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Edexcel lnternational AS and A Level

English Language

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 KEYTERMS

CONTEXT
1. GENRE : Form/types of text (speech, biogcphy, article, @cast etc)
2. MODE : the method of communication (spoken, written, multimodal)
3. REGISTER : formality level (ceremoniaFformal-informal etc)
4. AUDIENCE : the expected readers/listeners (students, parents children etc) and their
relationships with the writer/speaker (direct address/third person address,
synthetic, personalizabon, inclusivity with personal pronouns, didancing
strategies with demonstrative pronouns.)
5. SUBIECT. : field/subject matter (health, education, politics etc)
6, PURPOSE : function (to inform, to explain, to persuade etc)

IDENTITY
1, GEOGRAPHICALFACTORS
2. SOCIAL FACTORS (gender, age. ehnicity etc)

MEANII{G
1. SEMANTICS the study of meaning in language, especially the basic and literal meanings of
words as considered principally as parts of a language system.
2. PRAGMATICS variatj,on of meaning, dep€nding on context
3, DISCOURSE extended texts in the context (the relationship between the language and
the context). In addibon to the key language frameworks, the following
language levels also contribute to meaninq in spoken and written English.

IANGUAGE FRAMEWORX
1. GRAPHOLOGY : the wriung system and presentation of language
2. PHONmCS : sounds of sp€ech and their production, combination, description, and
representation by written symbols.
3. PHONOLOGY : branch of linguistics concerned with the study of speech sounds with
reference to their distribution and patterning.
4. PROSODY : the use of pitch, loudness, tempo, and rhythm in sp€ech to convey
information
5. MORPHOLOGY : the structure of words
6. LEXIS : the vocabulary of a language and its semantics-its meanings, including
social and historical variation (word class, colloquialisms, formal/informal,
pre-modlfication, phatic expression, and deictic expressions, also
jarqon/sp€cialist lexis associated with occupation).
7. SYNTAX : the relatjonship Hween words in sentences. Rules that govem the ways in
which words combine to form phras€t clauses, and sentences.
8. GRAMMAR : different ways of describing and analyzing the structure and functions of
language. The grammar of a language indudes basic axioms such as verb
tenses, articles and adjectives (and their proper order), how questions are
phrdsed, and much more. Language cannot function without gr nmar. It
would simply make no sense-people require grammar to communicate
effectively. Grammar deals with synbx and morphology. (modals,
adverbials, sentence moods, pmnouns, ellipsis)

Language Framework Influenced by Geographical Factors

1. IDIOLECT : speech habit ofa particular person
2. SOCIOLECI : variety of speech associated with particular social class or occupational
group within society.
3. ACCENT : different pronunciation due to different nationality, locality, and/or social
class.
4. DIALECI : a regionausocial variety of language in terms of pronunciation, grammar,
and/or vocabulary, usualty refers to nonstandard form.
5. PIDGIN : simplified form of speech formed out of one or more existing languages and
used as lingua franca by people who have no other Ianguage in common.
6. CREOLE : a pidgin which becomes stable and established and comes to be spoken as
a mother-tonque by children.
7. UNGUA FRANCA : A language or mixture of languages used as a medium of communication
by people whose na6ve languages are different.
 TABLE OF CONTENT

UilIT 1 : Conte*andldentity 1

UNIT 2 : language in TransiUon 15

UNIT3 : Crafting Language 27

UNIT4 ! InYestigating Language 84

Topicl :GlobalEnglish .44

Topic 2 : Child taqguage Developinent ...,........,.....88

Topic 3 : Language and Power 92

Topac4 :LanguageandTechnology 98

Basic Academic Skills ......,.........102

t37
 UNIT L
CONTEXT AND IDEN ITY
Unit 1

Text A Speech: Angelina Jolie

Text B Personal Account: Miriam Boh

Section A

Analyse and compare how the lanBuage of both texts conveys personal identity ou should refer to:

Relevant language frameworks and levels.

Concepts and issues such as social, cultural and Bender factors.
Contextualfactors such as mode, field, function and audience.

Section B

Write text for a broadcast appeal to raise awareness of how people your own can support
refugees settling in your local community.

ln addition to your own ideas you must refer to material from at least on of the ts in texts.

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Text A

Text A is an edited transcript of a speech dellvered by Angelina Jotie to the United

Nations {UN) Security Council ln NewYorkon Aprll24,20l5. Jolie is Specifl Envoyof
the UN High Commissioner for Refugees.
Mr President, Foreign Ministers, Your Excellencies, Ladies and Gentlemen: it is Jn honor to
brief the Council.

Since the Syria conflict began in 201 1, I have made eleven visits to Syrian refuqees in lraq,
Jordan, Lebanon, Turkey and Malta. lwish that some ofthe Syrians I have met tould be
here today.

I think of the mother I met recently in a camp in lraq. She could tell you what it is like to
try to live after your young daughter was ripped from your family by armed men, and
taken as a sex slave.

I think of Hala, one of six orphaned children living in a tent in Lebanon. She could tell you
what it is like to share the responsibility for feeding your family at the age of I 1, because
your mother died in an air strike and your father is missing.

I think of Dr Ayman, a doctor from Aleppo, who watched his wife and three-year-old
daughter drown in the Mediterranean when a smugglers'boat collapsed packed with
hundreds of people. He could tell you what it is like to try to keep your loved ones safe
in a warzone, only to lose them in a desperate bid for safety after all other options
have failed.

Any one of the Syrians I have met would speak more eloquently about the conflict than I

ever could.

Nearly four million Syrian refugees are victims of a conflict they have no part in,, Yet they
are stigmatized, unwanted, and regarded as a burden. 5o I am here for them, because
this is their United Nations.

Here, all countries and all people are equal - from the smallest and most broken member
states to the free and powerful.

The purpose ofthe UN is to prevent and end conflict: to bring countries together, to find
diplomatic solutions and to save lives. We are failing to do this in Syria.

