If an idea is restated in a nonfiction article, what does this most likely signal for the reader?

TOWRITING GUIDE

ST. MARTIN’S THE

S H O R T T E N T H E D I T I O N

Rise B. Axelrod Charles R. Cooper

with e-Pages

1 Introduction: Thinking about Writing 1

PART 1 Writing Activities

2 Remembering an Event 8 3 Writing Profiles 58 4 Explaining a Concept 116 5 Finding Common Ground 172 6 Arguing a Position 242 7 Proposing a Solution 296 8 Justifying an Evaluation 350 9 Speculating about Causes 402

10 Analyzing Stories 457

PART 2 Critical Thinking Strategies

11 A Catalog of Invention Strategies 508 12 A Catalog of Reading Strategies 521

PART 3 Writing Strategies

13 Cueing the Reader 546 14 Narrating 561 15 Describing 574 16 Defining 586 17 Classifying 594 18 Comparing and Contrasting 601 19 Arguing 608 20 Analyzing Visuals 626

Brief Contents

21 Designing Documents 640 22 Writing in Business and Scientific

Genres 652

PART 4 Research Strategies

23 Planning a Research Project 666 24 Finding Sources and Conducting Field

Research 674

25 Evaluating Sources 690 26 Using Sources to Support Your Ideas 697 27 Citing and Documenting Sources in MLA

Style 709

28 Citing and Documenting Sources in APA Style 739

PART 5 Writing for Assessment

29 Essay Examinations 752 30 Writing Portfolios 766

PART 6 Writing and Speaking to Wider Audiences

31 Oral Presentations 772 32 Working with Others 777 33 Writing in Your Community 781

To access the e-Pages that accompany this text, visit bedfordstmartins.com/theguide/epages. Students who do not buy a new book can purchase access to e-Pages at this site.

Chapter 2: Remembering an Event Shannon Lewis, We Were Here [student reading selection] Juliane Koepcke, How I Survived a Plane Crash [newspaper

article and linked podcast interview] Andrew Lam, Waterloo [book excerpt] Playing with Genre: Kate Beaton, Treasure [annotated cartoon]

Chapter 3: Writing Profiles Brianne O’Leary, Fatty’s Custom Tattooz and Body Piercing

[student reading selection] Sam Dillon, 4,100 Students Prove “Small Is Better” Rule Wrong

[newspaper article and slideshow] Veronica Chambers, The Secret Latina [magazine article

with illustrations] Playing with Genre: Dirty Jobs with Mike Rowe, Skull Cleaner

[linked video]

Chapter 4: Explaining a Concept Ammar Rana, Jihad: The Struggle in the Way of God [student

reading selection] Slate, What Extremely Walkable and Unwalkable Neighborhoods

Look Like [interactive maps and chart] Melinda Beck, What Cocktail Parties Teach Us [newspaper article] Playing with Genre: National Geographic Online, Mapping Memory

[annotated web pages]

Chapter 5: Finding Common Ground Chris Sexton, Virtual Reality? [student reading selection] Playing with Genre: Bloggingheads.tv [podcast interview with

jonathan haidt]

Understanding the Issue of Unpaid Internships Raphael Pope-Sussman, Let’s Abolish This Modern-Day Coal Mine

[op-ed] David Lat, Why Mess with a Win-Win Situation? [op-ed] Camille Olson, A Valuable Idea, If We Follow the Law [op-ed]

Understanding the Issue of Global Warming David McCandless, The Global Warming Skeptics vs. the Scientific

Consensus [infographic]

Chapter 6: Arguing a Position Michael Niechayev, It’s Time to Ban Head-First Tackles and Blocks

[student reading selection]

Farhad Manjoo, Troll, Reveal Thyself [annotated web page and linked podcast interview]

Laurie Fendrich, Sex for Tuition [op-ed] Playing with Genre: Ad Council / U.S. Department of Transportation,

The “It’s Only Another Beer” Black and Tan [annotated advertisement]

Chapter 7: Proposing a Solution Molly Coleman, Missing the Fun [student reading selection] TempoHousing, Keetwonen (Amsterdam Student Housing)

