboat. He was greatly alarmed for the safety of the girls,
because he knew that the storm was one of the worst that had ever
swept over Barmet Bay.
"We'll be lucky if we make it!" he muttered to himself. Then, to
reassure the others, he turned and grinned.
"We'll make it, all right!" he shouted, the wind whisking the words
away so that the others scarcely heard him.
A great wave broke over the side. The boat reeled as though it had
been struck by a giant hand.
CHAPTER V
No Word from the Chums
Frank Hardy bore down on the helm as the boat heeled over. For a
breathless second he thought the craft would be swamped. Water
poured over the gunwales. The girls screamed. Joe was thrown off
his balance and went sprawling into the stern.
But the Sleuth was staunch. In a moment it recovered, righted itself,
and surged on through the storm. Frank breathed a sigh of relief.
The engine throbbed steadily and, although the boat was rocking
and swaying in the turbulent sea, it was drawing nearer shore and
already he could distinguish the line of boathouses through the
downpour.
For all its violence, the storm was brief. The wind began to die down,
although the rain continued as though the heavens had been opened
up. In a few minutes Frank was able to pick out his own boathouse
and he headed the Sleuth directly for it. The sturdy craft sped swiftly
toward the open doorway, then Frank shut off the engine and the
boat came to rest.
"Some trip!" remarked Joe, shaking himself like a dog emerging from
the water, so that spray flew from his clothing in every direction.
"My hair is all wet, and I won't be able to do a thing with it," mourned
Callie Shaw, with feminine concern for her appearance first of all. In
spite of the shelter afforded by the tarpaulin, both girls were
thoroughly drenched. As for the boys, their clothing clung limply to
their bodies. Frank clambered out of the boat and moored it fast,
while Joe helped the girls up onto the landing.
"We're mighty lucky to be back at all," Iola Morton said. "I was sure
the boat would be swamped."
"It takes a pretty big storm to swamp our boat," boasted Joe.
"Although, to tell the truth, I was pretty nervous for a while."
"I was so frightened I couldn't speak," confessed the girl. "I do hope
Chet and Biff turned back. They would never get through that storm
alive."
Frank went to the door.
"No sight of them yet," he reported. Then he peered through the
driving screen of rain again. "Just a minute—I hear a boat coming
this way."
"Perhaps it's Tony."
"I hope it's one or the other. I couldn't see the Napoli at all after the
rain started."
In a few minutes they discerned a motorboat heading inshore. It was
Tony Prito's craft, the Napoli.
"Good!" exclaimed Joe. "Chet and Biff should be along, too. They
won't start on that trip to-day."
"I should hope not!" exclaimed Iola.
But when Tony's boat drew near the entrance of the boathouse on
the way to its own shelter a short distance away, Tony shouted to
Frank:
"All safe?"
"Everybody O.K.! How about you?"
"We're all right. Had a tough time getting back, though."
"So did we," Frank shouted. "Did Biff turn back?"
Tony shook his head. "Not a chance. We signaled to him that he'd
better come back but he just shook his head, and Chet pointed to the
end of the bay. They kept right on going. The last we saw of them
they were heading right into the storm."
"Good night!" Frank exclaimed. "They'll be swamped."
"They're taking an awful chance. Oh, well, perhaps they gave in after
all. They may have headed in toward one of the villages along the
shore. They'll probably be back."
"Let's hope so!" exclaimed Iola. "I won't have a minute's rest until I'm
sure they're safe."
Tony went on toward his own boathouse, with Jerry Gilroy and Phil
Cohen, drenched to the skin, sitting ruefully in the stern. The Hardy
boys and the two girls left the boathouse and were fortunate enough
to meet a school chum who happened to be driving past in his car,
so they drove home in shelter from the rain. Frank and Joe got off at
their home after the chum had volunteered to drive the girls home.
"And I'll make it snappy, too," he promised. "I guess you're in a hurry
to get into dry clothes."
"I feel like a drowned rat," declared Callie. "And I suppose I look like
one too."
After the others drove away, the Hardy boys went into the house and
made a complete change of clothes so that, fifteen minutes later, in
dry garments, they were feeling at peace with the world. When they
went downstairs again to tell their parents of the adventure they had
just experienced, they found Mr. Hardy just snapping the catch of his
club-bag, while a packed suitcase stood near by.
"Going away now?" they asked, in surprise.
"Off to Chicago. I just got a fresh clue as to Baldy's whereabouts."
"He's there all right, is he?"
The detective nodded. "I'll just have time to catch this train."
Mrs. Hardy entered the room at that moment.
"I telephoned for a taxi." Her face was troubled. "I do wish you didn't
have to make this journey, Fenton."
Mr. Hardy laughed.
"You've never worried about me so much before, Laura. I've gone
away on cases as bad as this dozens of times without causing you
as much anxiety."
"I know—but somehow I have a feeling that this case is a good deal
more dangerous than any of the others."
"I'll be back in a few days, never fear." Mr. Hardy turned to his sons.
"Look after your mother while I'm away, boys. Don't let her get
worried."
"There's nothing to be worried about, dad. You'll get your man all
right."
Mrs. Hardy shook her head. "You will be careful, won't you, Fenton?
From what you've told me of this Baldy Turk I imagine he wouldn't
stop at anything if he thought you were going to catch him."
"He's a pretty tough character, but I guess I can handle him," said
the detective lightly. "Well, here's my taxi. I'll have to be going. Good-
bye." He kissed his wife, shook hands with the boys, then picked up
his suitcase and club-bag and departed. From the front doorway they
watched him clamber into the waiting taxi. He waved at them as the
