Which resource will help you revise colorless word choice in a draft autobiography?

RISE B. AXELROD | CHARLES R. COOPER

AXELROD COOPER

ELEVENTH EDITION

ELEVENTH EDITION

The

St. Martin’s Guide to

Writing

The St. M artin’s

G uide to W

riting mech_AxelrodCooper-SMG11-Long_Case-SE-101415

macmillanhighered.com

A Guide You Can Trust for a Solid Foundation There is no better text to help you read analytically and write successfully in first-year composition and in your coursework across campus. The Guide’s acclaimed step-by- step writing guides offer the surefire invention strategies you need to get started, the sentence strategies you need to keep writing, and the thoughtful revision strategies you need to make your writing the best it can be. This book includes the essays and assignments you need in order to do your work.

The St. Martin’s Guide to Writing is available in a variety of e-Book formats. For details, visit macmillanhighered.com/ebookpartners.

Did your instructor assign LaunchPad for The St. Martin’s Guide to Writing?

macmillanhighered.com/theguide11e The St. Martin’s Guide is enhanced by the video, audio, and practice activities in LaunchPad for The St. Martin’s Guide to Writing. If your book did not come packaged with an access code, you can purchase access to LaunchPad for The St. Martin’s Guide to Writing at macmillanhighered.com/theguide11e.

Endsheet 1Endsheet 4

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HOW TO USE THIS BOOK The best way to become a good writer is to study examples of good writing and apply what you learn from those examples to your own work. That’s why each of the nine chapters in Part 1, Writing Activities, includes

a Guide to Reading that highlights the color-coded basic features of the genre and provides four examples of the genre (one student essay and three professional reading selections).

a Guide to Writing that will help you draft, revise, edit, and proofread your own writing projects, with Starting Points charts to help you find the information you need, Ways In activities to help you get writing, Peer Review Guides to help you get—and give— useful feedback, and Troubleshooting Guides that will help you solve your writing problems.

The Part 1 chapters in this edition also include a Remix activity to help you think through how to transform your writing into a new genre or medium. In these pages, you will see, for example, how one student remixed a portion of her remembered event essay as a graphic memoir and how another turned his profile into a treatment for a documentary.

The other parts of the book provide resources you can draw on as you need them. Do you need help with analyzing a reading? Chapter 12 provides a catalog of useful strategies. Do you need to know how to cite sources? Then turn to Chapter 24 (MLA style) or 25 (APA style) for detailed advice and examples. Do you need tips for writing essay exams? Then Chapter 26 can help you prepare for and take the test.

To find the information you need, when you need it:

The brief contents (on the facing page) lists all the chapters in the book.

The detailed contents (starting on p. xxi) lists all the readings and activities in the book.

The first page in each part lists all the chapters in that section.

The first page of each Guide to Writing provides a mini table of contents for that section.

The Starting Points chart shows you where to find the information you need to get started, and the Troubleshooting Guide helps you improve your draft.

The subject index and the index for multilingual writers at the end of the book (the blue-edged pages) list all the items you might look for in alphabetical order.

We’ve tried to create a complete resource for the college writer. We hope this book helps you master the skills you will need to succeed in college and on the job.

Best,

1 Composing Literacy 1

PART 1 Writing Activities 2 Remembering an Event 12 3 Writing Profiles 59 4 Explaining a Concept 119 5 Analyzing and Synthesizing Opposing

Arguments 170 6 Arguing a Position 229 7 Proposing a Solution 283 8 Justifying an Evaluation 335 9 Arguing for Causes or Effects 385 10 Analyzing Stories 440

PART 2 Critical Thinking Strategies 11 A Catalog of Invention and Inquiry

Strategies 488 12 A Catalog of Reading Strategies 500

PART 3 Writing Strategies 13 Cueing the Reader 524 14 Narrating 538 15 Describing 550 16 Defining 562 17 Classifying 569 18 Comparing and Contrasting 576 19 Arguing 582

Brief Contents

PART 4 Research Strategies 20 Planning a Research Project 602 21 Finding Sources and Conducting Field

Research 609 22 Evaluating Sources 625 23 Using Sources to Support Your

Ideas 632 24 Citing and Documenting Sources in

MLA Style 644 25 Citing and Documenting Sources in

APA Style 674

PART 5 Composing Strategies for College and Beyond

26 Taking Essay Examinations 686 27 Creating a Portfolio 700 28 Analyzing Visuals 704 29 Writing in Business and Scientific

Genres 718 30 Writing for and about Your

Community 729 31 Writing Collaboratively 734 32 Designing for Page and Screen 738 33 Composing Multimodal

Presentations 751

Handbook H–1

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Preface i

The St. Martin’s Guide to Writing

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Preface iii

ELEVENTH EDITION

Bedford/St. Martin’s A Macmillan Education Imprint

The St. Martin’s Guide to Writing

Rise B. Axelrod University of California, Riverside

Charles R. Cooper University of California, San Diego

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For Bedford/St. Martin’s Vice President, Editorial, Macmillan Higher Education Humanities: Edwin Hill Editorial Director, English and Music: Karen S. Henry Senior Publisher for Composition, Business and Technical Writing, Developmental Writing:

Leasa Burton Executive Editor: Molly Parke Executive Development Manager: Jane Carter Associate Media Editor: Jonathan Douglas Senior Project Editor: Peter Jacoby Media Producer: Melissa Skepo-Masi Senior Production Supervisors: Dennis J. Conroy and Lisa McDowell Marketing Manager: Emily Rowin Copy Editor: Diana Puglisi George Director of Rights and Permissions: Hilary Newman Senior Art Director: Anna Palchik Text Design: Jerilyn Bockorick Cover Design: Marine Miller Composition: Cenveo Publisher Services Printing and Binding: RR Donnelley and Sons

Copyright © 2016, 2013, 2010, 2008 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, pho- tocopying, 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.

