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This page intentionally left blank
Ninth Edition
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
Boston New York
For Bedford/St. Martin’s
Senior Developmental Editor: Alexis P. Walker
Senior Production Editor: Harold Chester
Production Supervisor: Jennifer Peterson
Marketing Manager: Molly Parke
Art Director: Lucy Krikorian
Text Design: Jerilyn Bockorick
Copy Editor: Denise P. Quirk
Photo Research: Naomi Kornhauser
Cover Design: Richard DiTomassi
Composition: Nesbitt Graphics, Inc.
Printing and Binding: RR Donnelley and Sons

President: Joan E. Feinberg
Editorial Director: Denise B. Wydra
Editor in Chief: Karen S. Henry
Director of Development: Erica T. Appel
Director of Marketing: Karen R. Soeltz
Director of Editing, Design, and Production: Marcia Cohen
Assistant Director of Editing, Design, and Production: Elise S.
Kaiser
Managing Editor: Shuli Traub
Library of Congress Control Number: 2009932161 (with
Handbook)
2009932166 (without Handbook)
Copyright © 2010, 2008, 2004, 2001 by Bedford/St. Martin’s
All rights reserved. No part of this book may be reproduced,
stored in a retrieval system, or
transmitted in any form or by any means, electronic,
mechanical, photocopying, recording, or
otherwise, except as may be expressly permitted by the
applicable copyright statutes or in writing
by the Publisher.
Manufactured in the United States of America.
5 4 3 2 1 0
f e d c b a
For information, write: Bedford/St. Martin’s, 75 Arlington
Street,
Boston, MA 02116 (617-399-4000)
ISBN-10: 0-312-53612-7 ISBN-13: 978-0-312-53612-1 (with
Handbook)
ISBN-10: 0-312-53613-5 ISBN-13: 978-0-312-53613-8
(without Handbook)

Acknowledgments
Acknowledgments and copyrights appear at the back of the book
on pages A1-A3, which consti-
tute an extension of the copyright page.
Advisory Board
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 ninth 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.
Samantha Andrus-Henry
Grand Rapids Community College
Melissa Batai
Triton College
Mary Bishop

Holmes Junior College–Ridgeland
Jo Ann Buck
Guilford Technical Community College
Kevin Cantwell
Macon State College
Anne Dvorak
Longview Community College
Leona Fisher
Chaffey College
Diana Grahn
Longview Community College
Dawn Hubbell-Staeble
Bowling Green State University
Amy Morris-Jones
Baker College of Muskegon
Gray Scott
University of California, Riverside
Susan Sebok
South Suburban College
i i i

Preface for Instructors
When we first wrote The St. Martin’s Guide to Writing, we
aimed to demystify writing
and authorize students as writers. We wanted to help students
learn to commit them-
selves to writing projects, communicate effectively with chosen
readers, and question
their own certainties. We also wanted them to understand that
knowledge of writing
comes both from analyzing writing and from working hard on
their own writing. To
achieve this aim, we took what we had learned from classical
rhetoric and from con-
temporary composition theory and did our best to make it
accessible to students.
The response from instructors and students was overwhelmingly
positive: The
first edition of The Guide, published in 1985, immediately
became the most widely
adopted text of its kind in the nation.
As with every new edition, we began work on this ninth edition
with the goal
of adapting the best of current composition research and
practice to the needs of
instructors and students. We listened closely to our Advisory
Board and dozens of
talented reviewers (students as well as instructors), and we were
confirmed in our
belief that the essential purpose and approach of The Guide is
more relevant than
ever: Students need clear guidance and practical strategies to
harness their potential

as writers — an achievement that will be key to their success in
their other college
courses, in their jobs, and in the wider world.
At the same time, we realized that we needed to reach out to
these students, and
help them connect with writing, in new ways.
Every aspect of the academic landscape has changed since we
wrote the first
edition. The texts we read and write, the tools we use to find
them, the options we
have for communicating, the habits of mind we rely on, even the
students them-
selves — all are more varied and complex than in the past,
sometimes overwhelm-
ingly so. At the same time, students and instructors alike are
increasingly burdened
with demands on their time, attention, and energy that emanate
from outside the
classroom.
For all of these reasons, this edition represents a bold
reimagining of our origi-
nal vision. The chapters containing the Guides to Writing have
been reengineered to
reflect and build on the actual writing processes of students,
and the Guides them-
selves are streamlined and more visual. Throughout the book,
we attempt to help
students focus on what is important, yet offer multiple options
for critical reading
and writing. The result of this reimagining is what you hold in
your hands: a text
that we believe to be more flexible, more engaging, and more
pedagogically effective

than any previous edition.
v
v i P R E FA C E F O R I N S T R U C T O R S
An Overview of the Book
The Guide offers everything you need for the writing course.
Part One: Writing Activities
Part One presents nine different genres of writing, all reflecting
actual writing assign-
ments that students may encounter both in and out of college.
While the chapters
can be taught in any order, we have organized Part One to move
from writing based
on personal experience and reflection, through writing based on
research and obser-
vation, to writing about controversial issues and problems.
Each chapter follows the same organizational plan:
Three brief illustrated scenarios providing examples of how the
genre is used
in college courses, in the community, and in the workplace
A brief introduction to the genre
A collaborative activity helping students start working in the
genre
An orientation to the genre’s basic features and to questions of
purpose and
audience specific to the genre
A set of readings illustrating the genre accompanied by

questions and prompts
designed to help students explore connections to their culture
and experience
and to analyze the basic features and writing strategies
A “Beyond the Traditional Essay” section discussing examples
of the genre drawn
from unexpected contexts — advertising, blogs, museums, even
public parks
A Guide to Writing, tailored to the genre, that helps students
refine their own
writing processes, with activities for invention and research,
easy-reference
guides for drafting and revision, a Critical Reading Guide for
peer review, strat-
egies for integrating sources, and more
Editing and proofreading guidelines, based on our nationwide
study of errors
in first-year college students’ writing, to help students check for
one or two
sentence-level problems likely to occur in a given genre
A section exploring how writers think about document design,
expanding on
one of the scenarios presented at the beginning of the chapter
A look at one student writer at work, focusing on one or more
aspects of the
writing process of a student whose essay is featured in the
chapter
Critical thinking activities designed to help students reflect on
what they
learned and consider the social dimensions of the genre taught

in the chapter
Part Two: Critical Thinking Strategies
Part Two consists of two chapters that present practical
heuristics for invention and
reading. Chapter 11, “A Catalog of Invention Strategies,”
covers clustering, looping,
dramatizing, and questioning, among other strategies, while
Chapter 12, “A Catalog
of Reading Strategies,” includes annotating, summarizing,
exploring the significance
of figurative language, and evaluating the logic of an argument.
P R E FA C E F O R I N S T R U C T O R S vii
Part Three: Writing Strategies
Part Three looks at a wide range of writers’ strategies:
paragraphing and coherence;
logic and reasoning; and the familiar methods of presenting
information, such as
narrating, defining, and classifying.
In the ninth edition of The Guide, a new Chapter 20 provides
students with criteria
for analyzing visuals and illustrates them with several lengthy
sample analyses and one
full-length, documented student paper. Part Three concludes
with a heavily illustrated
chapter on document design, which provides principles to guide
students in construct-
ing a wide range of documents, along with examples of some of
the most common

kinds of documents they’ll create in school, at work, and in
their everyday lives.
Examples and exercises in Part Three have been drawn from a
wide range of
contemporary publications as well as reading selections
appearing in Part One. The
extensive cross-referencing between Parts One and Three allows
instructors to teach
writing strategies as students work on full essays.
Part Four: Research Strategies
Part Four discusses field as well as library and Internet research
and includes
thorough, up-to-date guidelines for using and documenting
sources, with detailed
examples of the 2009 Modern Language Association (MLA) and
2010 American
Psychological Association (APA) documentation styles. An
annotated sample student
research paper models ways students can integrate citations into
their own work in
accordance with the rules for MLA documentation. The final
chapter in Part Four,
new to the ninth edition of The Guide, offers detailed guidelines
for creating anno-
tated bibliographies and literature reviews.
Part Five: Writing for Assessment
Part Five covers essay examinations, showing students how to
analyze different kinds of
exam questions and offering strategies for writing answers. It
also addresses portfolios,
helping students select, assemble, and present a representative