[interactive web page] Zach Youngerman, Did Bad Neighborhood Design Doom Trayvon

Martin? [op-ed] Playing with Genre: Ad Council, The $9 Lunch [annotated

advertisement]

Chapter 8: Justifying an Evaluation Brittany Lemus, Requiem for a Dream: Fantasy versus Reality

[student reading selection] Marlon Bishop, Gig Alert: Bright Eyes [interactive web page

and sound file] Jean M. Twenge and W. Keith Campbell, Isn’t Narcissism

Beneficial, Especially in a Competitive World? [book excerpt] Playing with Genre: Yelp, Kuma’s Korner [annotated web page]

Chapter 9: Speculating about Causes Michele Cox, The Truth about Lying [student reading selection] On the Media, The Reel Sounds of Violence [podcast interview

with daniel engber] Shirley S. Wang, A Field Guide to the Middle-Class U.S. Family

[newspaper article] Playing with Genre: Jonathan Jarvis, The Crisis of Credit Visualized

[animated infographic]

Chapter 10: Analyzing Stories Sally Crane, Gazing into the Darkness [student reading selection] David Ratinov, From Innocence to Insight: “Araby” as an Initiation

Story [student reading selection] Playing with Genre: Natalie George, Lacey Patzer, and Sam

Williams, “The Story of An Hour” by Kate Chopin [student video] Adrian Tomine, Mandarin Accent [graphic story (excerpt)] Sandra Tsing Loh, My Father’s Chinese Wives [story] Jamaica Kincaid, Girl [audio recording]

Inside the e-Pages for The St. Martin’s Guide

www.bedfordstmartins.com/theguide/epages

this page left intentionally blank

The St Martin’s Guide to Writing

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Preface iii

The St Martin’s Guide to Writing

Rise B. Axelrod University of California, Riverside

Charles R. Cooper University of California, San Diego

Bedford / St. Martin’s

SHORT TENTH EDITION

For Bedford/St. Martin’s

Senior Developmental Editor: Jane Carter Production Editor: Peter Jacoby Senior Production Supervisor: Jennifer Peterson Executive Marketing Manager: Molly Parke Editorial Assistant: Amy Saxon Copy Editor: Diana Puglisi George Indexer: Melanie Belkin Photo Researcher: Debbie Needleman Permissions Manager: alina Ingham Art Director: Lucy rikorian Text Design: Jerilyn Bockorick Cover Design: Marine Bouvier Miller Composition: Cenveo Publisher Services Printing and Binding: RR Donnelley and Sons

President, Bedford/St. Martin’s: Denise B Wydra Presidents, Macmillan Higher Education: Joan E Feinberg and Tom Scotty Editor in Chief: aren S Henry Director of Development: Erica T Appel Director of Marketing: aren R Soeltz Production Director: Susan W Brown Associate Production Director: Elise S aiser Managing Editor: Shuli Traub

Copyright © 2013 2010 2008 2004 by Bedford St Martin’s All rights reserved No part of this book may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical photocopying recording or otherwise except as may be expressly permitted by the applicable copyright statutes or in writing by the Publisher

Manufactured in the United States of America

8 7 6 5 4 3 f e d c b a

For information, write: Bedford St Martin’s 75 Arlington Street Boston MA 02116 617-399-4000

ISBN 978-1-4576-3250-1 paperback with Handbook ISBN 978-1-4576-0442-3 hardcover with Handbook ISBN 978-1-4576-4081-0 loose-leaf edition with Handbook ISBN 978-1-4576-0450-8 paperback without Handbook

Acknowledgments

Acknowledgments and copyrights are continued at the back of the book on pages A-1–A-4 which constitute an extension of the copyright page It is a violation of the law to reproduce these selec- tions by any means whatsoever without the written permission of the copyright holder

v

We owe an enormous debt to all the rhetoricians and composition specialists whose theory research and pedagogy have informed The St. Martin’s Guide to Writing We would be adding many pages if we were to name everyone to whom we are indebted

The members of the advisory board for the tenth edition a group of dedicated composition instructors from across the country have provided us with extensive insights and suggestions for the chapters in Part One and have given us the benefit of their advice on new features The St. Martin’s Guide to Writing has been greatly enhanced by their contributions