car got under way, then it went speeding out of sight along the
shimmering pavement.
Mrs. Hardy turned away. "I expect he'll think I'm foolish for worrying
so much about him this time, but I have a queer sort of feeling that
this Baldy Turk is the most dangerous criminal he has ever had to
deal with."
"He'll deal with him, mother," declared Frank, with conviction. "Trust
dad to know what he's doing. He'll clap the handcuffs on Baldy Turk
in no time. There's nothing to worry about."
"Well, I hope you're right," she replied. "Still, I can't help but be
anxious—"
With that she let the matter drop, and her fears for Fenton Hardy's
safety were not expressed again, although the boys knew that
anxiety still weighed heavily upon her mind. By evening, however,
she appeared to be in better spirits and the boys did their best to
amuse her and make her forget their father's absence and his
perilous errand.
Next day the boys went down to the boathouse where Biff Hooper
kept the Envoy, but there was no sign of the craft. The storm of the
previous day had lasted well into the afternoon and there had been
no doubt in their minds but that Chet and Biff had set back for
Bayport, but the absence of the motorboat indicated otherwise.
"Let's go up to Morton's farm and see if they did come back," Frank
suggested.
"Iola was saying that Chet promised to send a post card from the
first village they stopped at. They were to have spent the night at
Hawk Cove and he said he'd drop a line from there so that his folks
would know everything was all right."
Hawk Cove was a small fishing village on the coast and, under
normal conditions, Chet and Biff should have reached the place early
the previous evening. A postal card would have caught the morning
mail to Bayport.
"Let's go, then," Frank said. "If they went on to Hawk Cove and wrote
from there we'll know that everything is all right."
"I'm with you."
The Hardy boys brought their motorcycles out of the shed and drove
out toward the Morton farm. They made speed on the run because
both were anxious to learn if anything had been heard of their
chums. But when they reached the farmhouse and saw Iola's
worried face as she greeted them at the door they knew without
being told that no word had been received from Chet.
"They didn't turn back," said Iola, almost tearfully. "We waited all
afternoon and evening expecting Chet back, but he didn't come.
They must have gone straight ahead into the storm."
"Did the post card come?" asked Joe.
She shook her head.
"We haven't heard from him at all. And Chet promised faithfully he'd
write to us from Hawk Cove. The card should have been in the
morning mail. Chet always keeps his promises. I'm so afraid
something dreadful has happened."
"Oh, there's no need to be alarmed," consoled Frank. "Perhaps the
storm delayed them so that they didn't reach Hawk Cove until it was
too late to catch the mail. Or perhaps they stopped off at one of the
other fishing villages down at the entrance to the bay. A dozen things
might have happened. You'll probably hear from him to-morrow—or
to-night, perhaps."
"That storm was too terrible!" declared the girl. "They should never
have gone on. They should have turned back when the rest of us
did."
"I guess they didn't want to turn back once they had started,"
ventured Joe. "Biff doesn't like to admit he's licked."
"Neither does Chet," the girl replied. "They're both headstrong and I
guess they thought we'd make fun of them if they had to come back
to Bayport and start over again."
"Well, we'll be back to-morrow. I'm sure you'll hear from him by then,"
said Frank reassuringly. "And if we hear anything we'll let you know."
"Please do."
The Hardy boys walked back to their motorcycles. When they were
out of hearing Frank remarked in a low voice:
"I don't like the looks of this, at all! I'm beginning to think something
has happened."
CHAPTER VI
Missing
No word came from Chet Morton or Biff Hooper the following day.
Although the parents of the chums tried to allay their fears by
assuming that the lads had not stopped off at Hawk Cove after all or
had neglected to write, as is the way of boys the world over, when
three days passed without further news, the situation became
serious.
"They were wrecked in that storm, I know it!" declared Iola Morton,
with conviction, when the Hardy boys called at the farmhouse on the
third day. "Mother is almost frantic and daddy doesn't know what to
do. It isn't like Chet to make us wait this long for some word of where
he is, particularly when he knew we'd be anxious."
"The Hoopers are terribly worried about Biff," Joe put in. "We went
over there last night to see if they had heard anything. Mr. Hooper
had telephoned to nearly all the fishing villages up the coast, but
none of them had seen anything of the boat."
Iola turned pale.
"They hadn't seen the boat at all?"
Frank shook his head.
"Either the boys were wrecked or they were swept out to sea," said
the girl. She turned away and dabbed at her eyes with a
handkerchief. She was on the verge of breaking down. "Oh, can't
something be done to find trace of them?"
"It's time we were getting busy," Frank agreed. "I think we'd better
organize a searching party."
"With the motorboats?" asked Joe.
"Yes. We can take our boat. Perhaps Tony Prito will be able to come
along with the Napoli and we'll get the rest of the fellows. We can
cruise along the bay and up the coast and perhaps we'll find some
trace."
"Will you do that?" asked Iola, brightening up. "Oh, if you only will! At
least we'll know that some one is searching for them."
"I've been thinking that possibly their boat got wrecked and they
were washed up on an island or on some part of the coast a long
way from any village," Frank observed. "I don't think they've been
drowned. They are both good swimmers and it would take a lot to kill
either of them."
"Well, if we're going to go we may as well get started."
"All right, Joe. We'll take some grub with us and count on staying
until we find some trace of them. Perhaps two or three days."
A sudden thought struck Joe.