sample of their writing.
Part Six: Writing and Speaking to Wider Audiences
Part Six includes chapters on oral presentations, collaborative
learning, and service
learning, offering advice to help students work together on
writing projects and to
write in and for their communities.
The Handbook
The Handbook offers a complete reference guide to grammar,
word choice, punctua-
tion, mechanics, common ESL problems, sentence structure, and
usage. We have
designed the Handbook so that students will find the answers
they need quickly, and
we have provided student examples from our nationwide study
so that students will see
errors similar to the ones in their own essays. In addition to the
section on ESL problems,
boxes throughout the rest of the Handbook offer specific
support for ESL students.
v i i i P R E FA C E F O R I N S T R U C T O R S
Proven Features
While this edition of The Guide represents a bold reimagining
of the way students
work, it has retained the three central features that have made it
a best-seller since
its first edition: the detailed, practical guides to writing in

different genres; the sys-
tematic integration of reading and writing; and continuing
attention to changes in
composition pedagogy.
Practical Guides to Writing
Each chapter in Part One offers practical, flexible guides that
help students with
different aspects of writing, such as invention or revision, as
they write. Common-
sensical and easy to follow, these writing guides teach students
to assess a rhetorical
situation, identify the kinds of information they will need, ask
probing questions
and find answers, and organize writing to achieve a particular
purpose for chosen
readers.
In the ninth edition, we’ve done even more to make these guides
effective and
easy to use, by streamlining them, by adding easy reference
charts and tables, and by
offering students multiple entry points into the composing
process.
Systematic Integration of Reading and Writing
Each chapter in Part One introduces a single genre of writing,
which students are
led to consider both as readers and as writers. Chapters begin
with an essay written
in the genre by a student writer using The Guide; these essays
are annotated with
questions designed to encourage students to discover the ways
in which the essay

exemplifies that genre’s basic features.
Each of three professional readings in the chapter is
accompanied by carefully
focused apparatus to guide purposeful, productive rereading.
First is a response
activity, Making Connections, which relates a central theme of
the reading to stu-
dents’ own lives and cultural knowledge. The section following,
Analyzing Writing
Strategies, asks students to examine how the writer makes use
of the basic features
and strategies typical of the genre. Essays that include visuals
are followed by an
Analyzing Visuals section, which asks students to write about
the way(s) in which
photos, graphs, and other visual elements enhance the text.
Finally, in Considering
Topics for Your Own Essay, students approach the most
important decision they
have to make with a genre-centered assignment: choosing a
workable topic that
inspires their commitment to weeks of thinking and writing.
Continuing Attention to Changes in Composition
With each new edition, we have responded to new thinking and
new issues in the
field of composition and turned current theory and research into
practical class-
room activities — with a minimum of jargon. As a result, in
every new edition The
Guide incorporated new material that contributed to its
continued effectiveness,
including more on appropriate methods of argument, research,
and working with

P R E FA C E F O R I N S T R U C T O R S ix
sources; attention to new technologies for writing and
researching; activities that
promote group discussion and inquiry and encourage students to
reflect on what
they have learned; and material on document design, oral
presentations, and writ-
ing in the community.
Changes in the Ninth Edition
In this edition, we have taken instructors’ advice and revised
the text to make it an
even more effective teaching tool.
Streamlined and redesigned Part One chapters provide more
visual cues for
students who learn visually, more “easy-reference” features for
students who
need help navigating a lengthy text, and more “ways in” to each
assignment for
students whose writing processes don’t conform to an imaginary
norm.
The Basic Features of each chapter’s genre of writing are now
introduced
at the start of the chapter, to lay the groundwork for students’
understand-
ing of the genre and to prepare them for their work with that
chapter’s
readings.

A new color-coding system calls out the Basic Features in the
annotated stu-
dent essay, the post-reading apparatus, and throughout the
Guide to Writing,
helping students see the connections among the chapter’s
various parts and
more easily grasp what makes a successful example of a given
genre.
New “Beyond the Traditional Essay” sections illustrate and
discuss ex-
amples of that chapter’s genre of writing drawn from
advertising, blogs,
museums — even public parks.
New easy-reference charts in each Guide to Writing — “Starting
Points”
and “Troubleshooting Your Draft” — help students self-assess
and efficiently
find the advice and models they need for overcoming individual
writing
challenges.
Newly designed Invention activities highlight different paths
through the
processes of generating and shaping material.
Chapter 5, newly revised as “Finding Common Ground,” now
teaches
students how to analyze opposing positions and find “common
ground”
between them — a key step in analyzing and synthesizing
sources and in con-
structing academic as well as civic arguments.
New material brings the book up-to-date and teaches students

what they’ll
need to succeed at academic writing.
To help students understand and evaluate the visual data that
increas-
ingly dominate our culture, we have added a new Chapter 20,
“Analyzing
Visuals,” which provides clear guidance on how to critically
read and write
about photos, ads, works of art, and other image-based texts.
The chapter
also offers a multi-stage model of a student’s analysis of a
photo by Gordon
Parks, as well as exercises in visual analysis that students can
do in class or
on their own.
x P R E FA C E F O R I N S T R U C T O R S
To help them cope with information overload while doing
research, we
have added a new Chapter 25, “Annotated Bibliographies and
Literature
Reviews,” which offers detailed guidance on these important
elements of the
research process.
To help them make useful connections between their previous
writing ex-
periences and the writing they will do in college, Chapter 1 now
focuses on
the literacy narrative, encouraging students to reflect on their
own literacy
experiences in preparation for the reading and writing

challenges they’ll en-
counter in the course.
Fifteen new readings, with at least one new reading in every
Writing
Assignment chapter, introduce compelling topics, multicultural
perspectives,
and fresh voices, including Trey Ellis on a family member’s
battle with AIDS,
Saira Shah on finding her roots in Afghanistan, and Amy
Goldwasser on what
kids learn online — and why it matters.
Additional Resources
You Get More Help with The St. Martin’s Guide
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print text.
Online, in print, and in digital format, you’ll find both free and
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Free and open resources for The St. Martin’s Guide provide
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Guides, Starting
Points and Troubleshooting Your Draft charts; tutorials for the
sentence
strategies in the Part One chapters; and additional essays on
topics of con-
temporary debate for use with Chapter 5, “Finding Common
Ground.”
Additional free resources include Research and Documentation
Online by
Diana Hacker, with clear advice on how to integrate outside
material into a
P R E FA C E F O R I N S T R U C T O R S xi
paper, how to cite sources correctly, and how to format the
paper in MLA,
APA, Chicago, or CSE style; and Exercise Central, a database
of over 9,000
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and weak-
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tutorials for com-
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The St. Martin’s Guide e-Book and enhanced Web site let
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insert their own sticky notes, and customize content; the
enhanced Web site
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Re:Writing Plus, now with VideoCentral, gathers all of
Bedford/St. Martin’s
premium digital content for composition into one online
collection. It includes
hundreds of model documents and VideoCentral, with over 50
brief videos
for the writing classroom. Re:Writing Plus can be purchased
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discount. An
activation code is required.
Sticks and Stones and Other Student Essays, Seventh Edition.
Available for
packaging free with new copies of The Guide, Sticks and Stones

is a collection of es-
says 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 supplies
context where necessary.
Who Are We? Readings in Identity and Community and Work
and Career.
Available for packaging free with new copies of The Guide,
Who Are We? contains
selections that expand on themes foregrounded in The Guide.
Full of ideas for class-
room discussion and writing, the readings offer students
additional perspectives
and thought-provoking analysis.
i·series on CD-ROM. Free when packaged with new copies of
The St. Martin’s Guide,
the i·series includes multimedia tutorials in a flexible CD-ROM
format — because
there are things you can’t do in a book:
ix visual exercises help students visualize and put into practice
key rhetorical
and visual concepts.
i·claim visualizing argument offers a new way to see argument
— with 6
tutorials, an illustrated glossary, and over 70 multimedia
arguments.
i·cite visualizing sources brings research to life through an
animated introduc-

tion, four tutorials, and hands-on source practice.
x i i P R E FA C E F O R I N S T R U C T O R S
Course Management
CompClass for The St. Martin’s Guide (yourcompclass.com).
An easy-to-use
online course space designed for composition students and
instructors, CompClass
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Martin’s Guide e-Book as
well as other Bedford/St. Martin’s premium digital content,
including VideoCentral.
Powerful assignment and assessment tools make it easier to
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significant discount. An
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Content cartridges for WebCT, Angel, and other course
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Our content cartridges for course management systems —
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9th Edition (hardcover) Short 9th Edition
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ISBN-10: 0-312-58408-3
ISBN-13: 978-0-312-58408-5
ISBN-10: 0-312-58409-1
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Student Essays, Seventh Edition
ISBN-10: 0-312-62539-1
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and Community and Work
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P R E FA C E F O R I N S T R U C T O R S xiii
Instructor Resources
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.
Instructor’s Resource Manual (ISBN-10: 0-312-58260-9/ISBN-
13: 978-0-312-
58260-9 (print); also available for download at
bedfordstmartins.com/theguide).
The Instructor’s Resource Manual includes helpful advice for
new instructors, guide-
lines on common teaching practices such as assigning journals
and setting up group
activities, guidelines on responding to and evaluating student
writing, course plans,
detailed chapter plans, an annotated bibliography in
composition and rhetoric, and
a selection of background readings.
Additional Resources for Teaching with The St. Martin’s Guide
to Writing,
available for download at bedfordstmartins.com/theguide,
supports classroom in-
struction with PowerPoint presentations offering lists of
important features for each
genre, critical reading guides, collaborative activities, and
checklists, all adapted
from the text. It also provides more than fifty exercises
designed to accompany the
Handbook section of the hardcover edition of The Guide.