Responsibility for the conflict lies with the warring parties inside Syria. But the crisis is
made worse by division and indecision within the international community - prcventing
the Security Council from fulfilling its responsibilities.

ln 201 1 , the Syrian refugees I met were full of hope. They said "please, tell people what
is happening to us'; trusting that the truth alone would guarantee international action.
When I returned, hope was turning into anger: the anger of the man who held his baby
up to me, asking "is this a terrorist? ls my son a terrorist?"

On my last visit in February, anger had subsided into resignation, misery and th6 bitter
question "why are we, the Syrian people, not worth saving?"

To be a Syrian caught up in this conflict is to be cut off from every law and princfple
designed to protect innocent life. lnternational humanitarian law prohibits torture,
starvation, the targeting of schools and hospitals - but these crimes are happenfng every
day in Syria.
2
 The Security Council has powers to address these threats to international pea and
security - but those powers lie unused.

The UN has adopted the Responsibility to Protect concept, saying that when a State
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cannot protect its people the international community will not stand by - but are
standing by, in Syria.The problem is not lack of information - we know in excr ciating
detail what is happening in Yarmouk, in Aleppo and in Homs.The problem is I ck of
political will.. .

5o on behalf of Syrian refugees, I make these pleas to the international comm nity:

The first is an appeal for unity.

It is time for the Security Council to work as one to end the conflict, and reach
settlement that also brings justice and accountability for the Syrian people... I the last
few months we have seen intensive diplomacy at work elsewhere in the regio so now
let us see what is possible for the people of Syria. And while these debates are portant,
I also urge the Security Council to visit Syrian refugees, to see first hand their s ertng
and the impact it is having on the region.Those refugees cannot come to this ouncil, so
please, will you go to them?

Second, I echo what has been said about supporting Syrial neighbors, who are making
an extraordinary contribution. lt is sickening to see thousands of refugees d ing on
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the doorstep of the world's wealthiest continent. No one risks the lives of their ildren
in this way except out of utter desperation. lf we cannot end the conflict, we an I

inescapable moral duty to help refugees and provide legal avenues to safety. I

And if I may make a wider, final point to conclude my remarks.

The crisis in Syria illustrates that our inability to find diplomatic solutions caus masS
displacement, and traps millions of people in exile, statelessness, and displ nt...

Our times will be defined not by the crises themselves, but by the way we pull t gether
as an international community to address them.

Thank you.

I
 ')
Text B

Text B is the personal account of Miriam Bah on Australia's ABC News website. She
left Liberia in West Africa in 1996 to seek refuge in Sierra Leone (also in West Africa).
Less than a year later civil war forced her from Sierra Leone. She arrived in Austratia
in 2005 and now works with African women refugees in Australia.

I was born in Liberia, where there was a civil war in 1995. lt was honible. We hdd curfews
in place. People were hiding all the time - everyone was hiding - because thef were
raping women, there were murders. And youd think, my next door neighbour just got
killed, who! next? That question is always on your mind: who! next?

We left in 1996 and went to Sierra Leone. I think it was three days we were on tf e snip.
It was a horrible experience - it was raining, we all thought we were going to slnk. And
then we went to the refugee camp.

But in Sierra Leone there was a civil war within a year. 5o I experienced it twice. From
Sierra Leone in 2005 lcame to Australia on a refugee visa.

I felt really relieved. lt was peaceful and safe. Here I can live happily without the worry
that maybe we going to get burned in our house. lcame by myself; I left my parents back
home. They came over three months later. To come over here alone was a really huge
challenge for me - I had never heard about Australia before, I didnt know what was
going to happen to me and I was worried about the people back home. Being separated
from my family was so hard.

When I first came, I experienced racism on public transport a lot. But I didn't want to carry
another burden with me, so ltry to ignore it. Sometimes when you don't understand
another person! culture, you tend to be afraid of them a little bit. But once you get to
know them you go, bkay, I can talk to them, they are okay'.

['m married now and I have two children and lam in school at university. lalso volunteer
in the community. I am CEO of a woment group called MAWA - the Migrant African
Woment Association. I actually formed that organization, I think because I understood
the challenges women face when they arrive - with the language, the culture etc. lt
basically empowers women to be productive and happy in the community. I am really,
I
really proud of that.

I miss mycountry because I came here and left everything behind. I still remember the
war, thinking about how my mother was going to be, if people would survive, how life
would have been if I was still there. lthink about it all the time. But I am so grateful to
be here.

Glossary

CEO - Chief Executive Officer I

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Unit 1

Exercise 2

Text A Online orticle of The Doily Telegraph

felt B Tronscript of chot show segment

Section A

Analyse and compare how the language of both texts conveys personal identity. ou shou ld refer to:

Relevant language frameworks and levels.

Concepts and issues such as social, cultural and gender factors.
Contextual factors such as mode, field, function and audience.

Section B

Write the script for a speech delivered to athletes at the opening ceremony of t IAAF World Youth
Championship to warn them about the potential consequences of taking illegal rform a nce
en ha ncing drugs.

ln addition to your own ideas, you must refer to material from at least one of the exts.
 Text A
Text A is an edited article from the online version of 'The Daily Telegraph, published
in 2015. Lord Sebastian Coe, newly elect€d president of the lnternationat
Association of Athletics Federations (IAAF), responds to aGGusations of widespread
drug-taking and corruption in int€rnational athtatics.
7:55PM GMT 08 Nov 2015

Lord Coe admitted athletics faced a "long way back"from the worst corruption scandal
to engulf it after finally addressing claims his predecessor as its figurehead had taken
hundreds of thousands of pounds in bribes to cover up drug-taking.

Coe acknowledged these were'dark days"for the sport he now leads, brandingl as
"abhorrent" allegations the man he replaced as president of the lnternational Association
of Athletics Federations had pocketed more than L72O,OOO.