Advisory Board

Lisa Bickmore Salt Lake Community College

Mary Brantley Holmes Community College–Ridgeland

Jo Ann Buck Guilford Technical Community College

Wallace Cleaves University of California–Riverside

Leona Fisher Chaffey College

Gwen Graham Holmes Junior College–Grenada

Lesa Hildebrand Triton College

Stephanie Kay University of California–Riverside

Donna Nelson-Beene Bowling Green State University

Gail Odette Baton Rouge Community College

Gray Scott Texas Woman’s University

David Taylor St. Louis Community College

this page left intentionally blank

vii

When we first wrote The St. Martin’s Guide to Writing our goal was to provide stu- dents with the clear guidance and practical strategies they needed to harness their potential as writers — an achievement that will be key to their success in college at work and in the wider world We also wanted to provide instructors with the hands- on tools they needed to help their students write with a clear understanding of their rhetorical situation Our goals have remained the same and so The St. Martin’s Guide retains the core features that over the years have drawn so many instruc- tors and programs to the Guide But now it also includes many new features that we believe will keep the Guide the most practical hands-on text for teachers and students

Core Features of the Guide The St. Martin’s Guide retains its emphasis on active learning — learning by doing — by providing practical guides to writing promoting genre awareness to aid the transfer of writing skills from one genre or context to another and integrating reading and writing through hands-on activities of critical thinking reading and analysis

Practical Guides to Writing

Each chapter in Part One offers practical flexible guides that help students draft and revise essays in a variety of analytical and argumentative genres Commonsensical and easy to follow these writing guides teach students to

assess the rhetorical situation focusing on their purpose and audience with spe- cial attention to the genre and medium in which they are writing

ask probing analytical uestions

practice finding answers through various kinds of research including memory search field research and traditional source-based research

These flexible guides to writing begin with a Starting Points chart to offer students multiple ways of finding the help they need when they need it Each also includes a Critical Reading Guide to help students assess their own writing and the writing of their classmates and a Troubleshooting Guide to help students find ways to improve their drafts All these guides are organized and color-coded to emphasize the genre’s basic features In short the guides to writing help students make their writing

Preface

Prefaceviii

THINKING CRITICALLY

Summarize: Tell the writer what you understand the subject of the evaluation to be, and identify the kind of subject it is.

Praise: Point to a place where the subject is presented effectively — for example, where it is described vividly and accurately, where it is named, or where it is clearly placed in a recognizable genre or category.

Critique: Tell the writer where readers might need more information about the subject, and whether any information about it seems inaccurate or possibly only partly true. Suggest how the writer could clarify the kind of subject it is, either by naming the category or by giving examples of familiar subjects of the same type.

Has the writer presented the subject effectively?

Subject

A CRITICAL READING GUIDE

Summarize: Tell the writer what you understand the overall judgment to be, and list the criteria on which it is based.

Praise: Identify a passage in the essay where support for the judgment is presented effectively — for example, note particularly strong supporting reasons, appeals to criteria readers are likely to share, or especially compelling evidence.

Critique: Let the writer know if you cannot find a thesis statement or think the thesis is vague or overstated. Tell the writer where the evaluation could be improved — for example, suggest another reason that could be added; propose a way to justify one of the criteria on which the evaluation is based; or recommend a source or an example that could be used to bolster support for the judgment.

Has the writer supported the judgment effectively?

Each chapter in Part One introduces a genre of writing By working through several genres students learn how writers employ the basic features and strategies of a genre to achieve their purpose with their readers The Arguing a Position essay for exam ple teaches students to examine critically their views on a controversial issue as well as those of their prospective readers with an eye toward developing an argument that not only is well reasoned and well supported but also responds constructively to read ers’ likely uestions and concerns The Finding Common Ground essay teaches stu dents how to analyze opposing arguments on a controversial issue—unpacking the ways writers use the classical appeals of logos ethos and pathos to promote their underlying values and beliefs Whereas the primary purpose in Arguing a Position is persuasive to convince readers to take seriously the writer’s point of view the primary purpose in a Finding Common Ground essay is analytical to explain the basis for divergent points of view and determine where if anywhere compromise might be forged Studying multiple genres —as well as multiple examples of each genre —helps students understand that genre is not simply a way for rhetoricians to classify texts or

thoughtful clear organized and compelling—in a word effective for the rhetorical situation