The Elements of Teaching Writing (A Resource for Instructors
in All Disciplines)
(ISBN-10: 0-312-40683-5/ISBN-13: 978-0-312-40683-7).
Written by Katherine
Gottschalk and Keith Hjortshoj, The Elements of Teaching
Writing provides time-
saving strategies and practical guidance in a brief reference
form. Drawing on
their extensive experience training instructors in all disciplines
to incorporate
writing into their courses, Gottschalk and Hjortshoj offer
reliable advice, accom-
modating a wide range of teaching styles and class sizes, about
how to design
effective writing assignments and how to respond to and
evaluate student writing
in any course.
Teaching Central (bedfordstmartins.com/teachingcentral).
Designed for the con-
venience of instructors, this rich Web site lists and describes
Bedford/St. Martin’s
acclaimed print series of free professional sourcebooks,
background readings, and
bibliographies for teachers. In addition, Teaching Central offers
a host of free online
resources, including
Bits, a blog that collects creative ideas for teaching composition
from a com-
munity of teachers, scholars, authors, and editors. Instructors
are free to take,
use, adapt, and pass the ideas around, in addition to sharing new
suggestions.
Just-in-Time Teaching and Adjunct Central — downloadable

syllabi, hand-
outs, exercises, activities, assignments, teaching tips, and more,
organized by
resource type and by topic
Take 20 — a 60-minute film for teachers, by teachers, in which
22 writing
teachers answer 20 questions on current practices and emerging
ideas in
composition
x i v P R E FA C E F O R I N S T R U C T O R S
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 bor-
rowing.
We must also acknowledge immeasurable lessons learned from
all the writers,
professional and student alike, whose work we analyzed and
whose writing we used
in this and earlier editions.
So many instructors and students have contributed ideas and
criticism over
the years. The members of the advisory board for the ninth
edition, a group of

dedicated composition instructors from across the country, have
provided us with
extensive insights and suggestions on the eighth edition and
have given us the
benefit of their advice on new readings and other new features
for the ninth. For
their many contributions, we would like to thank Samantha
Andrus-Henry, Grand
Rapids Community College; Melissa Batai, Triton College;
Mary Bishop, Holmes
Junior College–Ridgeland; Jo Ann Buck, Guilford Technical
Community College;
Kevin Cantwell, Macon State College; Anne Dvorak, Longview
Community College;
Leona Fisher, Chaffey College; Diana Grahn, Longview
Community College; Dawn
Hubbell-Staeble, Bowling Green State University; Amy Morris-
Jones, Baker College
of Muskegon; Gray Scott, University of California, Riverside;
and Susan Sebok,
South Suburban College.
Many other instructors have also helped us improve the book.
For responding
to detailed questionnaires about the eighth edition, we thank
Diana Agy, Jackson
Community College; James Allen, College of DuPage; Eileen
Baland, Texas Baptist
University; Sydney Bartman, Mt. San Antonio College;
Elisabeth Beccue, Erie
Community College; Maria J. Cahill, Edison College; Lenny
Cavallaro, Northern Essex
Community College; Chandra Speight Cerutti, East Carolina
University; Connie
Chismar, Georgian Court University; Marilyn Clark, Xavier
University; Lori Rios

Doddy, Texas Woman’s University; Deborah Kay Ferrell,
Finger Lakes Community
College; April Gentry, Savannah State University; Diane Halm,
Niagara University;
Tammy Harosky, Virginia Highlands Community College; Anne
Helms, Alamance
Community College; Teresa Henning, Southwest Minnesota
State University; Rick
Jones, South Suburban College; Cristina Karmas, Graceland
University; Glenda
Lowery, Rappanannock Community College, Warsaw Campus;
Rachel Jo Mack,
Ball State University; Linda McHenry, Fort Hays State
University; Jim McKeown,
McLennan Community College; Michelle Metzner, Wright State
University; Lisa
Wiley Moslow, Erie Community College North Campus;
Caroline Nobile, Edinboro
University of Pennsylvania; Gordon Petry, Bradley University;
Richard W. Porter,
Cedarville University; Pamela J. Rader, Georgian Court
University; Kim Salrin,
Bradley University; Wanda Synstelien, Southwest Minnesota
State University; Ruthe
Thompson, Southwest Minnesota State University; Janice M.
Vierk, Metropolitan
Community College; Betsey Whited, Emporia State University;
John M. Ziebell,
College of Southern Nevada; and Susan Zolliker, Palomar
College.
P R E FA C E F O R I N S T R U C T O R S xv
For this new edition of The Guide, we also gratefully

acknowledge the spe-
cial contributions of the following: Paul Tayyar, who drafted
the new “Analyzing
Visuals” chapter; Gray Scott, who drafted the new “Annotated
Bibliographies and
Literature Reviews” chapter; and Jill Markgraf, Judith Van
Noate, Debbi Renfrow,
Jaena Hollingsworth, and Beth Downs, who provided expert
advice on the revised
coverage of library and Internet research. We want especially to
thank the many
instructors at the University of California, Riverside, who
offered advice and class
tested new material, including Stephanie Kay, Leona Fisher,
Gray Scott, Elizabeth
Spies, Elissa Weeks, Rob d’Annibale, Kimberly Turner,
Amanda Uvalle, Joshua
Fenton, Benedict Jones, and Sandra Baringer. Finally, we are
especially grateful to
the student authors for allowing us to use their work in Sticks
and Stones, Marriage
101, and The Guide.
We want to thank many people at Bedford/St. Martin’s,
especially Senior Editor
Alexis Walker, whose wisdom, skill, and tireless enthusiasm
made this edition pos-
sible, and our production team of Harold Chester, Shuli Traub,
and Jenny Peterson.
Denise Quirk made many valuable contributions to this revision
with her careful
copyediting, as did Diana Puglisi George with her meticulous
proofreading. Cecilia
Seiter managed and edited all of the most important ancillaries
to the book: the
Instructor’s Resource Manual, Sticks and Stones, Marriage 101,

and the rest of the
Guide Web site. Without the help of Dan Schwartz, the new
media supplements to
The Guide would not have been possible.
Thanks also to the immensely talented design team — book
designer Jerilyn
Bockorick as well as Bedford/St. Martin’s art directors Anna
Palchik and Lucy
Krikorian — for making the ninth edition so attractive and
usable. Our gratitude
also goes to Sandy Schechter and Warren Drabek for their hard
work clearing
permissions, and Martha Friedman and Naomi Kornhauser for
imaginative photo
research.
We wish finally to express our heartfelt appreciation to Nancy
Perry for help-
ing us to launch The Guide successfully so many years ago and
continuing to stand
by us. Over the years, Nancy has generously and wisely advised
us on everything
from planning new editions to copyediting manuscript, and now
she is helping us
develop the new customized publication of The Guide. We also
want to thank Erica
Appel, director of development, and Karen Henry, editor-in-
chief, who offered
valued advice at many critical stages in the process. Thanks as
well to Joan Feinberg
and Denise Wydra for their adroit leadership of Bedford/St.
Martin’s, and to mar-
keting director Karen Soeltz and marketing manager Molly
Parke — along with the
extraordinarily talented and hardworking sales staff — for their

tireless efforts on
behalf of The Guide.
x v i P R E FA C E F O R I N S T R U C T O R S
Features of The St. Martin’s Guide to Writing, Ninth Edition,
Correlated to the WPA Outcomes Statement
Desired Student Outcomes Relevant Features of The St.
Martin’s Guide
Rhetorical Knowledge
Focus on a purpose Each writing assignment chapter in Part One
offers extensive discussion of the
purpose(s) for the genre of writing covered in that chapter.
Respond to the needs of different
audiences
Each chapter in Part One discusses the need to consider one’s
audience
for the particular genre covered in that chapter. In Chapters 6–
10, which
cover argument, there is also extensive discussion of the need to
anticipate
opposing positions and readers’ objections to the writer’s
thesis.
Respond appropriately to different kinds
of rhetorical situations
Each chapter in Part One gives detailed advice on responding to
a particular