That is said to include cash from gold medallists at the London Olympics, an event
orchestrated by Coe. The unprecedented crisis to have struck the sport is expect{d to
intensify today when an independent commission set up by the World Anti-Doping Agency
(WADA) to investigate allegations of a systematic cover-up of doping publishes its findings.

"l'm just bloody angry;" Coe said during a round of interviews yesterday after days of
near silence.
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"l'm angry about the position our sport is in today. l'm shocked and dismayed. These are
dark days. We shouldn't kid ourselves. ltt going to be a long way back to rebuilding trust."
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As revealed exclusively by the Sunday Telegraph, the report by WADA's independent
commission will propose action is taken against institutions deemed to have been
complicit in covering up doping.
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Coe said: "1'm never saying never, but my instinct is that these things are better changed I
through engagement, not isolation. I will have a raft of reforms in place and ready for the
approval of the council in two week'time," Coe said. "l'm more determined than ever to
create a sport that is accountable, responsible and responsive;"

Coe said: "lf these allegations are true, they are abhorrent, and my job
is to make sure
we're never able to return to this place again. l'm not benchmarking the currenl situation
we're in with any other sport or any other organisationl said Coe, who briefly headed
Fifa s ethics committee.

One of the 59-year-old's manifesto pledges when campaigning for the presidency of the
IAAF was the establishment of an independent anti-doping department.

"lt will go ahead and sit within an internal integrity unity, not just looking at and dealing
with anti-doping issues but other issues of integrityi Coe said.
"But the main thing that will come from that are the hearings. We will set up an
independent tribunal so that the hearings will not be within the control of
member federationsl'
"l will be taking to the IAAF Council meeting in Monaco in November a raft of reforms
and changes and I expect to get them through. That work started the day after I got
elected. lt has been accelerated since the allegations that emerged on Mondayi

Glossary

Fifa - Footballl governing body: The F6d6ration lnternationale de Football AssOciation'

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 -)
Text B

Text B is the edited transcript of a chat show segment, broadcast on Ameii(an

television in 2O12. Piers Morgan interviews disgraced American athlete, Marion
Jones. Jones was convicted of taking illegal performance-enhancing drugs in 2007
and was imprisoned in 2008, She was also stripped of the five medals she won in
the Sydney Olympic Games in 20O0.

MORGAN:This is Piers Morgan Tonight. I

(MUSIC)

But first, with London gearing up for the summer Olympics, organizers are vowing to
make these the cleanest games ever. Well, one person who knows just how difficult
that anti-doping effort will be is disgraced Olympic golden girl Marion Jones. She won
five medals at the 2000 games in Sydney, only to lose them all in the wake of a steroid
scandal that put her behind bars in 2008.This is her first primetime interview since she
came out of prison.
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MORGAN: Welcome, Marion.

JONES: Thank you. Thank you.

MORGAN: You've gone from champion, Olympic champion, multiple Olympic champion,
I to felon. And the gap between those two positions in the public estimation, lguess in
your own estimation is just so massive, isn't it?

JONES:What ltry and tell people is that, you know, anybody can make a mistake. And
certainly mine was massive. And it was in the public eye.

MORGAN: I guess my attitude towards it - l've never met you before today, itk probably
like most people3, is that having shared your dream and this amazing Olympic games
you had, and then the terrible disappointment to find that, you know, for want of a better
phrase, you cheated in some way.

JONES: Wow. You know I certainly think that I got caught in a wave.That! how I describe
all this. I got caught up in the wave of fame and fortune and people telling me, patting
me on the back and telling me how great lwas.

MORGAN: How intoxicating is it?

JONES: lncredibly. lncredibly.The that I surrounded nryself with

- the mistake that I made is
people that would only pat me on the back and tell me that everything that lwastdoing
and saying was right. I distanced myself from people who would give it to me straight.

MORGAN: Because you didn't want to hear it?

JONES: Right. Youdidn't want to hear it. ltell young people, hey, you know, when you get
advice from people, make sure it! people that's going to give it to you straight.

MORGAN: I mean, you were how old when you won those - those medals? Twenty-three?

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JONES: Yes, I mean, but even - even before then, at the age of 15, I made my Olympic
team, you know. And - and you realize that when you're number one, more e want
to talk to you. And that's who you become.

And I realized what - while I was in prison, in solitary in particular, that being umber
one and being Marion Jones meant nothing in there.

MORGAN:What did you learn about yourself?

JONES: Well, | - |-
that - that my priorities were totally out of whack nd that
I realized -
that I had to figure out who lwas, not Marion Jones, the superstar athlete and ll that.
MORGAN: I mean although itt been a catastrophic episode for you the last fe years,
listening to you, in a funny way, finding yourself might be something you n did if you
had just carried on being -

JONES: Right.

MORGAN: - Marion Jones superstar... Do you think if you hadn't taken ... any hancing
... Would you have still won the gold?

JONES: Yes. Yes.

MORGAN: Because that must be the greatest frustration -

JONES: lt is.

MORGAN: Because you would still have been a supreme athlete.

JONES: lt is.

MORGAN: You didn't need to do this.

JONES: From early on - from early on, from the age of 14 is when I made my
Olympic fi
team. And - and to me, the - the biggest issue was - was not asking certain qu ions
and not asking the coach, well, what are you giving me why, why, all this?

MORGAN: Can I play Devil's Advocate with you?

JONES:5ure.

MORGAN: The president of the lnternational Association of Athletic Federations id in

a statement, "Marion Jones will be remembered as one of the biggest frauds in orting
history."

I mean that was an incredibly harsh thing for him to sa, but many people ag with
him at the time. You were forced to hand back the medals.

That moment, when you hand back the medals, how did that make you feel?

JONES: Well, I didn't - it - it was tough to hand back the medals, certainly.

MORGAN: And to any young American athlete who is in the squad, who may be ither
abusing drugs

JONES: Or is tempted?

MORGAN: - keeping it secret or is tempted to or believes itt the only way they nwrna
gold medal -
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 JONES: Yes.