0 9 8 7 6 5 f e d c b a

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

ISBN 978-1-4576-9848-4 (hardcover with Handbook) ISBN 978-1-319-01603-6 (paperback with Handbook) ISBN 978-1-319-01606-7 (paperback without Handbook)

Acknowledgments Text acknowledgments and copyrights appear at the back of the book on pages A-1–A-2, which constitute an extension of the copyright page. Art acknowledg- ments and copyrights appear on the same page as the art selections they cover. It is a violation of the law to reproduce these selections by any means whatsoever with- out the written permission of the copyright holder.

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v

Our goal for The St. Martin’s Guide to Writing has always been to provide the clear guidance and practical strategies students need to harness their potential as writers, both in college and in the wider world. We also strive to provide both experienced and novice instructors with the time-tested tools they need to coach their students as they develop skills for writing successfully in college and beyond. These goals have guided our development of the core features of the Guide as well as the many exciting features that keep the eleventh edition fresh and useful.

Core Features of the Guide The St. Martin’s Guide retains its emphasis on active learning by providing practical guides to writing and integrating reading and writing through hands-on activities for critical thinking, reading, analysis, and synthesis.

Practical Guides to Writing Each chapter in Part One offers practical, flexible guides that help students draft and revise a variety of analytical and persuasive essays. Honed by experience, the acclaimed writing guides offer surefire invention strategies to get students started, sentence strate- gies to get students writing, and thoughtful peer review and troubleshooting strategies to help students make their writing effective for any rhetorical situation.

Commonsensical and easy to follow, the Guides to Writing teach students how to

assess the rhetorical situation, focusing on purpose and audience, with special attention to the basic features of each assignment type;

ask probing analytical questions about what they’re reading that can help make students more reflective writers;

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

Each Guide to Writing begins with a Starting Points chart, offering students multiple ways of finding the help they need when they need it. Each also includes a Peer Review 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 of these guides are organized and color-coded to emphasize the assignment’s basic features. In short, the Guides to Writing help students make their writing thoughtful, clear, organized, compelling—and effective for the rhetorical situation.

Preface

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Prefacevi

Purpose-Driven Assignment Chapters Each chapter in Part One introduces a commonly assigned reason for writing. By working through several assignment types, students learn to identify and use relevant and effective strategies to achieve their purpose with their readers. “Remembering an Event,” a memoir assignment, challenges students to reflect on the autobiographical and cultural significance of their experience, for example. “Explaining a Concept,” an analysis assignment, asks students to make a new subject interesting and informative for their readers. A cluster of argument chapters — from “Arguing a Position” and “Proposing a Solution” to “Justifying an Evaluation” and “Arguing for Causes or Effects” — requires students to develop an argument that is not only well reasoned and well supported but also responds constructively to readers’ likely questions and concerns.

Systematic Integration of Critical Reading and Reflective Writing Students are asked to read and analyze a range of contemporary selections, attending both to the writer’s ideas and to the strategies the writer uses to present those ideas to readers. Each Guide to Reading provides

an annotated student essay that prompts readers to answer questions about how it is composed;

a range of compelling professional selections to demonstrate the basic features of writing with that purpose;

activities following each professional selection that prompt students to read actively by asking them to reflect on the essay and relate it to their own experience and also to read like writers by focusing their attention on the writer’s strategies. (Chapter 12 also provides an array of strategies students can use to read critically.)

What’s New Although the eleventh edition of The St. Martin’s Guide to Writing builds on the suc- cess of previous editions, many of the strategies the Guide employs have changed in order to connect more effectively with students who are used to visual rhetoric online and are increasingly challenged by demands on their time, attention, and energy.

New Literacy Narrative Chapter A new introductory chapter, “Composing Literacy,” offers a quick and engaging way to start off a course. Students first learn about the rhetorical situation, a basic literacy concept. They are then invited to read several brief, engaging literacy narra- tives that demonstrate an array of literacies. Humorist David Sedaris, for example, writes hilariously about the challenges of learning a foreign language. Naturalist Annie Dillard recalls a critical moment when the joy of scientific discovery led her to break free of the need for parental approval. Novelist Amy Tan reflects on the differ- ences between the ways she uses language with family members and the ways she communicates with academic audiences, and cartoonist Lynda Barry looks back on

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Preface vii

her imaginative interaction with the classifieds. Finally, students are invited to reflect on their own literacy experiences and to compose a literacy narrative.

New Analyzing and Synthesizing Opposing Arguments Project A newly revised Chapter 5 provides a bridge to help move students from personal and expository to argumentative writing by modeling how to review and critique a variety of positions in preparation for adopting and defending a position of their own. The Guide to Reading shows student Maya Gomez as she works through the stages of analyzing an academic conversation — from summarizing a source to creating an an- notated bibliography to reporting on an array of positions to analyzing conflicting positions, all on the same issue. The Guide to Writing provides a host of activities to help students develop their own summary, annotated bibliography, report, or analysis. The argument chapters that follow show students how to apply what they’ve learned by analyzing a variety of claims and then thoughtfully defending their own.