rhetorical situation, from remembering an event (Chapter 2) to
analyzing
stories (Chapter 10).
Use conventions of format and structure
appropriate to the rhetorical situation
Each chapter in Part One points out features of effectively
structured
writing, and the Guides to Writing help students systematically
develop
their own effective structures. Document design is covered in
two sections
in each of these chapters, as well as in a dedicated Chapter 21,
“Designing
Documents.”
Adopt appropriate voice, tone, and level
of formality
Many of the Sentence Strategies sections in each chapter in Part
One deal
with these issues. Also, see purpose and audience coverage
mentioned
previously.
Understand how genres shape reading
and writing
Each chapter in Part One offers student and professional
readings
accompanied by annotations, questions, and commentary that
draw students’
attention to the key features of the genre and stimulate ideas for
writing.
Each chapter’s Guide to Writing offers detailed, step-by-step

advice for
writing in the genre and for offering constructive peer criticism.
In addition,
“In College Courses,” “In the Community,” and “In the
Workplace” sections
that open each Part One chapter, as well as “Beyond the
Traditional Essay”
sections later in the chapter, show how the various genres are
used outside
the composition course.
Write in several genres The Guides to Writing in each of the
nine chapters in Part One offer specific
advice on writing to remember an event; to profile a person,
activity, or
place; to explain a concept; to analyze opposing positions and
find common
ground; to argue a position; to propose a solution; to justify an
evaluation; to
speculate about causes; and to analyze literature. In addition,
Chapters 22–25
cover research strategies that many students will use while
writing in the
genres covered in Part One.
P R E FA C E F O R I N S T R U C T O R S xvii
Martin’s Guide
Critical Thinking, Reading, and Writing
Use writing and reading for inquiry,
learning, thinking, and communicating

Each Writing Assignment chapter in Part One emphasizes the
connection
between reading and writing in a particular genre: Each chapter
begins with a
group of readings whose apparatus introduces students to
thinking about the
features of the genre; then a Guide to Writing leads them
through the process
of applying these features to an essay of their own. Chapter 11,
“A Catalog
of Invention Strategies,” and Chapter 12, “A Catalog of Reading
Strategies”
prompt students to engage actively in invention and reading.
Other Part Two
chapters include coverage of specific invention, reading, and
writing strategies
useful in a variety of genres.
Understand a writing assignment as a series
of tasks, including finding, evaluating,
analyzing, and synthesizing appropriate
primary and secondary sources
The Guides to Writing in each chapter in Part One break writing
assignments
down into doable focused thinking and writing activities that
engage students in
the recursive process of invention and research to find, analyze,
and synthesize
information and ideas. “Working with Sources” sections teach
specific strategies
of evaluating and integrating source material. Chapter 12, “A
Catalog of Reading
Strategies,” covers various strategies useful in working with
sources, including

annotating, summarizing, and synthesizing. Chapter 24, “Using
Sources,” offers
detailed coverage of finding, evaluating, using, and
acknowledging primary and
secondary sources, while Chapter 25, “Annotated Bibliographies
and Literature
Reviews,” helps students master these essential research-based
tasks.
Integrate their own ideas with those
of others
Chapter 24, “Using Sources,” offers detailed advice on how to
integrate
and introduce quotations, how to cite paraphrases and
summaries so as to
distinguish them from the writer’s own ideas, and how to avoid
plagiarism.
“Sentence Strategy” and “Working with Sources” in several Part
One chapters
offer additional support.
Understand the relationships among
language, knowledge, and power
“Making Connections,” a recurring section in the apparatus
following the
professional readings in Part One chapters, encourages students
to put what
they’ve read in the context of the world they live in. These
preliminary
reflections come into play in the Guides to Writing, where
students are asked
to draw on their experiences in college, community, and career
in order to
begin writing. “Thinking Critically about What You Have

Learned” sections
that conclude Part One chapters ask students to reconsider what
they have
learned, often in a social/political context.
Processes
Be aware that it usually takes multiple
drafts to create and complete a
successful text
The need for a critical reading of a draft and for revision is
emphasized in
Chapter 1 as well as in the Guides to Writing in each chapter of
Part One. Case
studies of particular students’ writing processes are offered in
“Writer at Work”
sections in each Part One chapter.
(continued )
x v i i i P R E FA C E F O R I N S T R U C T O R S
Martin’s Guide
Processes (continued)
Develop flexible strategies for generating
ideas, revising, editing, and proofreading
The Guides to Writing in each Part One chapter offer genre-
specific coverage
of invention and research, getting a critical reading of a draft,

revising,
editing, and proofreading. Also in each Part One chapter, “Ways
In” invention
activities encourage students to start from their strengths, and
“Starting
Points” and “Troubleshooting Your Draft” charts offer specific,
targeted advice
for students with different challenges. A dedicated Chapter 11,
“A Catalog of
Invention Strategies,” offers numerous helpful suggestions for
idea generation.
Understand writing as an open process
that permits writers to use later invention
and rethinking to revise their work
The Guides to Writing in each Part One chapter offer extensive,
genre-specific
advice on rethinking and revising at multiple stages. “Ways In”
activities,
“Starting Points” charts, and “Troubleshooting Your Draft”
charts in Part
One chapters encourage students to discover, review, and revise
their own
process(es) of writing.
Understand the collaborative and social
aspects of writing processes
Each chapter in Part One includes several opportunities for and
guides to
collaboration: “Practice” activities at the beginning of the
chapter, “Making
Connections” activities after the readings, and, in the Guides to
Writing,
“Testing Your Choice” activities and the Critical Reading

Guide.
Learn to critique their own and others’
works
The Critical Reading Guide and Revising sections in the Guides
to Writing
in each Part One chapter offer students specific advice on
constructively
criticizing — and praising — their own work and the work of
their classmates.
Peer review is also covered in depth in Chapter 29, “Working
with Others.”
Learn to balance the advantages of relying
on others with the responsibility of doing
their part
This goal is implicit in several collaborative activities:
“Practice” activities
at the beginning of the chapter, “Making Connections” activities
after the
readings, and, in the Guides to Writing, “Testing Your Choice”
activities and
the Critical Reading Guide. Group work is also covered in depth
in Chapter 29,
“Working with Others.”
Use a variety of technologies to address a
range of audiences
Each Guide to Writing in Part One chapters includes advice on
using the
Web for various stages of the writing process, as well as
“sidebars” providing
information and advice about grammar- and spell-checkers and

software-based
commenting tools. See also Chapter 23, “Library and Internet
Research,” for
extensive coverage of finding, evaluating, and using print and
electronic
resources and of responsibly using the Internet, e-mail, and
online communities
for research, and Chapter 21, “Designing Documents,” which
offers advice on
creating visuals on a computer or downloading them from the
Web. Finally,
The Guide’s electronic ancillaries include a robust companion
Web site and
an e-Book.
P R E FA C E F O R I N S T R U C T O R S xix
Martin’s Guide
Knowledge of Conventions
Learn common formats for different kinds
of texts
Document design is covered in a dedicated Chapter 21 as well
as in two
sections in each of the Writing Assignment chapters in Part
One. Examples
of specific formats for a range of texts appear on pp. 787–94
(research
paper); p. 704 (memo); p. 705 (business letter); p. 706 (e-mail);
p. 708
(résumé); p. 710 (job application letter); pp. 712–13 (lab

report); and
pp. 696–702 (table, diagrams, graphs, charts, map, and other
figures).
Develop knowledge of genre conventions
ranging from structure and paragraphing to
tone and mechanics
Each chapter in Part One presents several basic features of a
specific genre,
which are introduced up front and then consistently reinforced
throughout the
chapter. Genre-specific issues of structure, paragraphing, tone,
and mechanics
are also addressed in the “Sentence Strategies” and “Editing and
Proofreading”
sections of each Guide to Writing.
Practice appropriate means of documenting
their work
Chapter 24, “Using Sources,” offers detailed advice on how to
integrate
and introduce quotations, how to cite paraphrases and
summaries so as to
distinguish them from the writer’s own ideas, and how to avoid
plagiarism.
This chapter also offers coverage of MLA and APA
documentation in addition
to an annotated sample student research paper. Chapter 20,
“Analyzing
Visuals,” also offers a complete student paper with MLA
documentation. In
addition, “Working with Sources” sections in each Guide to
Writing in the
Part One chapters help students with the details of using and