MORGAN: - there's nobody better to ask what - what advice would you give m?

think about the consequences of your choices. You know,

JONES: First of all, re they
make those type of decisions, take a step back. And ldeveloped this message take the
break, take the break before you -
MORGAN: And it's - it! educating young kids, lguess, who may get a break, a ut how
to take it.

Glossary

steroid - a drug for certain medical conditions that can be used illegally to nce
muscle development in athletes

Devil\ Advocote - a person that presents another view to encourage debate

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Unit 1

Exercise 3

lext A Article: Hillory Clinton

Text B t4litness Stotement: lyotsno Giri

Section A

Analyse and compare how the language of both texts conveys personal identity. Y should refer to:

Relevant language frameworks and levels.

Concepts and issues such as social, cultural and gender factors.
Contextual factors such as mode, field, function and audience.

Section B

Write the text for a blog providing information about climate change. ln your you should
persuade the reader to sign an online petition demanding their government takes ns to combat
the effect of climate change.

ln addition to your own ideas, you must refer to materials at least one of the sou texts.

10
 Text A

Text A is an edited article written by Hillary Clinton on the day before the openrng
ofthe lnternational Conference on Climate Change in Paris on 3Oth Noverhber
2O15. The article was published in'Time'magazine. Clinton hoped to be tfre
Democrati< candidate for the presidency of the United States,

The dimate change deniers, defeatists and obstruction

I should know that their cynical efforts will fail

Climate change threatens every corner of our country every sector of our eco omy and
the health and future of every child. We are already seeing its impacts and we now
the poorest and most vulnerable people in the United States and around the orld will
suffer most of all.

Despite the seriousness of the threat, the world has not always rallied to re d. For
years, international negotiations were stymied by deep divisions between d loped
and developing nations, and by resistance on the paft ofthe Chinese and oth to
taking responsibility for curbing carbon pollution. While President Obama has ade
strong progress cutting pollution and deploying more clean energy in the Un d states,
he faces a Republican Party that alternates between denial ofthe reality of cli ate
change, defeatism about our ability to do anything about it, and outright o ction of
the tools and programs we need to solve the problem.

But President Obama remains committed to making the United States the glo
leader in the fight against climate change-and so do l. ln Paris this week, wo leaders
have the best chance in years to forge a new, durable, ambitious international imate
agreement. I believe they must be guided by three principles. First, all countri must
take responsibility for combating this global crisis, and put forward commitm to curb
their own greenhouse gas emissions. Second, the agreement should galvanize financial
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assistance for, and spur private investment in, developing countries to help them adapt
and achieve sustainable economic growth.

And finally, it must be an agreement that can be strengthened over time. Countries
should agree to come together regularly to raise their collective ambition. ln the years
ahead, technology will improve and become even cheaper; more companies will inves!
and city and state leaders will take actions that outstrip the ambitions of their capitals.
Solving the climate challenge for the long term will take more than the solutions we
have in 2015-it will require the new tools we build together.

ln Copenhagen in 2009, President Obama and I had to burst into a secret meet ng of
leaders from China, lndia, Erazil, and South Africa to break a deadlock and deli the first
international climate agreement in which all major economies, not just the d loped
world, pledged to take action.

We've come so far since then. Over the past year, I64 countries accounting for percent
of global emissions have announced national targets and measures to reduce llution
that they are ready to codify in Paris, recognizing that cutting emissions and i ng rn
clean energy isn't just good for the planet-it! good economic sense. The Unite States
and China led the way with ambitious goals to cut carbon pollution and depl more
clean energy, and have already begun taking action to achieve them.

Still, getting the job done in Paris will require skillful diplomacy and robust Am ncan
leadership-l know that from personal experience. As Secretary of State, I put c mbating
climate change on the agenda for my first trip to Beijing and kept it there over e next
11
four years. I appointed the first highJevel special envoy for climate change a led an
international effort to launch the Climate and Clean Air Coalition to reduce lled
"super pollutants"that make up just a fraction of emissions, but drive a disp onate
share of warming.

As President, lwill protect and build on the progress President Obama has eat
home. lwill set ambitious goals-to see 500 million solar panels installed within four years
and enough renewable electricity to power every home in America within 10 rs. l'll
also pursue a new North American Climate Compact, because the United 5 Canada
and Mexico should work together to build a clean energy future for our conti nt.

And the Republican deniers, defeatists and obstructionists should know-their ical
efforts will fail. Not only are they on the wrong side of science and of history are
increasingly on the wrong side of their own voters, as a majority of Republica accept
the science of climate change, and support solutions like clean energy.

We must reject the false choice between combating climate change and foste g strong
economic growth. lf any country can prove that, it! the United States. Under P ident
Obama, we're leading the world in the fight against climate change. lwon't let nyone
take us backwards, deny our economy the benefits of harnessing a clean ene future,
or force our children to endure the catastrophe that would result from unchec climate
change.

Once again, the world looks to Paris-this time in hope. Global challenges dema d
global solutions.The fight against climate change will be long. lt will take the rts of
every country, every industry, and every community. lt will take the leadership every
President. But at last-in Paris-the framework of a lasting solution is within reac .We
must seize this moment-

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Text B

Text B isthe edited witness statement of Jyotsna Giri who documents her
experience of <limate change in lndia's Sundarbans Delta. The statement iF one
of a collection of accounts posted on the World Wildlife Fund (WWF) webslte.
Giri lived on Lohachara lsland which was permanently flooded in the 198ds. The
disappearance of the island was reported by Indian researchers in December 2006.

Iam 55 years old and married. My five daughters are married and my three sonb live with
me in the same house. Presently I have six family members.

I studied until fifth grade and then got married at the age of twelve. My husbarfd had
a house at Lohachara lsland and that's where we settled after marriage. In fact nry
husband's ancestral house was in the mainland but he shifted to this island as there was
plenty of productive agricultural land.

Lohachara had three more adjoining islands:Sagar, Ghoramara and Suparibhanga.