An Invitation to Reimagine Writing across Genres and Media Each Guide to Reading in Part One concludes with a Remix activity that invites stu- dents to reimagine their writing in a new genre or medium — moving, for example, from remembered event narrative to graphic memoir, from concept analysis to poster presentation, from position argument to Prezi presentation, and more. Considering a change in one aspect of the rhetorical situation forces students to question their earlier composition decisions and deepens their understanding of the rhetorical situation.

Council of Writing Program Administrator’s Outcomes Statement The St. Martin’s Guide to Writing, Eleventh Edition, helps students build proficiency 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 conventions. The chart below shows in detail how The St. Martin’s Guide helps students develop these proficiencies. (Note: This chart aligns with the latest WPA Outcomes Statement, ratified in July 2014.)

DESIRED OUTCOMES RELEVANT FEATURES OF THE ST. MARTIN’S GUIDE TO WRITING, ELEVENTH EDITION

Rhetorical Knowledge

Learn and use key rhetorical concepts through analyzing and composing a variety of texts.

Composing Literacy

Writing Assignments students read analyze compose a variety of texts. A Guide to Reading asks

terms of purpose audience genre. Each Guide to Writing supports students

(continued)

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Prefaceviii

A Catalog of Reading Strategies

Composing Strategies for College and Beyond

Taking Essay Examinations Creating a Portfolio Analyzing Visuals Writing in Business and Scientific Genres Writing for and about Your Community

Designing for Page and Screen

Gain experience reading and composing in several genres

conventions shape and are

practices and purposes.

reading and composing

Analyzing and Synthesizing Opposing Arguments summary to annotated bibliography

to report and analysis

remix

readings focus students on key

features of the assignment

Develop facility in responding to a variety of situations and

and/or structure.

responding to a variety of rhetorical situations and contexts

voice tone formality.

Remix

Designing for Page and Screen rhetorical choices involved in the design of any text.

Understand and use a variety of technologies to address a range of audiences. text.

The St. Martin’s Guide include how-tos for using technology audiences

Designing for Page and Screen needs and requirements involved in the design in print and online.

Composing Multimodal Presentations

DESIRED OUTCOMES RELEVANT FEATURES OF THE ST. MARTIN’S GUIDE TO WRITING, ELEVENTH EDITION

Rhetorical Knowledge (continued)

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Preface ix

Match the capacities of different

situations.

Remix of medium shapes composition.

Designing for Page and Screen

and font sizes to adding visuals and screen shots.

Taking Essay Examinations

Critical Thinking, Reading, and Composing

Use composing and reading

and communicating in various rhetorical contexts.

Composing Literacy experiences and to extrapolate from the literacy narratives they are reading.

Analyze and Write activities read like a writer

Make Connections

Thinking Critically

social/political context.

Analyzing and Synthesizing Opposing Arguments

positions on a controversial issue.

A Catalog of Invention and Inquiry Strategies A Catalog of Reading Strategies

Read a diverse range of

for different audiences and situations.

range of professional selections and student essays. effective

strategies for supporting claims, both textual and visual include assignment-specific suggestions for organization specific types of audiences.

framing topics to appeal to the audience and recommend techniques and strategies for responding to alternative views readers may hold.

Remix

Research Strategies Using Sources to Support Your Ideas using evidence

Locate and evaluate primary and Research Strategies finding evaluating using

DESIRED OUTCOMES RELEVANT FEATURES OF THE ST. MARTIN’S GUIDE TO WRITING, ELEVENTH EDITION

Rhetorical Knowledge (continued)

(continued)

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Prefacex

Finding Sources and Conducting Field Research finding sources using catalogs and databases field research primary and secondary research.

Evaluating Sources evaluating print and digital sources scholarly and popular sources.

Use strategies—such as

redesign—to compose texts that

those from appropriate sources.

Analyzing and Synthesizing Opposing Arguments

a variety of informative and persuasive documents in preparation for adopting and

anticipate and respond to opposing positions and readers’ objections

Arguing strategies for making assertions offering support avoiding logical fallacies.

Using Sources to Support Your Ideas strategies for integrating research

offer additional support.

Processes

multiple drafts. compose and

revise inventing researching planning composing evaluating revising multiple drafts.

A Writer at Work

advice on reading drafting rethinking revising

different challenges.

A Catalog of Invention and Inquiry Strategies helpful suggestions for idea generation.

A Catalog of Reading Strategies reading analytically and critically.

collaborative and social aspects of

DESIRED OUTCOMES RELEVANT FEATURES OF THE ST. MARTIN’S GUIDE TO WRITING, ELEVENTH EDITION

Critical Thinking, Reading, and Composing (continued)

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Preface xi

Use composing processes and tools as a means to discover and reconsider ideas.

composing to discover ideas especially through the Ways In activities in each Guide to Writing. Strategies for evaluating revising editing help students reconsider their ideas over the course of multiple drafts.

A Writer at Work

A Catalog of Invention and Inquiry Strategies Planning a Research Project

processes.

collaborative activities Practicing the Genre Make Connections activities after

Test Your Choice activities and Peer Review Guides

Writing for and about Your Community

Writing Collaboratively Chapter 31

Learn to give and act on

offer students specific advice on constructively criticizing—and praising—their

Writing Collaboratively

Adapt composing processes for a variety of technologies and modalities.

is that most students compose in digital spaces for varied audiences and use

Remix

Designing for Page and Screen Composing Multimodal Presentations modalities.

LaunchPad version of The St. Martin’s Guide to Writing offers a digital course

online how-tos for using technology

Reflect on the development of

those practices influence their Thinking Critically

composing experiences.