appropriately
documenting sources by providing genre-specific examples of
what (and what
not) to do.
Control such surface features as syntax,
grammar, punctuation, and spelling
Genre-specific editing and proofreading advice is given in two
sections in each
Guide to Writing in the Part One chapters: “Sentence
Strategies” and “Editing
and Proofreading.” The hardcover version of The Guide also
includes a concise
yet remarkably comprehensive handbook with coverage of
syntax, grammar,
punctuation, and spelling.
We have written this book with you, the student reading and
using it, always in the
forefront of our minds. Although it is a long book that covers
many different topics,
at its heart is a simple message: The best way to become a good
writer is to study ex-
amples of good writing, then to apply what you have learned
from those examples to
your own work. Accordingly, we have provided numerous
carefully selected examples
of the kinds of writing you are likely to do both in and out of
college, and we have ac-

companied them with detailed advice on writing your own
essays. In this Preface, we
explain how the various parts of the book work together to
achieve this goal.
The Organization of the Book
Following Chapter 1 — an introduction to writing that gives
general advice about
how to approach different parts of a writing assignment — The
St. Martin’s Guide
to Writing is divided into six major parts:
Part One: Writing Activities (Chapters 2–10)
Part Two: Critical Thinking Strategies (Chapters 11 and 12)
Part Three: Writing Strategies (Chapters 13–21)
Part Four: Research Strategies (Chapters 22–25)
Part Five: Writing for Assessment (Chapters 26 and 27)
Part Six: Writing and Speaking to Wider Audiences (Chapters
28–30)
This hardcover version of the book also includes a Handbook
that you can refer
to for help with grammar, punctuation, word choice, common
ESL problems, and
similar issues.
The Part One Chapters
For now, to understand how to use the book effectively to
improve your writing,
you first need to know that the most important part — the part

that all of the rest
depends on — is Part One, Chapters 2 through 10. Each of these
chapters is orga-
nized to teach you about one important specific genre, or type
of writing:
autobiography
profile of a person, activity, or place
Preface for Students:
How to Use The St. Martin’s Guide
x x i
x x i i P R E FA C E F O R S T U D E N T S
explanation of a concept
analysis of opposing positions seeking common ground
argument supporting your position
proposal to solve a problem
evaluation
analysis of possible causes
analysis of a short story
Each Part One chapter follows essentially the same structure,
beginning with
three scenarios that provide examples of how that kind of

writing could be used
in a college course, in a workplace, and in a community setting
such as a volunteer
program or civic organization.
Next come a brief introduction to the genre, a collaborative
activity to get you
thinking about the genre, and an introduction to the genre’s
basic features, each of
which is assigned a specific color.
2
IN COLLEGE COURSES In a linguistics course,
students are assigned a paper in which they are
to discuss published research in the context of
their own experience. The class had recently read
Deborah Tannen’s Gender and Discourse, in which
Tannen discusses differences in how men and
women talk about problems: according to Tannen,
women tend to spend a lot of time talking about the
problem and their feelings about it, while men typi-
cally cut short the analysis of the problem and focus
on solutions.
One student decides to write about Tannen’s
findings in light of a conversation she recently had
Remembering
an Event
Short chapter-opening scenarios provide examples of how the
kind of writing covered in the
chapter is used in other college courses, in your job, and in your
community.

P R E FA C E F O R S T U D E N T S xxiii
Next, you’ll find a series of readings, essays that will help you
see how writers deploy
the basic features of the genre for different purposes and
audiences. The first reading in
each chapter is always one written by a first-year college
student who was using The St.
Martin’s Guide. These readings include color coding that
highlights the writer’s use of the
basic features of the genre, as well as marginal questions that
ask you to analyze the essay
and also call your attention to particular writing strategies —
such as quoting sources,
using humor, providing definitions, and giving examples — that
the writer used.
Reading Remembered Event Essays
Basic Features
As you read remembered event essays in this chapter, you will
see how different
authors incorporate the basic features of the genre.
A Well-Told Story
Read first to enjoy the story. Remembered event essays are
autobiographical stories
that recount an important event in the writer’s life; the best
ones are first and fore-
most a pleasure to read. A well-told story
arouses curiosity and suspense by structuring the narrative
around conflict,
building to a climax, and leading to a change or discovery of

some kind;
is set in a specific time and place, often using dialogue to
heighten immediacy
d d
Basic Features
The genre’s basic features are introduced toward the beginning
of the chapter, so you know
what to look for in the readings. Each basic feature is assigned a
color, which is used whenever
that basic feature is discussed later in the chapter.
1
2
Calling Home
Jean Brandt
As we all piled into the car, I knew it was going to be a
fabulous day. My grand-
mother was visiting for the holidays; and she and I, along with
my older brother and
sister, Louis and Susan, were setting off for a day of last-minute
Christmas shopping.
On the way to the mall, we sang Christmas carols, chattered,
and laughed. With
Christmas only two days away, we were caught up with holiday
spirit. I felt light-headed

and full of joy. I loved shopping — especially at Christmas.
The shopping center was swarming with frantic last-minute
shoppers like our-
selves. We went first to the General Store, my favorite. It
carried mostly knickknacks
and other useless items which nobody needs but buys anyway. I
was thirteen years
old at the time, and things like buttons and calendars and
posters would catch my
fancy. This day was no different. The object of my desire was a
75-cent Snoopy button.
As you read, look for places where Brandt lets us know how she
felt at the time the
event occurred. Also consider the questions in the margin. Your
instructor may ask you
to post your answers or bring them to class.
Basic Features
Color-coded highlighting in the chapter’s first essay calls
attention to the student writer’s use of
the basic features of the genre; questions in the margin ask you
to analyze and reflect on the
writer’s use of various strategies.
x x i v P R E FA C E F O R S T U D E N T S

Usually, the remaining readings in the chapter are by
professional writers. Each
of these additional essays is accompanied by the following
groups of questions and
activities to help you learn how essays in that genre work:
Making Connections invites you to explore an issue raised by
the reading that is
related to your own experience and often to broader social or
cultural issues.
Analyzing Writing Strategies helps you examine closely some
specific strate-
gies the writer used. The questions in this section are organized
according to
the basic features of the genre, to help you keep track of
different aspects of the
essay’s construction. Following essays that include visuals, an
Analyzing Visuals
section asks you to examine what graphics, photographs, and
the like contrib-
ute to the written text.
Considering Topics for Your Own Essay suggests subjects that
you might write
about in your own essay.
Following the readings, each assignment chapter also includes
the following sections:
a “Beyond the Traditional Essay” section that provides
examples of that chap-
ter’s genre of writing drawn from unexpected contexts —
advertising, blogs,
museums, even public parks

a Guide to Writing that will help you write an effective essay in
the genre for
your particular audience and purpose. The Guides to Writing,
the most impor-
tant parts of the entire book, will be explained fully in the next
section.
a Writer at Work narrative showing key elements of the writing
process of one
student whose essay appears in the chapter
a concluding section titled Thinking Critically about What You
Have Learned,
which invites you to reflect on the work you did for that chapter
and to consider
some of its wider social and cultural implications.
Beyond the Traditional Essay:
Remembering an Event
Our culture commemorates events in many
ways that are likely familiar to you. Physical
memorials such as statues, plaques, monu-
ments, and buildings are traditional means of
ensuring that important events remain in our
collective memory: Relatively recent examples
include the Vietnam Veterans Memorial in
Washington, D.C., and the planned commem-
orative complex at the site of the 9/11 World
Trade Center attack in New York City. Though
such memorials function primarily visually,
rather than textually, they can also be seen to
exhibit the basic features we’ve discussed in
essays remembering an event. The Vietnam
memorial is a dramatic, V-shaped black gran-
ite wall partly embedded in the earth, which

reflects the images of visitors reading the names of the dead and
missing inscribed
there; the names are presented in chronological order, telling
the story of the con-
“Beyond the Traditional Essay” sections provide examples of
that chapter’s genre of writing drawn
from unexpected contexts — advertising, blogs, museums, even
public parks.
P R E FA C E F O R S T U D E N T S xxv
The Guides to Writing
Just as the Part One assignment chapters are the heart of the
book, the heart of each
assignment chapter is the Guide to Writing.
Writing an essay does not usually proceed in a smooth,
predictable se-
quence — often, for example, a writer working on a draft will
go back to what is
usually an earlier step, such as invention and research, or jump
ahead to what is
usually a later one, such as editing and proofreading. But to
make our help with
the process more understandable and manageable, we have
divided each Guide to
Writing into the same elements that appear in the same order:
the Writing Assignment;
Invention and Research;