Lohachara and Suparibhanga islands don't exist anymore, while Ghoramara is almost on
the verge of extinction due to accelerated coastal erosion. Ghoramara and Suparibhanga I

had a significant number of households in the past before these islands got wiped out
fully or partly.

During the 1960s Lohachara lsland was divided into 5 administrative zones and the total
population was almost five or six thousand. Agriculture and fishing were our primary
source of livelihood during those days. We also owned three hectares of agricultural land
on this island. We use to cultivate paddy [rice] as well as variety of vegetables om these
lands. Land was extremely fertile and we had a bountiful harvest every season yithout I
using fertiliser. Soil was very soft, fertile and sandy. Even the embankments neat the river
were used for growing vegetables. Coastal waters were stashed with fishes and crabs and
that provided us with a good catch.

I still remember that fateful day, when I lost everything.

lwas on the neighbouring island to fetch some drinking water. My husband was not
present that day and so I locked the house and took my son with me.Whale coming
back, I found that the only ferry service available was cancelled for the day due to some
kind of engine snag. So, I decided to stay back at my parent's house for that night. The
ferry service started the very next day and I boarded the morning ferryboat. When we
approached Lohachara lsland, I suddenly noticed that my sheep were all drifting in
the river.

lstarted to panic and rushed to rescue them. I was about to jump in the river when some
fellow passengers stopped me from doing so. lfelt helpless and started crying.After
landing at Lohachara lsland lfound that half of my house was washed away by tfe river.
Slowly the entire island got submerged.

We were rescued and went to Gangasagar lsland refugee colony which is on the south
of that island. We stayed there for a few days and then shifted to northern parts of the
island where we constructed a new house. We have been living here for the last l5 years.
We don't have any agricultural land and have to work as labourers. My son has grown up
and now he works on a ship.

Unpredictable weather patterns and fast deteriorating environmental conditions are

making our life miserable.

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I am not even able to grow enough vegetables in my kitchen garden as there no ratns
for the last couple of months. Soil fertility as well as productivity is gradually ining.
Earlier we used to follow the broadcast method for paddy [rice] cultivation. N farmers
have to invest a lot in terms of hiring labour, purchasing fertiliser and continu 5
monitoring. Similarly, fishing has been badly affected as we don't even get mu h fishes in
the river to catch.

lfeel that the natural regeneration rate has declined. We have already lost m of our
natural resources in this region and which may be attributed to erratic weath patterns
and changing temperature. lt seems that monsoons are delayed while summe are
extended these days.

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LANGUAGE IN TRANSITION
 English Phonemic Reference Sheet

Vowels

dress trap lot strut foot

e e D u
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lettel fleece bath thought goose nurse

a i: o: ): 3:

Diacritics /:/ = length mark. These vowels may be shorter in some a and will be
transcribed without the length mark /: / in this case.
I
Diphthongs
face goat price mouth choice near cure

EI OU ]I IA ea

Consonants
bid tack door ca ke good

b d

chain vase thing

zoo shoe treasure house mark

s z J
not sing lot rose yet witch

n n
j
Glottal stop Syllabic /l/ bottle Syllabic n/ fatten

Mark Key
key phonemic transcription ? rising i

(1) longer pause ( umber of

(.) micro pause seconds indi

15
Unit 2
Exercise 1

Iext A Life performonce tronscript : Kothy collins

Text B onllne newspoper orticle, extroct t'rom the Wall Street Journol, Asion Bus ss and Finonce
Section

fext C Extroct from o Coribbean online mogazine

Section A

Explore connection between the dialect and standard forms of English

You should refer to any of the following language frameworks and levels as app priate.

Phonology
Morphology
Lexis
Syntax
Discourse

Discuss how English-based creoles reflects the changes to, and development of glish across the
world. You should consider:

The context in which the language may be used.

The influence of other languages on 21'r-century English.
The role of English as an international language.

16
 Text A - Transcript from a live performance i

This data was taken from a video recording of comedian Kathy Collins. S\t was
raised on the island of Maui, in the American state of Hawaii, and is famof s for
telling stories and performing in Hawaiian Creole English. ln this extract ihe is
performing in character. The video was posted onlin; in 2O06.

I like talk /tok/ to you guys about Pidgin English (.) {audience cheering and dlapping}
(.)
cos you know ( l ) still you get some guys out there /dea/ yeah (.) they /de/ thifrk us
guys talk Pidgin cos we dunno how fo talk regular English they think us guys (.1 slow or
something /snmBrn/ like that yeah they call it broken English {sighs} what! uplwith thatT
(.) the /ba/ thin g /0q/ not broke bugger work just /jrs/ fine (I ) {audience laudhter} see (.)
what these guys no understand / rnastanl is yeah (.) Pidgin English is one real pfficial kind
/korn/ language with one real official kind name (.) Hawaiian Creole English (.) faudience
laughter] thatt right (.) Pidgin that's just Pidgin for Hawaiian Creole English (.) yeah (.) and
fo be one Creole yeah (.) get rules (.) gotta get (.) grammar (.) an and not the ki4d your
tutu kind grammar (.) we talking grammatical structure (.) the kind they teach in school
as the rules you have fo put together the words fo say what you like say (.) yeah? (.) and fo
be one Creole gotta be the first language ofone generation gotta pass on down through
the generations (.) so (.) I la/ figure Pidgin (.) qualify (.) cause ok (.) l'll tell you a f ittle story
long long long long time ago (.) when they had Hawaiians in Hawaii {laughted Everybody
talk Olelo Hawaiia (.) Hawaiian language everybody understand each other (.) np problem
(.) then (.) this brother Captain Cook come (1) {audience laughter} oh him and his homies
(.) they come from England eh (.) so what they talk? (.) English (.) so now you ge[ two
different kind guys talking two different kind languages hard fo understand (.) dnd you
know how everything work out for Captain Cook {audience laughteri.

