Professional Documents
Culture Documents
Copyright © Pearson Australia (a division of Pearson Australia Group Pty Ltd) 2018 — 9781488616846 — Faigley/The Little Pearson Handbook 4e
Contents b Find and Narrow Your Topic
c Determine What Kind of Research
You Need
49
50
1
d Draft a Working Thesis 50
Composing
Part
2
List 107
Planning Research and
Part
Copyright © Pearson Australia (a division of Pearson Australia Group Pty Ltd) 2018 — 9781488616846 — Faigley/The Little Pearson Handbook 4e
15 APA Documentation 122 20 Write with Emphasis 212
APA Documentation Map 123 a Manage Emphasis within Sentences 213
a The Elements of APA Style 124 b Forge Links across Sentences 214
b Illustrated Examples and Index of c Use Parallel Structure with Parallel
References Entries in APA Style 129 Ideas 215
c Periodical Sources in the APA-Style 21 Find the Right Words 217
Reference List 136 a Be Aware of Levels of Formality 217
d Books in the APA-Style Reference List 137 b Be Aware of Denotation and
e Online Sources in the APA-Style Connotation 218
Reference List 138 c Use Specific Language 219
f Visual and Multimedia Sources in the d Write to Be Inclusive 220
APA-Style Reference List 141 e Recognise International Varieties
g Sample Pages from a Research Paper of English 222
with APA Documentation 143
16 MLA Documentation 146
5 Understanding Grammar
PART
a The Elements of MLA Style 146
b Illustrated Examples and Index of
Works-Cited Entries in MLA Style 150 22 Fragments, Run-ons and Comma
c Journals, Magazines, Newspapers and
Splices 226
Other Print Sourcesin the MLA-Style
a Common Sentence Construction
Works-Cited List 161
Errors 226
d Books in the MLA-Style Works-Cited
b Fragments 226
List 165
c Run-on Sentences 228
e Library Database Sources in the
d Comma Splices 230
MLA-Style Works-Cited List 168
f Online Sources in the MLA-Style 23 Subject–Verb Agreement 233
Works-Cited List 169 a Agreement of Subjects and Verbs 233
g Visual and Multimedia Sources in the b Agreement in the Present Tense 233
MLA-Style Works-Cited List 173 c Singular and Plural Subjects 234
h Sample Pages from a Research Paper d Indefinite Pronouns as Subjects 235
with MLA Documentation 177 e Collective Nouns as Subjects 236
f Inverted Word Order 237
17 CMS Documentation 187 g Amounts, Numbers and Pairs 237
a The Elements of CMS Documentation 187
b Periodical Sources in CMS Style 189 24 Verbs 238
c Books and Non-Periodical Sources in a Basic Verb Forms 238
CMS Style 193 b Irregular Verbs 240
d Online Sources in CMS Style 196 c Transitive and Intransitive Verbs 241
e Sample Pages from a Research Paper 25 Pronouns 243
with CMS Documentation 199 a Pronoun Case 243
b Pronoun Agreement 245
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28 Grammar for Multilingual Writers 261 d Other Punctuation with Quotation
a Nouns 261 Marks 295
b Articles 262 e Misuses of Quotation Marks 297
c Verbs 263 34 Other Punctuation Marks 298
a Full Stops 298
6 Understanding Punctuation
PART
PART
h Commas to Avoid Confusion 277
i Unnecessary Commas 278
30 Semicolons and Colons 280 36 Oral Presentations 308
a Semicolons with Closely Related a A Form of Assessment 308
Main Clauses 280 b The Audience 308
b Semicolons Together with Commas 282 c The Structure 308
c Colons in Sentences 282 d The Delivery 309
d Colons with Lists 283 e Feedback 310
31 Dashes and Parentheses 285 37 Feedback 311
a Dashes and Parentheses to Set Off a An Opportunity for Reflection 311
Information 285 b Informal Feedback 311
b Dashes and Parentheses Versus c Formal Feedback 312
Commas 286 d Learning Journal 312
c Other Punctuation with
38 Job Presentation Skills 313
Parentheses 287
a Applying for a Position 313
32 Apostrophes 289 b The Résumé or Curriculum Vitae 313
a Possessives 289 c The Covering Letter 315
b Contractions and Omitted Letters 290 d The Interview 315
c Plurals of Letters, Symbols and
Words Referred to as Words 291