Preface ix

for teachers to construct assignments More important genre awareness helps them understand how we actually communicate with one another in a variety of contexts and situations Genre awareness makes us better communicators better readers and writers in whatever medium we are using

Systematic Integration of Critical Reading and Reflective Writing

Students are asked to read and analyze essays in the genre they are learning to write The activities following the professional reading selections prompt students to read actively by asking them to reflect on the essay and connect it to their own experience and to read like a writer paying attention to the strategies the writer uses to convey his or her ideas and connect with readers

What’s New Although the tenth edition of The St. Martin’s Guide to Writing builds on the success of previous editions many of the strategies the Guide employs have changed in order to connect more effectively with a new generation of teachers and students Even in the years since the publication of the ninth edition there have been the increasingly burdensome demands on the time attention and energy of teachers and students and the tremendous growth in access to high-speed Internet So the guiding principle for the tenth edition has been to maximize active learning by enhancing the book’s visual rhetoric, giving students more opportunities for hands-on learning, and pro- viding students and instructors with more readings and more interactive activities than ever before: more showing more doing more options more learning

More Readings in the e-Pages

The Guide is the first rhetoric to integrate e-Pages that come alive online with video Web sites podcasts and more An electronic extension of the printed page e-Pages make it possible for us to include more reading selections in the Guide than ever before The e-Pages for The St. Martin’s Guide, Tenth Edition include the following:

Ten more student essays. Each is accompanied by a headnote identifying the student writer and describing the assignment that the essay was written to fulfill are available free through the e-Pages Additional student essays are also avail- able on the book’s companion site and in Sticks and Stones, a collection of student essays from across the country that is available free to adopters

Twenty-one more professional readings take advantage of what the Web can do to give instructors more choices than ever before Each reading is accompa- nied by a headnote describing the writer and the venue in which the selection originally appeared and each is followed by an Analyze Write activity that

Prefacex

asks students to think and write about how the selection employs a basic feature of the genre A Consider Possible Topics feature is also included to help students identify topics about which they could write

Student Site for The St. Martin’s Guide to Writing—bedfordstmartins.com/theguide—or by typing the following URL into the address bar of a Web browser: bedfordstmartins.com /theguide/epages

Students receive automatic access with the purchase of a new book If the activa tion code printed on the inside back cover of the student edition has expired students

415GUIDE TO READINGGUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY

Vedantam The Telescope Effect

Shankar Vedantam Th e Telescope Eff ect

SHAN AR VEDANTAM is a National Public Radio correspondent and a journalist for the Philadelphia Inquirer, Slate, and the Washington Post He has been honored with fellowships and awards by Harvard University the World Health Organization the Society of Professional Journalists and the American Public Health Association In addition to his many articles Vedantam writes plays and fiction including his short story collection The Ghosts of Kashmir 2005 “The Telescope Effect” is excerpted from his book The Hidden Brain: How Our Unconscious Minds

Elect Presidents, Control Markets, Wage Wars, and Save Our Lives 2010 The photograph of the rescued dog Hokget which appears in the reading selection on p 416 is from the Honolulu

As you read consider the following uestions:

The Insiko 1907 was a tramp tanker that roamed the hunted the seas for fishing fleets in need of fuel the Insiko had a cargo of tens of thousands of gallons of diesel It was supposed to be an Indonesian ship except that it was not registered in Indonesia because its owner who lived in China did not bother with taxes In terms of international law the Insiko 1907

largest ocean on earth On March 13 2002 a fire broke out in the Insiko’s engine room The ship was about eight hundred miles south of Hawaii’s Big Island and adrift Its crew could not call on anyone for help and no one who could help knew of the Insiko’s existence let alone its problems 1