Planning and Drafting;
a Critical Reading Guide;
Revising;
and Editing and Proofreading.
The Writing Assignment. Each Guide to Writing begins with an
assignment that
defines the general purpose and basic features of the genre you
have been studying
in the chapter.
Starting Points chart. Each Guide to Writing opens with an
easy-reference Starting
Points chart, which is designed to help you efficiently find the
advice you need for
getting past writer’s block and other early-stage difficulties.
Starting Points: Explaining a Concept
Basic Features
A Focused
Explanation
Choosing
a Concept
Question Where to Look
Each Guide to Writing opens with an easy-reference Starting
Points chart, with advice for getting
started.

x x v i P R E FA C E F O R S T U D E N T S
Invention and Research. Every Guide to Writing includes
invention activities
designed to help you
find a topic
discover what you already know about the topic
consider your purpose and audience
research the topic further — in the library, on the Internet,
through observa-
tion and interviews, or some combination of these methods
explore and develop your ideas, and
compose a tentative thesis statement to guide your planning and
drafting.
Because we know that different students start writing at
different places, we’ve
offered different “ways in” to many of the Invention activities:
specifically, their new
layout (as shown in the example below) is meant to suggest the
different possible
paths through the processes of generating and shaping material.
The colors used correspond to the basic features of the genre
that were introduced
in the chapter’s first few pages, which is meant to help you see
how in composing in
a particular genre, writers use the same basic features but may

use them differently
to achieve specific purposes for their readers.
“Ways In” activities suggest different ways of coming up with
material for your essay.
Ways In: Constructing a Well-Told Story
Once you’ve made a preliminary choice of an event, the
following activities will
help you begin to construct a well-told story, with vivid
descriptions of people and
places. You can begin with whichever basic activity you want,
but wherever you
begin, be sure to return to the other activities to fill in the
details.
Sketch the Story. Write a
quick sketch telling roughly what
happened. Don’t worry about what
you’re leaving out; you can fill in
the details later.
Explore a Revealing or Pivotal
Moment. Write for a few minutes
developing a moment of surprise,
confrontation, crisis, change, or
discovery that may become the
climax of your story. To dramatize
it, try using specific narrative
actions and dialogue.
Reimagine the Place. Identify
the place where the event occurred
and describe it. What do you see,
hear, or smell? Use details — shape,

color, texture — to evoke the scene.
Research Visuals. Try to locate
visuals you could include in your
essay: Look through memorabilia
such as family photographs,
yearbooks, newspaper articles,
concert programs, ticket stubs, or
T-shirts — anything that might
stimulate your memory and help
you reflect on the place. If you
submit your essay electronically or
post it online, also consider adding
i h i i h h
Describe People. Write about
people who played a role in the event.
For each person, name and detail
a few distinctive physical features,
mannerisms, dress, and so on.
Create a Dialogue. Reconstruct
one important conversation you had
during the event. You will probably
not remember exactly what was
said, but try to re-create the spirit
of the interaction. Consider adding
speaker tags (see p. 36) to show
people’s tone of voice, attitude, and
gestures.
Research People Do someReflect on the Conflict and Its
Shaping the Story Describing the Place Recalling Key People

Basic Features
P R E FA C E F O R S T U D E N T S xxvii
Planning and Drafting. To get you started writing a draft of
your essay, each Guide
to Writing includes suggestions for planning your essay. The
section is divided into
three parts:
Refining Your Purpose and Setting Goals involves reviewing
what you have
discovered about your subject, purpose, and audience and helps
you think
about your goals for the various parts of your essay.
Outlining Your Draft suggests some of the ways you might
organize your
essay.
Drafting launches you on the writing of your draft, providing
both general
advice and suggestions about one or two specific sentence
strategies that you
might find useful for the particular genre.
The Planning and Drafting section also includes a section called
Working with
Sources, which offers advice (using examples from one or more
of the readings)
on a particular issue related to incorporating materials from
research sources into
your essay.

Critical Reading Guide. Once you have finished a draft, you
may want to make an
effort to have someone else read the draft and comment on how
to improve it. Each
Guide to Writing includes a Critical Reading Guide, color-
coded to correspond
to that genre’s basic features, which will help you get good
advice on improving
your draft as well as help you make helpful suggestions to
improve others’ drafts.
(These Guides break out suggestions for both praise and critique
— because we all
sometimes need reminding that pointing out what works well
can be as helpful as
pointing out what needs improvement in a piece of writing.)
Critical
Reading
Guide
For a printable version of
this Critical Reading Guide,
go to bedfordstmartins
.com/theguide.
Your instructor may arrange a peer review session in class or
online where you
can exchange drafts with your classmates and give each other a
thoughtful criti-
cal reading, pointing out what works well and suggesting ways
to improve the
draft. This Critical Reading Guide can also be used productively
by a tutor in
the writing center or by a roommate or family member. A good
critical reading

does three things: it lets the writer know how well the reader
understands the
point of the story, praises what works best, and indicates where
the draft could
be improved.
1. Assess how well the story is told.
Praise: Give an example in the story where the storytelling is
especially
effective — for example, where the speaker tags help make a
dialogue dra-
matic or where specific narrative actions show people in action.
Critique: Tell the writer where the storytelling could be
improved — for
example, where the suspense slackens, the story lacks drama, or
the chronol-
ogy is confusing.
2. Consider how vividly people and places are described.
Basic Features
Critical Reading Guides suggest ways of giving constructive
criticism, as well as praise, for your
classmates’ drafts.
x x v i i i P R E FA C E F O R S T U D E N T S
Revising. Each Guide to Writing includes a Revising section to
help you get an
overview of your draft, consider readers’ comments, chart a
plan for revision, and

carry out the revisions.
A new easy-reference chart in the Revising section called
“Troubleshooting
Your Draft” offers specific advice for problems many students
encounter at this
critical stage of the writing process.
Following this chart, a section called “Thinking about
Document Design”
illustrates the ways in which one writer (author of one of the
chapter’s opening
scenarios) used visuals and other elements of document design
to make the essay
more effective.
Troubleshooting Your Draft charts offer specific advice for
revising your essay.
Troubleshooting Your Draft
Basic Features
Problem Suggestions for Revising the Draft
Vivid
Description
of People and
Places
Name objects in the scene.
Add sensory detail.
Try out a comparison to evoke a particular mood.
Consider adding a visual — a photograph or other memorabilia.
Places are hard to

visualize.
Describe a physical feature or mannerism that gives each person
individuality.
Add speaker tags to characterize people and show their feelings.
Liven up the dialogue with faster repartee.
People do not come
alive.
Omit extraneous details.
Add a simile or metaphor to strengthen the dominant
impression.
Rethink the impression you want your writing to convey and the
significance it suggests.
Some descriptions
weaken the dominant
impression.
Tell about your background or the particular context.
A Well-Told
Story
Shorten the exposition.
Move a bit of dialogue or specific narrative action up front.
Start with something surprising.
Consider beginning with a flashback or flashforward.
The story starts too
slowly.
Add dramatized dialogue or specific narrative actions.
Clarify your remembered feelings or thoughts.
Reflect on the conflict from your present perspective.

The conflict is vague or
seems unconnected to
the significance.
Add remembered feelings and thoughts to heighten anticipation.
Add dialogue and specific narrative action.
Build rising action in stages with multiple high points.
Move or cut background information and description.
The suspense slackens
or the story lacks
drama.
The chronology is
confusing.
Add or change time transitions.
Clarify verb tenses.
P R E FA C E F O R S T U D E N T S xxix
Editing and Proofreading. Each Guide to Writing ends with a
section to help you
recognize and fix specific kinds of problems in grammar,
punctuation, and sentence
structure that are common in essays in that genre of writing.
The Other Parts of the Book
Parts Two through Five provide more help and practice with
specific strategies
for reading critically, analyzing visuals, designing documents,
and many other key