DESIRED OUTCOMES RELEVANT FEATURES OF THE ST. MARTIN’S GUIDE TO WRITING, ELEVENTH EDITION

Processes (continued)

(continued)

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Prefacexii

through practice in composing and revising.

editing and proofreading advice appears in the Editing and

Guide

mechanics vary. Remix

Assignment-specific issues of structure paragraphing tone mechanics are

Gain experience negotiating variations in genre conventions.

read analyze compose a variety of texts Writing Assignments students to analyze texts in terms of purpose audience basic features of the genre.

Research Strategies compose an academic research project.

Composing Strategies for College and Beyond

Learn common formats and/or design features for different kinds of texts.

Designing for Page and Screen

specific formats for a range of texts

Explore the concepts of

documentation conventions.

Analyzing and Synthesizing Opposing Arguments

A Catalog of Reading Strategies

for integrating and citing Using

Sources to Support Your Ideas

conventions systematically students to recognize differences in citation conventions in popular and academic citations or lists of links to sources.

Research sections

DESIRED OUTCOMES RELEVANT FEATURES OF THE ST. MARTIN’S GUIDE TO WRITING, ELEVENTH EDITION

Knowledge of Conventions

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Preface xiii

Acknowledgments 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 to an already long book if we were to name everyone to whom we are indebted; suffice it to say that we have been eclectic in our borrowing.

We must also acknowledge immeasurable lessons learned from all the writers, pro- fessional and student alike, whose work we analyzed and whose writing we used in this and earlier editions.

Many instructors and students have contributed ideas and criticism over the years. For responding to detailed questionnaires about the tenth edition, we thank Kara Poe Alexander, Baylor University; Berniece Alspach, California Baptist College; Sarah Anti- nora, California State University, San Bernardino; Leontine Armstrong, California Bap- tist College; Chris Blankenship, Emporia State University; Mary Brantley, Holmes Com- munity College; Brieanna Casey, Texas Woman’s University; Catherine Cucinella, California State University, San Marcos; Cheryl Edelson, Chaminade University; Leona Fisher, Chaffey College; Phyllis Gowdy, Tidewater Community College; Lisa Haag, St. Louis Community College; Lesa Beth Hildebrand, Triton College; Tina Hultgren, Kish- waukee College; Jamie Jones, Texas Woman’s University; Mary Jo Keiter, Harrisburg Area Community College; Jason Kolodzyk, University of Wisconsin–Whitewater; Julie Kratt, Cowley College; Courtney Patrick Weber, Texas Woman’s University; Kelli Prejean, Marshall University; Dr. Dana Prodoehl, University of Wisconsin–Whitewater; Zina Rodriguez, Moreno Valley College; Matthew Schmeer, Johnson County Commu- nity College; Graham (Gray) Scott, Texas Woman’s University; Marcia Seabury, Univer- sity of Hartford; Wes Spratlin, Motlow State Community College; Jenna West, Murray State College; and Marc Wilson, Ivy Tech Community College.

For helping us select new readings, we thank Gretchen Bartels, California Baptist University; Chris Blankenship, Emporia State University; Mary Brantley, Holmes Community College; Wallace Cleaves, University of California, Riverside; Leona Fish- er, Chaffey College; Sayanti Ganguly Puckett, Johnson County Community College; Phyllis Gowdy, Tidewater Community College; Laurie Hughes, Richland Community

Research Strategies Using Sources to Support Your Ideas

MLA and APA style in addition to an annotated sample student research paper.

Analyzing Visuals documentation.

DESIRED OUTCOMES RELEVANT FEATURES OF THE ST. MARTIN’S GUIDE TO WRITING, ELEVENTH EDITION

Knowledge of Conventions (continued)

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Prefacexiv

College; Tina Hultgren, Kishwaukee College; Sarah Hunt, Savannah Technical Col- lege; Stephanie Kay, University of California, Riverside; Jason Kolodzyk, University of Wisconsin–Whitewater; Dr. Dana Prodoehl, University of Wisconsin–Whitewater; Matthew Schmeer, Johnson County Community College; Annie Schnarr, Skagit Val- ley College; Graham (Gray) Scott, Texas Woman’s University; Wes Spratlin, Motlow State Community College; David Taylor, St. Louis Community College–Meramec; Karol Walchak, Alpena Community College; Alison Warriner, California State Univer- sity, East Bay; and Jenna West, Murray State College.

In addition, we’d like to thank reviewers who provided invaluable feedback on a draft of this chapter: Kara Alexander, Baylor University; Gretchen Bartels, California Baptist University; Mary Brantley, Holmes Community College; Sayanti Ganguly Puckett, Johnson County Community College; Julie Kratt, Cowley County Community College; Dana Prodoehl, University of Wisconsin–Whitewater; Matthew Schmeer, Johnson County Community College; Marcia Seabury, University of Hartford; David Taylor, St. Louis Community College–Meramec; Jeana West, Murray State College.

In addition, we gratefully acknowledge the contributions of a number of thought- ful instructors who participated in a focus group that helped us fine-tune the Remix activities that now appear at the end of each Guide to Reading in Part One: Kara Poe Alexander, Baylor University; Daniel Cleary, Lorain County Community College; Sara Fuller, Cuyahoga Community College and Lorain County Community College; Kim Haimes-Korn, Kennesaw State College; Dauvan Mulally, Grand Valley State Universi- ty; and Amy Rubens, Francis Marion University.