Glossary
Fo-to I

Tutu - grandmother
Olelo Hawaiia - native Hawaiian language
Captain Cook - a British explorer killed by native Hawaiians

L 17
Text B - Extract from an online newspaper article

This is an edited extract from an article featur€d in lhe Wall Street lournal, Asian
Business and Finance section. lt was published in May 2fi)O. The topic is Sf nglish, an
English-based creote language used in 5ingapore.

Singapore Adopts Shiok Tactics To lmprove English, Drop 5inglish

SINGAPORE - Phua Chu Kang, one ofthe most popularTV characters here, is a parody of
a certain kind of Singaporean. His hair is permed, he has a mole on his cheek, {nd he lets
the nail on his little finger grow very long. When last seen on TV, he spoke almQst entirely
in Singaporel unique and baffling vernacular, Singlish. L

But not any more. L

Singapore's government has launched a crusade to banish Singlish a mishmasli of

English, Malay, Hindi and various Chinese dialects to the linguistic dustbin."Poor English
reflects badly on us and makes us seem less intelligenti said Prime Minister Goh Chok
Tong, speaking at this weekend's launch of the Speak Good English Movement.

The government here says it was alarmed to find recently that many children hpve little
exposure to English at home, where families in this melting-pot town often speak a
native tongue, or else 5inglish.

5ingapore prides itself on being a world-class business town, and English is the
international business language. Yet young people were having trouble distinguishing
between good English and Singlish, despite the fact that English is an official language
here (alongside Mandarin, Malay and Tamil). Too many kids were copying Mr. Pltua, the
comic TV character, whose catch phrase is the characteristic 5inglish expression, "Don't
pray pray." (Translation: "Don't kid mel)

Singlish is as pervasive here as it is baffling to the uninitiated, and its origins have
become fodder for academics, who are still a bit foggy on some of its roots. A hallmark
is the practice of ending a sentence with "lahl much like a Canadian might say'hh."
Some Singlish words are more easily deciphered than others: 'tannot-lah" means "thatt
impossible;""shiok" means heavenly or pleasurable.

I
18
 :tr.:df{*t7;

_.]
Text C - An edited post from outlish.com

Outlish is an online lifestyle magazine written for, byand about Caribbea4 people in
their 20s to mid 40s, based regionally and abroad. The post was published in 2Ol't .
ln Defence of Creole: Loving our Dialect

I doh know bout alyuh, but I love to talkTrinidadian Creole English all de time. Green
verbs. Yellow verbs. I love to colour my conversations. I doh care if people say I halkin'
badi I know that when the need arises, I can speak better English than the Quepn herself.

Itake an almost perverse pleasure in using'bad English' or 'broken English'- aslsome

people have dubbed Creole - most likely because it's a great escape from the
ftandard
English that much of my daily work is mired in. A friend says no one would belipve I have
a master's degree, when they hear me speak in relaxed settings.

I think it all started when I went to England to study. Speaking Creole was my fqrm of
personal protest. Unlike some Trinis who prefer to adopt a cockney accent (Dwight Yorke
I see you), my reaction to the new environment was to prove lwasn't from there. Much
like many generations of migrants, I held onto it because it was a symbol of identity. As
author and linguist Merle Hodge says, itl our "mother tongue'l

Although academics and linguists celebrate Creole, and prominent scholars of English,
like Merle Hodge and Gordon Rohlehr, regularly use Creole during their lecture$, it I

doesn't share the same reception in everyday life. Growing up, how many of yout got
I
'boofed'for speaking CreoleT And how much more confusing was it, when youd just
heard your parents speaking Creole just a few minutes before?
I

You learnt that you speak Standard English in the classroom and professional sqttings.
Between home and work or school, we all learned the need to switch between the two.
And while some of us would say that we see nothing wrong with reverting to informal,
Creole speech, how many of us have perked up our ears when we hear what wd consider
to be too much Creole when we hear someone speaking, or feel self conscious when we
need to switch from vernacular to Standard English in a formal setting? Somehow, we
relate it to our level of intelligence or education. However, the abality to switch between
the two codes is the real problem, lthink. Not Creole.

Glossary
Dwight Yorke - West lndian football player who played in England
Boofed - to insult someone

19
t
Unit 2

Exercise 2

Text Ay'. tsle,.,jsicn int?:',,,!e'r: r,;ith 9o!!'y',:r.ad 2.!ot, !t.4eetc, brcadastt !n 2973.

Text B Extractsrrom literoture obout lndio published in the 19th, 20th ond 21st nturies.

\ext C A newspoper orticle obout the development of Enqlish in lndia, published The Telegroph in
2007.

Section A

Explore connection between the dialect and standard forms of English

You should refer to any of the following language frameworks and levels as app priate.

Phonology
Morphology
Lexis
Syntax
Discourse

Section B

Discuss how English-based creoles reflects the changes to, and development of glish across the
world. You should consider:

The context in which the language may be used.

The influence of other languages on 21'r-century English.
The role of English as an international language.

20
 Text A - extract from a television interview with Boltywood actor Meera, Uroadcast
in the United Arab Emirates in 2013. Meera is from Pakistan, South Asia.lilaim
Dahmani is an Arabian TV presenter and actor.
I W-Waim
M - Meera

W: you've done lots of films in Bollywood with (.) and also in Pakistan so tefl us more
about your films you have done in Bollywood I

M: um er I done um a couple of projects in in Bollywood and er so I did lot]of films

in Pakistan as well and s (.) so l'm looking er more projects in Bollywoo{ and er
internationally
W: you have done I think with Mahesh (.) Mahesh Batt I