aspects of writing and research.
Also included are up-to-date guidelines for choosing, using, and
documenting dif-
ferent kinds of sources (library sources, the Internet, and your
own field research);
writing annotated bibliographies and literature reviews; taking
essay exams; and
assembling a portfolio of your writing.
Chapter 20, “Analyzing Visuals,” helps you approach visual
texts critically and analytically.
6 7 4 C H A P T E R 2 0 : A N A LY Z I N G V I S U A L
S
created it? Where was it published? What audience is
it addressing? What is it trying to get this audience to
think and feel about the subject? How does it attempt
to achieve this aim?
Let's look, for example, at the following visual
text: a public service announcement (PSA) from the
World Wildlife Fund (WWF).
The central image in this PSA is a photo of an
attractive, smiling young couple. Most of us will
immediately recognize the dress, posture, and facial
expressions of the young man and woman as those
of a newly married couple; the photo-mounting
corners make the image seem like a real wedding
album photo, as opposed to an ad agency’s creation
(which would be easier to ignore). After noting these
things, however, we are immediately struck by what
is wrong with the picture: a hurricane rages in the
background, blowing hair, clothing, and the bride’s

veil forcefully to one side, showering the bride’s pure
white dress with spots (of rain? mud?), and threaten-
ing to rip the bridal bouquet from her hand.
So what do we make of the disruption of the con-
vention (the traditional wedding photo) on which the
PSA image is based? In trying to decide, most of us
will look next to the text below the image: “Ignoring
global warming won’t make it go away.” The disjunc-
tion between the couple’s blissful expression and the
storm raging around them turns out to be the point
of the PSA: like the young couple in the picture, the
PSA implies, we are all blithely ignoring the impend-
ing disaster that global warming represents. The reputable,
nonprofit WWF’s logo and
Figure 20.2 “Wedding,” from the WWF’s 2007 “Beautiful
Day U.S.” Series
x x x P R E FA C E F O R S T U D E N T S
Cristina Dinh
Professor Cooper
English 100
15 May 2009
Educating Kids at Home
Every morning, Mary Jane, who is nine, doesn’t have to worry
about

gulping down her cereal so she can be on time for school.
School for
Mary Jane is literally right at her doorstep.
In this era of serious concern about the quality of public
education,
increasing numbers of parents across the United States are
choosing
to educate their children at home. These parents believe they
can do a
better job teaching their children than their local schools can.
Home
schooling, as this practice is known, has become a national
trend over
the past thirty years, and, according to education specialist
Brian D.
Ray, the home-schooled population is growing at a rate between
5%
and 12% per year. A 2008 report by the U.S. Department of
Education’s
Institute of Education Sciences estimated that, nationwide, the
number
of home-schooled children rose from 850,000 in 1999 to
approximately

1.5 million in 2007 (1.5 million 1). Some home-schooling
advocates be-
lieve that even these numbers may be low because not all states
require
formal notification when parents decide to teach their children
at home.
What is home schooling, and who are the parents choosing to be
home schoolers? David Guterson, a pioneer in the home-
schooling move-
ment, defines home schooling as “the attempt to gain an
education
outside of institutions” (5). Home-schooled children spend the
majority
of the conventional school day learning in or near their homes
rather
than in traditional schools; parents or guardians are the prime
educa-
tors. Former teacher and home schooler Rebecca Rupp notes
that home-
schooling parents vary considerably in what they teach and how
they
teach, ranging from those who follow a highly traditional
curriculum
within a structure that parallels the typical classroom to those

who
A N A N N O TAT E D R E S E A R C H PA P E R 787
1
1/2
Dinh 1
1
1
Double-spaced
Double-spaced
Title centered; no
underlining, quotes,
or italics
Paragraphs indented
one-half inch
Author named in text;
no parenthetical page
reference because source
not paginated
Author named in text;
parenthetical page
reference falls at end
of sentence
Abbreviated title used
in parenthetical citation

because works cited
lists two sources by
government author
(named in text); no
punctuation between
title and page number
1
Key features of Chapter 24, “Using Sources,” are color coded
for easy reference. The pages
tinted beige contain a sample research paper using MLA format
and documentation style.
P R E FA C E F O R S T U D E N T S xxxi
To make them easy to find, the pages explaining how to use
MLA documentation have a teal
stripe down the side. The pages covering APA documentation
have a reddish-orange stripe
down the side.
7 6 6 C H A P T E R 2 4 : U S I N G S O U R C E S
The MLA System of Documentation
Citations in Text
A WORK WITH A SINGLE AUTHOR
The MLA author-page system generally requires that in-text
citations include the
author’s last name and the page number of the passage being
cited. There is no

punctuation between author and page. The parenthetical citation
should follow the
quoted, paraphrased, or summarized material as closely as
possible without dis-
rupting the flow of the sentence.
Dr. James is described as a “not-too-skeletal Ichabod Crane”
(Simon 68).
One reviewer compares Dr. James to Ichabod Crane (Simon 68).
Note that the parenthetical citation comes before the final
period. With block quo-
tations, however, the citation comes after the final period,
preceded by a space (see
p. 760 for an example). If you mention the author’s name in
your text, supply just
the page reference in parentheses.
Simon describes Dr. James as a “not-too-skeletal Ichabod
Crane” (68).
Simon compares Dr. James to Ichabod Crane (68).
A WORK WITH MORE THAN ONE AUTHOR
To cite a source by two or three authors, include all the authors’
last names; for works
with more than three authors, use all the authors’ names or just
the first author’s name
followed by et al., meaning “and others,” in regular type (not
italicized or underlined).
Dyal, Corning, and Willows identify several types of students,
including the “Authority-
Rebel” (4)

The APA System of Documentation
Citations in Text
AUTHOR INDICATED IN PARENTHESES
The APA author-year system calls for the last name of the
author and the year of pub-
lication of the original work in the citation. If the cited material
is a quotation, you
also need to include the page number(s) of the original. If the
cited material is not a
quotation, the page reference is optional. Use commas to
separate author, year, and
page in a parenthetical citation. The page number is preceded by
p. for a single page
or pp. for a range. Use an ampersand (&) to join the names of
multiple authors.
The conditions in the stockyards were so dangerous that
workers “fell into the vats; and
when they were fished out, there was never enough of them left
to be worth exhibit-
ing” (Sinclair, 2005, p. 134).
Racial bias does not necessarily diminish through exposure to
individuals of other races
(Jamison & Tyree, 2001).
x x x i i P R E FA C E F O R S T U D E N T S
Part Six presents three brief chapters that will help you in
making oral presen-

tations, consulting and writing with others, and writing in the
community.
Finding Your Way around the Book
In a book as large and complex as this one, it can sometimes be
hard to tell where
you are or to find the information you need on a particular topic
in the book. To
help you find your way around, look at the information provided
at the tops of the
pages: in addition to page numbers, you’ll find chapter titles on
the left-hand pages,
and the title of the specific section you’re in on the right-hand
pages.
Also, take advantage of the following color cues used for
different sections of the
book:
Guides to Writing in every chapter have yellow-edged pages.
MLA documentation sections have teal-edged pages.
APA documentation sections have reddish-orange-edged pages.
Handbook pages are tinted beige.
To locate information or additional material on particular
topics, besides using
the table of contents in the front of the book and the index in
the back, you can
benefit from the cross-references that appear in the margins
throughout the book.
Some marginal notes refer you to the companion Web site,
where related material

or electronic versions of material in the book are available.
5 0 C H A P T E R 2 : R E M E M B E R I N G A N E V
E N TGUIDE TO WRITING
In writing assignment chapters, the left-hand page will tell you
what major part of the chapter
you’re in, what page you’re on, and the chapter title . . .
P L A N N I N G A N D D R A F T I N G 51 GUIDE TO
WRITING
. . . and the right-hand page will tell you the title of the specific
section you’ve opened to.
P R E FA C E F O R S T U D E N T S xxxiii
The Handbook
The Handbook offers a complete reference guide to grammar,
word choice, punctu-
ation, capitalization, use of numbers and abbreviations,
spelling, ESL troublespots,
sentence structure, and words that are frequently misused. We
have designed the
Handbook so that you can find the answers you need quickly,
and we have provided
examples from a nationwide study we did of college students’
writing. The examples
appear in regular black type, with the corrections in blue in a
different font. The
grammatical and other specialized terms that are used in the
Handbook are all
highlighted in white boxes in the text and defined in white

boxes in the margins, so
that you never have to look elsewhere in the book to understand
the explanation.
In addition to a section on ESL problems, blue boxes throughout
the rest of the
Handbook offer specific support for ESL students.
Marginal annotations refer to other parts of the book and to
helpful online resources.
Coach Kernow told me I ran faster than ever before.
ESL Note: It is important to remember that the past perfect is
formed with had
followed by a past participle. Past participles usually end in -ed,
-d, -en, -n, or -t:
worked, hoped, eaten, taken, bent.
Before Tania went to Moscow last year, she had not really speak
Russian.
For practice, go to
bedfordstmartins.com/
theguide/exercisecentral
and click on The Past
Perfect and/or A Common
ESL Problem: Forming the
Past Perfect.
In the Handbook, corrections appear in blue type (A); white
boxes in the text highlight terms that
are defined in the margins (B); blue boxes offer ESL support
(C); and codes for different sections
offer a convenient shorthand for you and your instructor (D).
vb