Drawn by wind and currents the Insiko eventually got within two hundred twenty miles of Hawaii where it was spotted by a cruise ship called the Norwegian Star on April 2 The cruise ship diverted course rescued the Taiwanese crew and radioed the United States Coast Guard But as the Norwegian Star pulled away from the Insiko and steamed toward Hawaii a few passengers on

tain’s puppy had been left behind on the tanker It is not entirely clear why the cruise ship did not

rescue the Jack Russell mixed terrier or why the

1

2

3

Taiwanese crew did not insist on it Whatever the

were abandoned on the terrible immensity of the Pacific The Norwegian Star senger who heard the barking dog called the Hawaiian Humane Society in Honolulu The Humane Society

ports began appearing about the terrier whose name was Hokget

Something about a lost puppy on an abandoned ship on the Pacific gripped people’s imaginations

cue One check was for five thousand dollars “It

tunity for people to feel good about rescuing a dog People poured out their support A handful of people

ing money to the homeless ’” But Burns felt the great thing about America was that people were free to give money to whatever cause they cared about and people cared about Hokget

On April 26 nearly one and a half months after the puppy’s ordeal began the American Quest found the Insiko female pup was still alive and hiding in a pile of

4

5

www.bedfordstmartins.com/theguide

www.bedfordstmartins.com/theguide

www.bedfordstmartins.com/theguide/epages

Preface xi

25GUIDE TO READINGGUIDE TO WRITING A WRITER AT WORK THINKING CRITICALLY

Make connections: Remembering idols. We often fi nd ourselves profoundly affected by what happens to people we’ve never

idol showing us not only how Tupac’s death affected her then but what she thinks of her teenage self ’s obsession now that she is older

Recall a time when the emotional impact of an event that happened to someone else or to other people was powerful enough to affect your behavior decisions or actions for the day or longer Consider the reasons for your reactions Your instructor may ask you to post your thoughts to a class discussion board or blog or to discuss them with other students in class Use these uestions to get started:

Use the basic features.

Dialogue is a narrating strategy that helps writers dramatize a story uoting with descriptive speaker tags —

He said, “ .” She asked, “ ?”

hearing what was said and how it was said But all of the dialogue strategies — uoting

clude demonstrate how effective this sentence strategy can be

1 Skim the story, highlighting the dialogue and underlining the speaker tags. Also note

2 Consider each bit of dialogue, paraphrase, or summary to see what role it plays. Does it tell you something about the speaker or her relationship with another person? Does it convey feelings or attitudes? Does it advance the narrative or something else?

Speaker tag

To learn more about quoting

phrasing, and summarizing in autobiographical stories, see pp. 11–12; to learn more about using them in your own writing, see the Guide to Writing, pp. 35–36 and 38–39.

REFLECT

bedfordstmartins.com/theguide/epages and following the instructions there

Leaner chapters make it easier for instructors to get and keep students reading and to focus their attention on what matters most This edition of The St. Martin’s Guide to Writing is tighter and more focused than ever

A new design helps guide students through the chapters with headings that show students where they are where they’ve been and where they’re going in the chapter and that help students identify the activities and understand the purpose they serve in active learning

www.bedfordstmartins.com/theguide/epages

Prefacexii

problem. (pp. 299–300)

(p. 332)

Problem (p. 314)

Studies (p. 320)

(pp. 326–27)

seriousness. (pp. 335–36)

for your readers. (pp. 336–37)

Problem. (p. 344)

GUIDE TO WRITING

The Writing Assignment

munity or group to which you belong and address your proposal to one or more members of the group or to outsiders who might help solve the problem

This Guide to Writing is designed to help you compose your own proposal and apply what you have learned from reading other essays in the same genre This Starting Points chart will help you fi nd answers to uestions you might have about composing a proposal Use the chart to fi nd the guidance you need when you need it

The Writing Assignment

Invention,

Planning, and Composing

Improving the

Proofreading

330

331

341

343

330

How do I come up with a problem to write about?

How can I best define the problem for my readers?