For this new edition of the Guide, we are particularly grateful to Alison Warriner, who helped revise several of the Part One chapters; and Gray Scott and Wallace Cleaves, who made recommendations of reading selections, helped draft some of the reading apparatus, and were generally available as a sounding board and a font of good advice, especially in rethinking Chapter 5. Wallace Cleaves we also thank for his astute revisions and updates to the instructor’s manual, including writing entirely new content on teaching Chapters 1 and 5 and reading comprehension and summary quiz- zes (with model summaries as feedback) for all the new reading selections in the text. (The reading comprehension quizzes are auto-graded in the LaunchPad version of The St. Martin’s Guide, and model summaries are provided as feedback for the summary quizzes. Both are also available in the online instructor’s manual.) Danise Hoover, Hunter College, provided expert advice as we updated the research coverage. Finally, we are especially grateful to the student authors for allowing us to use their work in Sticks and Stones and the Guide.

We want to thank many people at Bedford/St. Martin’s, especially Jane Carter, Executive Development Manager and our editor, whose invaluable expertise and indomitable good humor made this book possible; Senior Project Editor Peter Jacoby, who worked miracles keeping all the details straight and keeping the book on schedule; and Associate Media Editor Jonathan Douglas, who singlehandedly managed multiple reviews, while also editing Sticks and Stones and overseeing the editorial work on LaunchPad, our customizable course space and interactive e-book for The St. Martin’s Guide to Writing.

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Preface xv

Diana George made many valuable contributions to this revision with her careful copyediting, as did Steve Patterson and Will Rigby with their meticulous proofread- ing, and Kirsten Kite, with her indexing of the text. Elise Kaiser, Dennis Conroy, and Lisa McDowell kept the whole process running smoothly. Thanks also to the im- mensely talented design team — book designer Jerilyn Bockorick as well as Bedford/ St. Martin’s art director Anna Palchik. Our gratitude also goes to Hilary Newman, Rosemary Spano, Linda Winters, Kathleen Karcher, Julie Tesser, and Martha Friedman for their thoughtful and conscientious work on the permissions program for text and visuals.

We also thank Karen Henry, Editorial Director for English and Music, Leasa Burton, Senior Publisher for Composition, and Molly Parke, Executive Editor for Rhetorics — all of whom offered valued advice at many critical stages in the process. Thanks as well to Edwin Hill, Vice President–Editorial (Humanities), for his adroit leadership of Bedford/St. Martin’s, and Marketing Manager Emily Rowin for her tire- less efforts on behalf of the Guide.

Rise dedicates this book to her husband Steven and their son Jeremiah, who are both distinguished teachers and scholars, and to Sophie and Amalia, two young women whose writing she very much looks forward to reading.

Get the Most Out of Your Course with The St. Martin’s Guide to Writing Bedford/St. Martin’s offers resources and format choices that help you and your stu- dents get even more out of your book and course. To learn more about or to order any of the following products, contact your Bedford/St. Martin’s sales representative, e-mail sales support (sales_support@bfwpub.com), or visit the Web site at macmillanhighered.com/theguide/catalog.

LaunchPad for The St. Martin’s Guide to Writing: Where Students Learn LaunchPad provides engaging content and new ways to get the most out of your book. Get an interactive e-book combined with useful, highly relevant materi- als in a fully customizable course space; then assign and mix our resources with yours.

Autoscored reading quizzes — a five-question multiple-choice comprehen- sion quiz and a summary quiz with a model summary as feedback — are available for every professional selection in the text.

Prebuilt units — including readings, videos, quizzes, discussion groups, and more — are easy to adapt and assign by adding your own materials and mix- ing them with our high-quality multimedia content and ready-made assessment options, such as LearningCurve adaptive quizzing.

More than forty additional student essays from Sticks and Stones and Other Student Essays, written using earlier editions of the Guide.

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Prefacexvi

Gradebook that provides a clear window on the performance of your whole class, individual students, and even results of individual assignments.

streamlined interface helps students focus on what’s due, and social com- menting tools let them engage, make connections, and learn from each other. Use LaunchPad on its own or integrate it with your school’s learning management system so that your class is always on the same page.

To get the most out of your book, order LaunchPad for The St. Martin’s Guide to Writing, Eleventh Edition, packaged with the print book. (LaunchPad for The St. Martin’s Guide to Writing can also be purchased on its own.) An activation code is required. To order LaunchPad for The St. Martin’s Guide to Writing with

The St. Martin’s Guide to Writing, Eleventh Edition (hardcover), use ISBN 978-1-319- 05435-9.

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The St. Martin’s Guide to Writing, Short Eleventh Edition, use ISBN 978-1-319- 05437-3.

Choose from Alternative Formats of The St. Martin’s Guide to Writing Bedford/St. Martin’s offers a range of affordable formats, allowing students to choose the one that works best for them. For details, visit macmillanhighered.com / theguide/catalog.

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Select Value Packages Add value to your text by packaging one of the following resources with The St. Martin’s Guide to Writing. To learn more about package options for any of the following products, contact your Bedford/St. Martin’s sales representative or visit macmillanhighered .com/theguide/catalog.

LaunchPad Solo for Readers and Writers allows students to work on whatever they need help with the most. At home or in class, students learn at their own pace, with instruction tailored to each student’s unique needs. LaunchPad Solo for Readers and Writers features:

Prebuilt units that support a learning arc. Each easy-to-assign unit is com- prised of a pretest check; multimedia instruction and assessment; a posttest that

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Preface xvii

assesses what students have learned about critical reading, the writing process, using sources, grammar, style, and mechanics; and help for multilingual writers.

A video introduction to many topics. Introductions offer an overview of the unit’s topic, and many include a brief, accessible video to illustrate the con- cepts at hand.