G5
progressive tense A
tense that shows ongo-
ing action, consisting
of a form of be plus the
-ing form of the main
verb: I am waiting.
The past action identified by the verb had called occurred
before the past action
identified by the verb claimed.
G5-b Use the correct verb endings and verb forms.
The five basic forms of regular verbs (such as talk) follow the
same pattern, add-
ing -s, -ed, and -ing as shown here. The forms of irregular verbs
(such as speak)
do not consistently follow this pattern in forming the past and
the past participle.
(See R2-a.)
Infinitive or base: talk or speak
Every day I talk on the phone and speak to my friends.
Third person singular present ( s form): talks or speaks
V E R B S H - 2 1
For ESL Writers
Certain verbs — ones that indicate existence, states of mind,
and the senses of

sight, smell, touch, and so on — are rarely used in the
progressive tense. Such
verbs include appear, be, belong, contain, feel, forget, have,
hear, know, mean,
prefer, remember, see, smell, taste, think, understand, and want.
I am belonging to the campus group for foreign students.A
B
D
C
Brief Contents
x x x v
1 Introduction: Thinking about Writing 1
PART 1 Writing Activities
2 Remembering an Event 14
3 Writing Profiles 64
4 Explaining a Concept 126
5 Finding Common Ground 184
6 Arguing a Position 264
7 Proposing a

Solution
320
8 Justifying an Evaluation 384
9 Speculating about Causes 446
10 Analyzing Stories 504
PART 2 Critical Thinking Strategies
11 A Catalog of Invention Strategies 562
12 A Catalog of Reading Strategies 575
PART 3 Writing Strategies
13 Cueing the Reader 600
14 Narrating 615
x x x v i B R I E F C O N T E N T S
15 Describing 628
16 Defining 639
17 Classifying 647

18 Comparing and Contrasting 653
19 Arguing 659
20 Analyzing Visuals 673
21 Designing Documents 688
PART 4 Research Strategies
22 Field Research 716
23 Library and Internet Research 728
24 Using Sources 755
25 Annotated Bibliographies and Literature Reviews 795
PART 5 Writing for Assessment
26 Essay Examinations 814
27 Writing Portfolios 832
PART 6 Writing and Speaking to
Wider Audiences
28 Oral Presentations 838
29 Working with Others 843
30 Writing in Your Community 848
HANDBOOK H-1

Preface for Instructors v
Preface for Students xxi
1 INTRODUCTION: THINKING ABOUT WRITING 1
Why Writing Is Important 1
Writing Influences the Way You Think Writing Helps You
Learn Writing Fosters Personal Development Writing
Connects You to Others Writing Promotes Success in
College and at Work
How Writing Is Learned 4
Learning to Write by Reading Learning Writing Strategies
Using the Guides to Writing Thinking Critically
PART 1 Writing Activities
2 REMEMBERING AN EVENT 14
A Collaborative Activity: Practice Remembering an Event 16
Reading Remembered Event Essays 17
Basic Features 17

Purpose and Audience 18
Contents
x x x v i i
Readings 18
Jean Brandt, “Calling Home” (annotated student essay) 18
Annie Dillard, “An American Childhood” 22
Trey Ellis, “When the Walls Came Tumbling Down” 28
Saira Shah, “Longing to Belong” 34
Remembering an Event 38
Guide to Writing 40
The Writing Assignment 40
Starting Points: Remembering an Event 41
Invention and Research 42
Choosing an Event to Write About 42

Ways In: Constructing a Well-Told Story 44
Creating a Dominant Impression Testing Your Choice
A Collaborative Activity: Testing Your Choice Exploring
Memorabilia
Ways In: Reflecting on the Event’s Autobiographical
Significance 46
Defining Your Purpose and Audience Considering
Your Thesis
Planning and Drafting 47
Refining Your Purpose and Setting Goals Outlining
Your Draft Drafting Working with Sources: Quoting,
Paraphrasing, and Summarizing
Critical Reading Guide 52
Revising 53
Troubleshooting Your Draft 54
Thinking about Document Design: Integrating Visuals 55

Editing and Proofreading 56
Missing Commas after Introductory Elements Using the Past
Perfect Fused Sentences
A Writer at Work 57
Jean Brandt’s Essay from
Invention to Revision 57
Invention The First Draft Critical Reading and Revision
x x x v i i i C O N T E N T S
Thinking Critically about
What You Have Learned 62
Reflecting on Your Writing 62
Considering the Social Dimensions:
Autobiography and Self-Discovery 63
3 WRITING PROFILES 64
A Collaborative Activity: Practice Conducting an Interview 66

Reading Profiles 67
Basic Features 67
Readings 69
Brian Cable, “The Last Stop” 69
John T. Edge, “I’m Not Leaving Until I Eat This Thing” 74
Susan Orlean, “Show Dog” 81
Amanda Coyne, “The Long Good-Bye: Mother’s Day in
Federal Prison” 90
Writing Profiles 97
Guide to Writing 99
Starting Points: Writing a Profile 100
Choosing a Subject to Profile

Ways In: Finalizing Your Choice 103
Testing Your Choice A Collaborative Activity: Testing Your
Choice Setting Up a Tentative Schedule
Ways In: Collecting Information from Field Research 106
Ways In: Reflecting on Your Purpose and the Profile’s
Perspective 108
Considering Your Thesis Designing Your Document
C O N T E N T S xxxix
Refining Your Purpose and Setting Goals Outlining Your
Draft Drafting Working with Sources: Integrating
Quotations from Your Interviews
Revising 115

Thinking about Document Design: Creating
Web-Based Essays 118
Checking the Punctuation of Quotations A Common ESL
Problem: Adjective Order
A Writer at Work 120
Brian Cable’s Interview Notes
and Write-Up 120
The Interview Notes The Interview Write-Up
Considering the Social Dimensions: Entertaining
Readers, or Showing the Whole Picture? 125
4 EXPLAINING A CONCEPT 126
A Collaborative Activity: Practice Explaining a Concept 129

Reading Concept Explanations 129
Basic Features 129
Readings 131
Linh Kieu Ngo, “Cannibalism: It Still Exists”
(annotated student essay) 131
Anastasia Toufexis, “Love: The Right Chemistry” 136
Richard A. Friedman, “Born to Be Happy, Through a Twist
of Human Hard Wire” 143
Jeffrey Kluger, “What Makes Us Moral” 148
Explaining a Concept 159
x l C O N T E N T S

C O N T E N T S xli
Guide to Writing 160
Starting Points: Explaining a Concept 161
Choosing a Concept to Write About
Ways In: Gaining an Overview of a Concept 164
Ways In: Focusing the Concept 165
Testing Your Choice A Collaborative Activity: Testing Your
Choice Designing Your Document Defining Your Purpose
for Your Readers Formulating a Tentative Thesis Statement
Refining Your Purpose and Setting Goals Outlining Your
Draft Drafting Working with Sources: Using Descriptive
Verbs to Introduce Information

Revising 174
Thinking about Document Design: Designing Surveys and
Presenting Results 178
Using Punctuation with Adjective Clauses Using Commas
with Interrupting Phrases
A Writer at Work 181
Linh Kieu Ngo’s Use of Sources 181
Considering the Social Dimensions: Concept
Explanations and the Nature of Knowledge 183
5 FINDING COMMON GROUND 184
A Collaborative Activity: Practice Finding
Common Ground 187

Reading Essays That Seek
Common Ground 188
Basic Features 188
Readings 191
Jeremy Bernard, “Lost Innocence” (annotated student essay)
191
Melissa Mae, “Laying Claim to a Higher Morality”
(student essay) 195
Athena Alexander, “No Child Left Behind: ‘Historic Initiative’
or ‘Just an Empty Promise’?” (student essay) 201
Beyond the Traditional Essay: Finding
Common Ground 210
Guide to Writing 212

Starting Points: Finding Common Ground 213
Choosing a Set of Argument Essays to Write About Testing
Your Choice A Collaborative Activity: Testing Your Choice
Thinking about Your Readers Researching the Issue
Designing Your Document Defining Your Purpose for Your
Readers Formulating a Tentative Thesis Statement
Refining Your Purpose and Setting Goals Outlining
Your Draft Drafting Working with Sources: Weaving
Quoted Materials into Your Own Sentences
Revising 228
Thinking about Document Design: Helping Readers Visualize
a

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