(pp. 301–2)

Implementation (p. 327)

How do I come up with a plausible solution?

s show students the techni ues writers use to communicate effectively with their readers

is worth the expense time and effort to do so

Read fi rst to fi nd the proposed solution usually declared in a thesis statement early in the essay Typically the thesis describes the proposed solution briefl y and indicates how it would solve the problem as in this example which contrasts the problem’s disadvantages with the solution’s benefi ts:

So not only do discourage frequent study and undermine students’ performance, they also If professors gave brief exams at fre uent intervals students would be spurred to learn more and worry less They would study more regularly perform better on tests and enhance their cognitive functioning O’Malley par 2

Th h k h h i h i d id d

Problem and its disadvantages

Thesis proposing solution and its benefits

A mini table of contents and a Starting Points chart at the opening of each Guide to Writing section in Part One help students fi nd the information they need Starting Points Critical Reading, and Troubleshooting guides use speech bubbles to prompt students to refl ect on interrogate and revise their writing on their own

Preface xiii

Integrated sentence strategies foreground the sentence patterns writers use to communicate effectively with their readers Examples from the reading selections demonstrate the fl exibility of the pattern

In the Guide to Writing sentence strategies are integrated into the Ways In activities to invite students to use them for their own rhetorical purpose and to make them their own as they revise

Frame the problem for your readers. Once you have made a preliminary choice of a problem consider what you know about it what research will help you explore what others think about it and how you can interest your readers in solving it Then determine how you can frame or reframe

you revise later

Give an example to make the problem specific:

has been [in the news/ in movies/a political issue] because of [name event].

Example: Lately the issue of bullying has been in the news sparked by the suicide of Tyler Clementi a gay college student

Bornstein par 1

Brainstorm a list: Spend 10 minutes listing everything you know about the problem Write uickly leaving judgment aside for the moment After the 10 minutes are up you can review your list and highlight or star the most promising information

Use cubing: Probe the problem from a variety of perspectives:

problems or contrast it with other related problems

views, consult Chapter 24,

writing, see Chapter 11, pp. 510, 514–15.

Use t e bas c eatu es.

Writers sometimes have to remind their readers why an issue is controversial Beginning with the title Solove works to undermine the widely held assumption

wellian and afkaes ue based on the novels 1984, by George Orwell and The Trial, by Franz afka To present this contrast Solove uses sentence patterns like these:

Not , but .

focus on , which is characterized by even notice , which is characterized by .

Here are a couple of examples from Solove’s position argument:

The problems are not just Orwellian but afkaes ue par 10

Legal and policy solutions focus too much on the problems under the Orwellian metaphor — those of surveillance — and aren’t ade uately addressing the afkaes ue problems — those of information processing par 9

Prefacexiv

Greater attention to the writing situation helps students transfer the skills they’re learning to other courses and contexts: Practicing the Genre activities at the beginning of the chapter encourage students to explore the genre collaboratively Playing with Genre boxes at the end of each Guide to Reading section encourage students to consider the effects of genre A new chapter on writing in business and scientific genres encourages students to consider how genre drives design and formatting

Concept explanations may appear in textbooks or magazines but they also appear in a variety of other contexts You can fi nd podcasts that explain concepts on iTunes University or Web tutorials that explain concepts on sites from Microsoft.com to the National Library of Medicine nlm nih gov Infographics like the example below from National Geographic Online are used fre uently to explain complex concepts

Infographics and Other Concept

Explanations Online

version of this feature, plus activities, go to

.

In the next section of this chapter we ask you to explain a concept Consider how you can best engage your readers’ attention and make the explanation clear to your audience and possibly yourself What explanatory strategies will

your explanation in a different medium in a graphic or an online tutorial help

Consider too whether using visuals or conveying your concept explanation in a different medium would be acceptable to your instructor

With the tenth edition the full version of The St. Martin’s Guide to Writing is now available in a wider variety of formats than ever before including hardcover,

www.bedfordstmartins.com/theguide/epages

Preface xv

paperback, loose leaf, and versions For a full list of options visit us online at bedfordstmartins.com/theguide/catalog

The St. Martin’s Guide to Writing, Tenth Edition helps students build profi ciency in the four categories of learning that writing programs across the country use to assess their students’ work: rhetorical knowledge critical thinking reading and writing writing processes and knowledge of …

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