33 Quotation Marks 293 Glossary of Grammatical Terms and Usage 319
a Direct Quotations 293 Index 329
b Titles of Short Works 294 Revision Guide 342
c Other Uses of Quotation Marks 295 Common Errors Guide inside back cover
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Part
1 Composing
Composing
1 Think as a Writer 2 5 Write Arguments 23
1a Think About the Process of 5a Write Position Arguments
Communication 2 and Proposal Arguments 23
1b Think About Your Audience 2 5b Find an Arguable Topic
1c Think About Your Credibility 3 and Make a Claim 23
5c Organise and Write a
Position Argument 25
2 Read, View and Write
5d Make a Proposal 27
with a Critical Eye 4 5e Organise and Write a
2a Become a Critical Reader 4 Proposal Argument 28
2b Become a Critical Viewer 5
2c Become a Critical Thinker and 6 Write in Academic
Writer 7
Genres 30
6a Write an Observation 30
3 Plan and Draft 9
6b Write a Critical Analysis 32
3a Find a Topic and Establish Goals 9 6c Write a Case Study 33
3b Write a Working Thesis 10 6d Write a Scientific Report 36
3c Determine Your Organisation 11 6e Write an Essay Exam 38
3d Write Effective Introductions
and Conclusions 15
7 Write for Online
3e Write Effective Paragraphs 16
3f Focus Your Paragraphs 18 Courses 40
7a Use Courseware 40
4 Revise, Edit and 7b Keep Track of Online
Coursework 40
Proofread 19
7c Participate in Online Course
4a How to Evaluate Your Draft 19 Discussions 41
4b Learn Strategies for Rewriting 19 7d Observe Netiquette 44
4c Edit for Specific Goals 20
4d Proofread Carefully 21
4e Review the Writing of Others 21
Copyright © Pearson Australia (a division of Pearson Australia Group Pty Ltd) 2018 — 9781488616846 — Faigley/The Little Pearson Handbook 4e
1 Think as a Writer
Composing
At a Glance
• Understand the process of communication (see 1a below)
• Learn how to get readers to take you seriously (see 1c)
Smarter Writing
Understand your audience
• Who is most likely to read what you write?
• How much does your audience know about the subject? Are
there any key terms or concepts that you will need to explain?
• How interested is your audience likely to be? If they lack interest in
your subject, what can you do to engage them?
• What are audience members’ attitudes likely to be towards your
subject? If they hold attitudes different from yours, how can you
get them to consider your views?
• What would motivate your audience to want to read what you write?
Smarter Writing
Build your credibility
• How can you convince your audience that you are knowledgeable
about your subject? Do you need to do research?
• How can you convince your audience that you have their
interests in mind?
• What strategies will enhance your credibility? Should you
cite experts on your subject? Can you acknowledge opposing
positions, indicating that you have taken a balanced view?
• Do the appearance, accuracy and clarity of your writing give you
credibility?
Copyright © Pearson Australia (a division of Pearson Australia Group Pty Ltd) 2018 — 9781488616846 — Faigley/The Little Pearson Handbook 4e
2 Read, View and Write with a
Critical Eye
At a Glance
• Know how to read with a critical eye (see 2a below)
• Analyse visual texts (see 2b)
• Discover how to write with a critical eye (see 2c)
Preview
No subject is ever completely new; it is likely that many people have
written and talked about the subject before. Begin by asking the following
questions:
Summarise
Summarising means using your own words to explain the main ideas of the
material you read, so make sure you understand what is at issue. Take your
time to read, circle any terms or references that you don’t understand and
look them up. Ask yourself these questions before writing your summary:
Analyse
On your second or third reading, analyse the structure (the way in which
the parts of the material have been organised) using the following
questions:
Preview
Critical viewing requires thinking about the context first.