Adaptive quizzing for targeted learning. Most units include LearningCurve, game-like adaptive quizzing that focuses on the areas in which each student needs the most help.

The ability to monitor student progress. Use our Gradebook to see which students are on track and which need additional help with specific topics.

LaunchPad Solo for Readers and Writers can be packaged at a significant discount. To ensure that your students can take full advantage, use the following ISBNs:

LaunchPad Solo for Readers and Writers plus The St. Martin’s Guide to Writing, Eleventh Edition (hardcover), use ISBN 978-1-319-05562-2.

LaunchPad Solo for Readers and Writers plus The St. Martin’s Guide to Writing, Eleventh Edition (paperback), use ISBN 978-1-319-05561-5.

LaunchPad Solo for Readers and Writers plus The St. Martin’s Guide to Writing, Short Eleventh Edition, use ISBN 978-1-319-05563-9.

Visit macmillanhighered.com/readwrite for more information.

Writer’s Help 2.0 is a powerful online writing resource that helps students find an- swers, whether they are searching for writing advice on their own or as part of an assignment.

Smart search. Built on research with more than 1,600 student writers, the smart search in Writer’s Help 2.0 provides reliable results even when students use novice terms, such as flow and unstuck.

Trusted content from our best-selling handbooks. Choose Writer’s Help 2.0 for Hacker Handbooks or Writer’s Help 2.0 for Lunsford Handbooks and ensure that students have clear advice and examples for all of their writing questions.

Adaptive exercises that engage students. Writer’s Help 2.0 includes LearningCurve, game-like online quizzing that adapts to what students already know and helps them focus on what they need to learn.

Student access is packaged with The St. Martin’s Guide to Writing at a significant dis- count. To ensure that your students have easy access to online writing support, use the following ISBNs:

Writer’s Help 2.0 for Hacker Handbooks plus

The St. Martin’s Guide to Writing, Eleventh Edition (hardcover): ISBN 978-1-319-05558-5

The St. Martin’s Guide to Writing, Eleventh Edition (paperback): ISBN 978-1-319-05559-2

The St. Martin’s Guide to Writing, Short Eleventh Edition: ISBN 978-1-319-05560-8

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Prefacexviii

Writer’s Help 2.0 for Lunsford Handbooks plus

The St. Martin’s Guide to Writing, Eleventh Edition (hardcover): ISBN 978-1-319-05564-6

The St. Martin’s Guide to Writing, Eleventh Edition (paperback): ISBN 978-1-319-05565-3

The St. Martin’s Guide to Writing, Short Eleventh Edition: ISBN 978-1-319-05566-0

Students who rent a book or buy a used book can purchase access to Writer’s Help 2.0 at macmillanhighered.com/writershelp2. Instructors may request free access by registering as an instructor at macmillanhighered.com/writershelp2. For technical support, visit macmillanhighered.com/getsupport.

Sticks and Stones and Other Student Essays, Ninth Edition, provides nearly forty essays written by students across the nation using earlier editions of the Guide. Each essay is accompanied by a headnote that spotlights some of the ways the writer uses the genre successfully, invites students to notice other achievements, and sup- plies context where necessary. Sticks and Stones is available for free when packaged with new copies of the Guide. To order Sticks and Stones with

The St. Martin’s Guide to Writing, Eleventh Edition (hardcover), use ISBN 978-1-319- 05432-8.

The St. Martin’s Guide to Writing, Eleventh Edition (paperback), use ISBN 978-1-319- 05434-2.

The St. Martin’s Guide to Writing, Short Eleventh Edition, use ISBN 978-1-319- 05436-6.

Portfolio Keeping, Third Edition, by Nedra Reynolds and Elizabeth Davis, provides all the information students need to use the portfolio method successfully in a writing course. Portfolio Teaching, a companion guide for instructors, provides the practical information instructors and writing program administrators need to use the portfolio method successfully in a writing course. To order Portfolio Keeping packaged with The St. Martin’s Guide to Writing, Eleventh Edition, or Short Eleventh Edition, contact your sales representative for a package ISBN.

Instructor Resources macmillanhighered.com/theguide/catalog

You have a lot to do in your course. Bedford/St. Martin’s wants to make it easy for you to find the support you need — and to get it quickly.

The Instructor’s Resource Manual for The St. Martin’s Guide to Writing is available as a PDF that can be downloaded from the Bedford/St. Martin’s online catalog at the URL above; it is also available through LaunchPad. In addition to detailed support for teaching each chapter in The St. Martin’s Guide (including in-class activities, learning objectives, special challenges, suggestions for teaching, and more), the manual in- cludes teaching and evaluation practices, tips for integrating technology into your teaching, suggested course plans, and a bibliography in composition studies.

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http://www.macmillanhighered.com/writershelp2

http://www.macmillanhighered.com/writershelp2

http://www.macmillanhighered.com/getsupport

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Preface xix

Teaching Central offers the entire list of Bedford/St. Martin’s print and online pro- fessional resources in one place. You’ll find landmark reference works, sourcebooks on pedagogical issues, award-winning collections, and practical advice for the class- room—all free for instructors. Visit macmillanhighered.com/teachingcentral.

Bedford Bits collects creative ideas for teaching a range of composition topics in a frequently updated blog. A community of teachers — leading scholars, authors, and editors such as Andrea Lunsford, Elizabeth Losh, Jack Solomon, and Elizabeth Wardle — discuss assignments, activities, revision, research, grammar and style, multimodal composition, technology, peer review, and much more. Take, use, adapt, and pass the ideas around. Then, come back to the site to comment or share your own suggestion. Visit community.macmillan.com.