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Preface for instructors xvii Chapter 2 Overview of the Reader-Centered

Part II How to Conduct a Thorough, Focused Search for Information and

Guideline 1: describe your reader’s current attitudes Guideline 2: acknowledge uncertainty 79

Communications 121 two Patterns for organizing Comparisons 152

Starting Segments 122 example: Partitioning a Car 155

Guideline 2: Present your generalizations before Describing a Process (Segmenting) 156

Varieties of Team Structures 306 Guideline 1: speak in a conversational style 329

Conclusion 334 Guideline 1: Observe copyright law and acknowledge your

USE WHAT YOU’VE LEARNED 348 Writing Reader-Centered Letters 371

Chapter 24 Writing Reader-Centered Chapter 27 Writing Reader-Centered

appendix a Documenting Your Print sources 492

W elcome to the Ninth Edition of Technical Communication: A Reader-Centered

Reader-centered approach. No matter what your students’ future (or current)

In-depth coverage in an easy-to-learn manner. In most chapters, the major points

Numerous richly annotated examples and sample documents. To students, guide-

New to This Edition

■ Chapter 3, “Defining Your Communication’s Goals,” is shortened to em-

Other Major Features

many ways that cultural differences affect communication and provide

Organization of this Edition

Supporting Materials for Students and Instructors

■ Additional Writer's Tutorials. These guide students step-by-step through

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