Respond
Make notes as you view the image with these questions in mind:
Analyse
The following analytical questions apply primarily to still images.
their worst crises. The men in ‘Harbour Bridge painters on central arch’
reflect this historical moment. They have hope. They have jobs and they
believe living standards will get better. Their work helped to revitalise the
local economy in the midst of the Great Depression, connected Sydney’s
CBD with the Northern suburbs and provided Australia with one of its
quintessential sights.
This photograph remains relevant in today’s political climate, and can
be contrasted with other iconic images captured during the construction of
Chicago’s high-rises or San Francisco’s Golden Gate Bridge.
Preview
• What is my topic or issue?
• What is my argument or claim for this topic or issue?
• What is my purpose with this piece of writing?
• Who is my audience?
Respond
As you write, think about the topic or issue you are addressing and ask
yourself these questions:
Analyse
Just as you have analysed other writers’ texts and images, you need to apply
the same strategies to engage critically with your own writing. After you
have written a draft, set aside time to analyse and reflect with the help of
these questions:
Copyright © Pearson Australia (a division of Pearson Australia Group Pty Ltd) 2018 — 9781488616846 — Faigley/The Little Pearson Handbook 4e
3 Plan and Draft
At a Glance
• Write a working thesis (see 3b)
• Plan a strategy (see 3c)
• Learn how to write introductions and conclusions (see 3d)
• Why are there more obese children today than in past generations?
• How has the food industry contributed to obesity?
• What changes in our culture have contributed to obesity?
• What strategies are effective for preventing childhood obesity?
An informative thesis
Rates of childhood obesity have continued to increase over the past
decade despite increasing awareness of its detrimental effects.
A persuasive thesis
Parents must encourage healthy eating and exercise habits in order
to reverse the growing trend towards obesity in children.
Formal outlines
A formal outline typically begins with the thesis or position statement,
which anchors the entire outline. Each numbered or lettered item clearly
supports the thesis, and the relationship between the items is clear from
the outline hierarchy. Roman numerals indicate the highest level; next come
capital letters, then Arabic numbers and finally lower-case letters. The rule
to remember when deciding whether you need to use the next level down
is that each level must have at least two items: a ‘1’ needs a ‘2’; an ‘a’ needs
a ‘b’. Formal outlines can be helpful because they force you to look care-
fully at your organisation and determine if your argument is logical, well
supported with evidence and balanced.
Discipline-specific organisation
In the social sciences, research reports typically follow a specific organisa-
tion, with an abstract that gives a brief summary of the contents followed
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12 3c Plan and Draft
Smarter studying
Essay introductions
An essay introduction may need one or more paragraphs depending
on the word count of the essay. Its purpose is to establish the content
and direction of the essay’s argument or discussion for the reader. The
format for an essay introduction is expected to include most of the
following components:
General lead-in statement
The general lead-in statement usually appears first in your introductory
paragraph. It is a restatement of the assignment question and an oppor-
tunity to provide some background information on the main concept to
be discussed. It is also an opportunity to indicate a broader understand-
ing of the literature and how the focus of the discussion is situated in the
discipline. For example, let’s look at the question:
‘What do we mean by the curriculum and what do teachers need
to know in order to engage effectively with curriculum requirements?’
For this question, the lead-in statement may look something like this:
Marsh (2010) states that curriculum is more than the syllabus content
prescribed by an education authority; it also encompasses ‘what an
(continued on next page)
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Determine Your Organisation 3c 13
(continued)
"En."
"Ei."
"En välitä tietää niistä syystä hän sen teki", jatkoi Murray, "mutta
pilaa hän teki sinusta, Brannon. Peijakas vie tekikin. Mutta kyllähän
minä arvaan syyn siihen. 'Eipä juuri mitään', kiusoitteli Murray,
matkien Bettyn ääntä,'eipä juuri mitään', sanoi hän. 'Eipä juuri
mitään.' Ja sillä hän tarkoitti että se on tarpeeksi paljon, vaikka sinä
et näy sitä ymmärtävän."