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xxi

Understanding the Rhetorical Situation 2

Reflecting on Your Own Literacy 3

Composing Your Own Literacy Narrative 9

Contents

Apply the rhetorical framework: who? what? when? where? how? and why? 10 Devise a topic. 10

Preface v

1 Composing Literacy 1

13

GUIDE TO READING 14

Analyzing Remembered Event Essays 14 Determine the writer’s purpose and audience. 14 Assess the genre’s basic features. 15

Readings 18 Jean Brandt, Calling Home 18

Annie Dillard, From An American Childhood 22

Jenée Desmond-Harris, Tupac and My Non-thug Life 27

Peter Orner, Writing about What Haunts Us 32

Essay 37

GUIDE TO WRITING 38

The Writing Assignment 38

Event 38

Writing a Draft: Invention, Research, Planning, and Composing 39

Choose an event to write about. 40

and Audience 40

Shape your story. 41

Developing a Dramatic Arc 41

43

Clarify the sequence of actions. 43 Describe key people and places vividly, and show their significance. 44 Use dialogue to portray

PART 1 Writing Activities

2 Remembering an Event 12

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xxii Contents

people and dramatize relationships. 45 Clarify your story’s significance. 45

Helping Readers Understand the Significance 46

Write the opening sentences. 47 Draft your story. 47

Evaluating the Draft: Using Peer Review 48

48

Improving the Draft: Revising, Editing, and Proofreading 49

Revise your draft. 50

50

Edit and proofread your draft. 52

A WRITER AT WORK 54

Developing Significance in Jean Brandt’s Remembered Event Essay 54

THINKING CRITICALLY 57

Reflecting on What You Have Learned 57

Reflecting on the Genre 57

60

GUIDE TO READING 61

Analyzing Profiles 61 Determine the writer’s purpose and audience. 61 Assess the genre’s basic features. 61

Readings 65 Brian Cable, The Last Stop 65

Jon Ronson, The Hunger Games 71

Amanda Coyne, The Long Good-Bye: Mother’s Day in Federal Prison 77

Gabriel Thompson, A Gringo in the Lettuce Fields 83

90

GUIDE TO WRITING 91

The Writing Assignment 91 91

Writing a Draft: Invention, Research, Planning, and Composing 92

Choose a subject to profile. 93

93

Conduct your field research. 94

94

95

97

98

Use quotations that provide information and reveal character. 99 Consider adding visual or audio elements. 99 Create an outline that will organize your profile effectively for your readers. 100 Determine your role in the profile. 100

Determining Your Role 101

Develop your perspective on the subject. 102

102

Clarify the dominant impression. 103

104

Write the opening sentences. 104 Draft your profile. 105

Evaluating the Draft: Using Peer Review 105

105

3 Writing Profiles 59

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Improving the Draft: Revising, Editing, and Proofreading 107

Revise your draft. 107

107

Edit and proofread your draft. 110

A WRITER AT WORK 113

Brian Cable’s Interview Notes and Write-Up 113

THINKING CRITICALLY 117

Reflecting on What You Have Learned 117

Reflecting on the Genre 118

4 Explaining a Concept 119 Explaining an

120

GUIDE TO READING 121

Analyzing Concept Explanations 121 Determine the writer’s purpose and audience. 121 Assess the genre’s basic features. 122

Readings 124 Jonathan Potthast, Supervolcanoes: A Catastrophe of Ice and Fire 124

Anastasia Toufexis, Love: The Right Chemistry 129

John Tierney, Do You Suffer from Decision Fatigue? 135

Susan Cain, Shyness: Evolutionary Tactic? 141

Explanation 148

GUIDE TO WRITING 149

The Writing Assignment 149

149

Writing a Draft: Invention, Research, Planning, and Composing 151

Choose a concept to write about. 151

152

Conduct initial research on the concept. 152

Determining What You Already 152

Focus your explanation of the concept. 153

You and Your Readers 153

Evaluating Your 154

Conduct further research on your focused concept. 154 Draft your working thesis. 154 Create an outline that will organize your concept explanation effectively for your readers. 155 Design your writing project. 155 Consider the explanatory strategies you should use. 155

156

Use summaries, paraphrases, and quotations from sources to support your points. 157

157

Use visuals or multimedia illustrations. 157 Use appositives to integrate sources. 158 Use descriptive verbs in signal phrases to

introduce information from sources. 159 Write the opening sentences. 159 Draft your explanation. 160

Evaluating the Draft: Using Peer Review 160

Contents xxiii

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xxiv Contents

161

Improving the Draft: Revising, Editing, and Proofreading 162

Revise your draft. 162

162

Edit and proofread your draft. 165

A WRITER AT WORK 167

Jonathan Potthast’s Use of Sources 167

THINKING CRITICALLY 168

Reflecting on What You Have Learned 168

Reflecting on the Genre 169

5 Analyzing and Synthesizing Opposing Arguments 170

Arguments 172

GUIDE TO READING 173

Analyzing Four Genres 173 Determine the writer’s purpose and audience. 173 Assess the genres’ basic features. 174

Readings 178 Maya Gomez, Summary: “A Moral Market” 178

Maya Gomez, Annotated Bibliography: Compensating Kidney Donors 179

Maya Gomez, Report: Possible Solutions to the Kidney Shortage 181

Maya Gomez, Analysis: Satel vs. the National Kidney Foundation: Should Kidney Donors Be Compensated? 187