M: yeah 0o:) ah tha that was my first (fo:st) project erm erm tha that
w: name of the movie?
M: er tha (.) that was my debut film erm Nazar
w: Nazar?
M: Nazar with Ashmit Patel and er Mah Mahesh Eatt was the producer and er Soni
Razdan was directed (.) director and er my co-star yeah (jo:) was um yeah (.)
Ashmit Patel
W: hmm and I think recently you are er (.) there is a new film in Bollywood that is I

releasing and you are the lead //what's the name of //

M: / ler yeah it! er (.) //Paanch Ghantey Mien Paanch
Crore ah it'll be release we (wi:) have a film ah ah directed [inaudible] Faisal Saif er
er abhi Bollywood may release we hear
W: inshallah inshallah
M: and er so for my other project me and er you {points to interviewer} an( er we are
to go {laughs} we are together and so that films name is er // lshq Khudp //
W: //lshqKhud) //
M: and er th th that film is really close to my heart and er so she you acted so ve (.)
so beautifully er in that film and er shet er {points to interviewerJ looking great
and erm you acted so well (vel) Waim l'm really proud of you you?e sucli a great
actress
inshallah hopefully it! gonna be released by er [inaudible] worldwide so
inshallah(.) so wh what do you wanna say to to all the the Arabic viewer5 here
and er (.) that (.) will love inshallah (.) may maybe they they don't know you an an
and the films here but inshallah will love you after inshallah watching lshq Khuda
what do you wanna say
M um um er so all the best and er love you very much and er please keep er er keep
watching my er please keep watch (vo:tJ) my films and er so (.) I love all of you (.)
God bless you

Glossary
Bollywood centre of the lndian film industry in Mumbai (Bombay), lndia
-
Paonch Ghantey Mien Paanch Crore - Five Hours, Fifty Million (Hindi)
abhi - just now (Hindi)
inshallah - God willing/if God is willing (Arabic)

\ 21
Text B- consists of three extracts from literature about lndia published in
19th,20th and 21st centuries.
Extract I - a conversation between a tourist and an lndian guide edited m the
2003 novel,'Shantaram,'by Australian writer Gregory David Roberts.

'My name is Prabakeri he stated, in his musically accented English.'What is

good name?'

'My good name is Lindsayi I lied, using the name from my false passport.. .

'Do I need you Prabaker?'l asked him, my expression mock serious.

'Oh yes!'he cried in reply.'You are so very needing me, I am almost crying with ur
situation. Oniy God knows what terrible things are happening to you without good
self to guide your body in Bombayl

Extract 2 - from the novel,'Midnight's Childreni by lndian writer Salman shdie

published in 1981 .

Two men in business suits, one in pajamas, ran through the narrow gullies of Muslim
muhalla to the taxi waiting on Chandni Chowk. They attracted curious glances; ot only
because oftheir varied attire, but because they were trying not to run."Don't ow
panic," Mr. Kemal said, "Look calm." But their feet kept getting out of control an rushing
on. Jerkily, in little rushes of speed followed by a few badly-disciplined steps at alking
pace, they left the muhalla; and passed, on their way, a young man with a bl metal
peepshow box on wheels, a man holding a dugdugee drum.

Extract 3 - a poem written in Hindi by lndian Poet Ayodhya Prasad Khatri, n the
late 1 9th century, while lndia was under British rule (185&19471.

Rent Law ka gham karen ya Bill of lncome Tax ka?

Kya karen apna nahiin hai sense right now-a-days.
Darkness chhaaya hua hai Hind men chaaro taraf
Naam ki bhi hai nahiin baaqi na light now-a-days

Glossary
pojamas - leg garment (Hindi)
gullies - small lane (Hindi)
muhalla - locality (Urdu)
dugdugee - small hand drum (Bengali)
 Text C - an edited newspaper article from The lelegraph about recent dev(lopments
in English in lndia, published in 2OO7.

Entry From Backside Only

By Amrit Dhillon in Delhi

12:01AM BST l6 Sep 2007

It has taken decades of struggle, but more than half a century after the British {eparted
from lndia, standard English has finally followed.

Young and educated lndians regard the desire to speak English as it is spoken itr england
as a silly hang-up from a bygone era. Homegrown idiosyncrasies have worked lheir way
into the mainstream to such an extent that only fanatical purists question their usage.
I
Now Penguin, the quintessentially British publishing house, has put the nearesi thing
to an official imprimatur on the result by producing a collection of some of the most
colourful phrases in use - in effect a dictionary of what might be called "lndlishfl

Backide Only. refers to a phrase commonly used on signpopts to

Its title, Entry From
indicate the rear entrance of a building. Binoo John, the author, said young lndians had
embraced the variant of the language as a charming offspring of the mingling of English
and Hindi, rather than an embarrassing mongrel.

"Economic prosperity has changed attitudes towards lndian English," said Mr John.
"Having jobs and incomes, and being noticed by the rest of the world, have made lndians
confident - and the same confidence has attached itself to their English."

Housemaids on their way to buy vegetables tell their employers they are going
"marketingi Receptionists ask callers, "What is your good name?" before informing
them that the boss has gone 'but of station" (out of town) with his 'tousin-brother"
(male cousin). A government official urged farmers in Rajasthan to grow "herbs in their
backides" (backyards).

"Everyone is breaking the rules and being creative about how to use Englishisaid
Rukmini Bhaya Nair, a professor of English at the lndian lnstitute of Technology in Delhi.
"lt is finally being claimed by lndians as their own, instead of a relic of the Raj."

The columnist Anjali Puri said pride in lndian English also stemmed from the success of
writers such as Arundhati Roy, Vikram Seth and Salman Rushdie: "These writers have used
English to portray lndian reality and it has given people the confidence to try out new
words and play around with the language without being scared about whether they
are correct."

Glossary
imprimatut - official approval
the Ral- the rule. Hindi reference to the period of British rule in lndia 1858-1947

I
I

23
Unit 2

Exercise 3

Texl A Edited extroct from o podcost interview

fext B Extract from o newspoper orticle in The Doily Express

Texl C An edited post from the website Londontranslotion.co.uk

Section A

Text A is an example of Scottish English. Explore the connections between this di lect and standa rd
forms of English.

You should refer to the following language frameworks and levels as appropriat

Phonology
Morphology
Lexis
Syntax
Discourse

Section B

Discuss how the changes to Scottish English reflect the development in English ross the world. You
should consider:

The context in which the language may be used.