"Oli suorastaan häpeä antaa hänen kertoa se, Brannon. Hän oli
melkein hysteerinen. Mahtoi hänestä olla kauheata nähdä tapaus."
Hän olisi voinut valehdella, mutta hän tiesi, ettei hän olisi voinut
pettää Bettyä.
Betty tunsi hänet. Aines, josta hän oli kokoonpantu, oli tervettä.
Hänessä ei ollut mitään pinnallista, kiiltävää siloa, joka olisi peittänyt
vähemmän miellyttäviä puutteita.
Mutta sitä kesti vain hetkisen. Ellei Betty olisi pitänyt häntä niin
tarkasti silmällä, ei hän olisi huomannut sitä ensinkään.
Ollen itse vakuutettu siitä, että Brannon oli ampunut sen kuulan,
joka oli tappanut Callahanin, oli Josephine, kertoessaan tapahtuman
Bettylle, päättänyt puhua totuuden. Lieventävänä asianhaarana oli
hän uudistanut sen mahdollisuuden, johon Cole Meeder oli viitannut
tutkiessaan häntä, että nimittäin Brannon oli erehtynyt luulemaan
Callahania Denveriksi. Tällä koetti hän lievittää sitä kauhua, jonka
hän arvasi kertomuksensa Bettyssä herättävän.
Jos Brannon olisi ollut Idän miehiä, jos hän olisi ollut sen
kohteliaan seurapiirin jäseniä, joihin Josephine oli tottunut ja jos hän
olisi ollut vähemmän kömpelö eikä niin kokonaan eläytynyt seudun
karkeaan ja ylivoimaisen ankaraan ilmapiiriin, olisi Josephine luullut
voivansa häntä rakastaa. Kuitenkin tiesi hän, että tämä selvittely oli
vain hänen aivojensa tuotetta, sillä hänen sydämensä huusi kaiken
aikaa: "Minä kaipaan häntä, kaipaan häntä."
Hän nousi pystyyn, halveksien itseään syvästi, kun oli oikein
tulkinnut sisintä ääntään ja meni rappuja alas. Hän kulki
päärakennuksen itäiselle puolelle ja jäi sinne seisomaan,
mietteissään katsellen kuun valaisemaan etäisyyteen, tuntien
poskensa hehkuvan siitä omituisesta kaipauksesta, joka hänet oli
vallannut. Brannonin vetovoimaa ei voinut järkeilemällä poistaa.
"Les Artwell!"
"Lattimer!"
Josephine lausui nimen ääneen. Sehän oli sama mies, josta Betty
oli sanonut, ettei hän häikäilisi, vaikka veisi naisen väkisin
vuoristoon.
Seitsemästoista luku.
Hän oli vakuutettu siitä, ettei hän enää olisi pystynyt auttamaan
miestä takaisin satulaan, sillä hän ei olisi voinut sormin koskea
häneen. Miten Artwell yleensä oli tuon viidentoista mailin matkan
onnistunut pysymään satulassa, ei Josephine käsittänyt, vaan arveli
sen tapahtuneen aivan vaistomaisesti, tottumuksesta.
Josephinen oli täytynyt silloin pyörtyä, sillä kun hän taas heräsi
tietoisuuteen siitä, mitä hänen ympärillään tapahtui, huomasi hän
istuvansa suuressa nojatuolissa kuistilla ja näki kookkaan miehen
seisovan kymmenen askeleen päässä, ja katselevan häntä
äänettömänä.
Hän oli vähällä vastata, että hän oli tuntenut hänet Betty Lawsonin
kuvauksesta, kun hän oli sanonut häntä "hirvittävän, tumman
kauniiksi." Sen sijaan Josephine punastui ja kertoi hänelle, kuinka
hän oli tavannut Artwellin tallin ovella, sekä teki selvää koko
seikkailusta lopettaen siihen, että Artwell oli sanonut Lattimerin
karjatalon olevan etelään päin.