Research 192

GUIDE TO WRITING 193

The Writing Assignment 193

Analysis 193

Writing a Draft: Invention, Research, Planning, and Composing 195

Choose a controversial topic to write about. 195

196

Conduct research to find sources. 197 Summarize sources and annotate your

working bibliography. 197

Writing a Summary 197

199

Analyze your audience. 200

or Analysis 200

Brainstorm subtopics for a report. 200 Choose opposing argument essays to analyze. 201 Synthesize sources for a report or analysis. 201 Analyze and compare the opposing argument essays. 202

Arguments 203

Evaluating Your Analysis 204

Draft a working thesis for your report or analysis. 204 Create an outline to organize your report or analysis effectively for your readers. 205 Develop your report or analysis. 206

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xxvContents

206

strategies 207

Use visuals or multimedia illustrations to enhance your explanation. 208 Write the opening sentences. 208 Draft your report or analysis. 209

Evaluating the Draft: Using Peer Review 209

210

Improving the Draft: Revising, Editing, and Proofreading 211

Revise your draft. 211

212

Edit and proofread your draft. 214

A WRITER AT WORK 215

Analyzing Opposing Arguments 215 Gomez’s Annotations on Satel’s Op-Ed 216 Gomez’s Comparative Analysis Chart 217

THINKING CRITICALLY 218

Reflecting on What You Have Learned 218

Reflecting on the Genres 219

CASEBOOK 220

National Kidney Foundation, Financial Incentives for Organ Donation 220

Gary S. Becker and Julio J. Elías, Cash for Kidneys: The Case for a Market for Organs 222

Sally Satel, When Altruism Isn’t Moral 225

Eric Posner, A Moral Market 228

6 Arguing a Position 229

230

GUIDE TO READING 231

Analyzing Position Arguments 231 Determine the writer’s purpose and audience. 231 Assess the genre’s basic features. 231

Readings 236 Jessica Statsky, Children Need to Play, Not Compete 236

Noam Bramson, Child, Home, Neighborhood, Community, and Conscience 242

Amitai Etzioni, Working at McDonald’s 247

Daniel J. Solove, Why Privacy Matters Even If You Have “Nothing to Hide” 253

260

GUIDE TO WRITING 261

The Writing Assignment 261 261

Writing a Draft: Invention, Research, Planning, and Composing 263

Choose a controversial issue on which to take a position. 263

264

Frame the issue for your readers. 264

and Determining What Your Readers 265

266

Formulate a working thesis stating your position. 266

266 Develop the reasons supporting your position. 267

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xxvi Contents

Devising Reasons to Support Your 267

Research your position. 267 Use sources to reinforce your credibility. 268 Identify and respond to your readers’ likely reasons and objections. 269

269

Create an outline that will organize your argument effectively for your readers. 271 Consider document design. 272 Write the

opening sentences. 272 Draft your position argument. 272

Evaluating the Draft: Using Peer Review 273

273

Improving the Draft: Revising, Editing, and Proofreading 274

Revise your draft. 275

275

Edit and proofread your draft. 276

A WRITER AT WORK 278

Jessica Statsky’s Response to Opposing Positions 278

Listing Reasons for the Opposing Position 279 Conceding a Plausible Reason 279 Refuting an Implausible Reason 280

THINKING CRITICALLY 280

Reflecting on What You Have Learned 281

Reflecting on the Genre 281

7 Proposing a Solution 283

284

GUIDE TO READING 285

Analyzing Proposals 285 Determine the writer’s purpose and audience. 285 Assess the genre’s basic features. 285

Readings 290 Patrick O’Malley, More Testing, More Learning 290

Naomi Rose, Captivity Kills Orcas 296

Eric Posner, A Moral Market 302

Kelly D. Brownell and Thomas R. Frieden, Ounces of Prevention — The Public Policy Case for Taxes on Sugared Beverages 308

315

GUIDE TO WRITING 316

The Writing Assignment 316

316

Writing a Draft: Invention, Research, Planning, and Composing 318

Choose a problem for which you can propose a solution. 318 Frame the problem for your readers. 319

319

Defining the 321

Assess how the problem has been framed, and reframe it for your readers. 321

321

Develop a possible solution. 322

322

Explain your solution. 323

Explaining the Solution and 323

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xxviiContents

Research your proposal. 324 Develop a response to objections or alternative solutions. 324

Drafting a Refutation or 324

Create an outline that will organize your proposal effectively for your readers. 325 Write the opening sentences. 326 Draft

your proposal. 326

Evaluating the Draft: Using Peer Review 327

327

Improving the Draft: Revising, Editing, and Proofreading 329

Revise your draft. 329

329

Edit and proofread your draft. 330

A WRITER AT WORK 332

Patrick O’Malley’s Revision Process 332

THINKING CRITICALLY 333

Reflecting on What You Have Learned 333

Reflecting on the Genre 334

8 Justifying an Evaluation 335

336

GUIDE TO READING 337

Analyzing Evaluations 337 Determine the writer’s purpose and audience. 337 Assess the genre’s basic features. 337

Readings 341 William Akana, Scott Pilgrim vs. the World: A Hell of a Ride 341

Emily Nussbaum, The Aristocrats: The Graphic Arts of Game of Thrones 346

Malcolm Gladwell, What College Rankings Really Tell Us 352

Sherry Turkle, The Flight from Conversation 358

Remixing Your Evaluation 364

GUIDE TO WRITING 365

The Writing Assignment 365 Justifying an

Evaluation 365

Writing a Draft: Invention, Research, Planning, and Composing 366

Choose a subject to evaluate. 367

367