The influence of other lansuases on 21st centurv English
The role of English as an international language.

24
T€xt A - edited extrad from a podcast interview with comedian Brian Limond
(Limmy) from Glasgow, Scotland. The podcast was uploaded to the YouTubp channel
of the Scottish newspaper, Daily Record in 2013.

| - lnterviewer
L - Limmy ]

l: you obviously have a Scottish following because it was on TV in Scotland Utft otf,",
folk followed you online through the series through the iPlayer on the BBC {oes it
frustrate you that it was never given a platform of a sorta network viewing

L: ayea wee bit I /a/ meanl would lwould like itto be UKwide (t)twould likl my
/ma/ show to be UK wide and Europe wide and world /world/ wide and erierything
/evrrtun/ but that's not gonnae happen but (.) I would like it to be (.) UK wipe since
it is on the BBC but (.) whatever I don't know what their reasons are but thef've got
their reasons (.) so erm (.) lU ld really like it to be UK wide but (.) that's just it (.) and
that! why l'm just thinking about /ebu:t/ what I want to do /di:/ next
l: when you've got folk like Matt Lucas bigging you up in the press and on radfo 2
inviting you on to his his panel show lmean does that does that feel like yo{ know
you can't buy that kind of help that kind of publicity I

L: aye kinda but it's also just er it just er it just sorta tickles me (.) a wee bit morE /mear/
than any of the the benefits to my show or my career or any of the like that ltl just
magic (.) erm when you go fae (.) having seen Matt Lucas being /bi:rnl George
Dawes (.) and then (.) and then you're in his house (hu:s) and you're having a chat
and you're having a a laugh and all that its its funny (.) just that's a nice kinda trippy
experience that kinda thing and you're meeting like er these other er (.) celebs and
you're like l've l've saw you for years on the telly and now you just go you ju$t get
used to it or you just tell yourself to just get used to it it3 just a nice experierlce I think
about that more than (.) it is good it is good like when he (.) like say Matt Lucas I don't
know he's got something like quarter of a million followers and he says (.) everybody
watch this or Graham Linehan /hnehnn/ or somebody else says everybody watch
this (.) its good in that way but itt also good to go (.) I remember making my stuff up
in my living room and then you go fae that to the podcast to the stand up and then
this is happening and I sometimes (.) kinda go on about it a bit on like my webcam
saying tae everybody if you're thinking about doing if you're thinking about doing
/di:n/ any of this then do it (.) because it's not easy but it's easier than what you think
(.) oh it's it! no like it happens tae other people it can it happened it happened to me

Glo3sary
oye - yes
wee - little
gonnae - going lo
BBC- British Broadcasting Corporation
foe - to
fae - from
Malt Lucos -
comedian/actor
George Dawes - a character created by Matt Lucas
Groham Linehan - comedy writer
I
I

25 )
(
Text B - extract from a newspap€r article in the Doily Express published in
luly 2015.
Scottish accent doomed to extinction - and the Queen's English and BBC cfuld be
to blame
LINGUISTS claim Scots are losing their treasured accent as their distinctive rollidg'Rs'
begin to vanish.

It is one of the most recognisable accents in the English-speaking world - but tf e

distinctive Scot pronunciation could soon be confined to history.

Experts found that many young Scots are unable to emphasise the'R'at the end of words
such as in'tar'i"bar" and "farm'i lnstead, they swallow the sound to soften their Accent.

Scottish linguists have blamed the influx of English and American TV and radio for
the change. Other experts blame Scottish broadcasters trfng to emulate the QUeen's
English such as at BBC Scotland. Alongside Sean Connery, Andy Murray and por]ridge, the
Scottish accent is one ofthe country's greatest exports.

Researchers used ultrasound machines to reveal the tongue movements ofa gro$p of 12
and 13-year-old Scots as they said a range of words. The academics found that thf rolling
or trilling R - heard in the likes of 'broom', 'squirrel" and "hury - is now becomirf g a rarity.

Young working-class Scots are more likely to swallow the sound while their middle-class
compatriots are likely to mimic American English.

Sociolinguist at Queen Margaret Universiry Eleanor Lawson, said:"We found thdt some
Scottish speakers are delaying the'R'gesture, so it's happening in silence afterralards.
They're not losing it completely. They're still producing it. You just can't hear it pJoperlyl

Michael Hance, director ofthe Scots Language Centre, said the Anglicising influence of
the media is behind the change, or what linguists call'a postvocalic rhoticity:

He said: "Ninety-nine per cent of Scottish radio and TV is English and American iccents.
The BBC in Scotland have this long tradition of sending people offfor elocution lessons
to soften their accents."

However, researchers from the University of Glasgow and Queen Margaret University in
Edinburgh insist accents naturally evolve.

But many Scots are forced to tone down their accent when speaking to others fiom
the rest of the UK. A study in 201 3 found that Scots are more likely to be discriminated
against because of their accent than any other region.

Glossary
I
Seon Connery - a Scottish film actor
Andy Munay - Scottish tennis player
a
porridge - an oat-based breakfast cereal
postvocalic rhoticity - the pronunciation of the'r'sound following a vowel
I

zo )
r Text C - an edhed post from the website Io ndontranslations.co.uk, a busingss that
provides translators and interpreters of other languages. It was posted in f014.

Scottish - An independent language?

By Jennifer Ball27 /08/2014 - Posted in: lnternational Business Relations

ln the run up to the vote on Scottish independence, many television viewers fr{m around
the world have been treated to samples of various Scottish dialects that would irormally
not receive as much exposure. I

Comprising numerous dialects across the country it is possible to divide the coFntry
into four separate regions -The Highlands, the Scottish Lowlands, the northeasf and the
islands each contain many unique accents and dialects but in these divisions cdntain
more similarities than differences.

Scottish English developed from language contact between the Scots language ofthe
Scottish lowlands, considered a sister language to English, and Standard Englis[ after the
Act of Union united the Kingdoms of Scotland and England.

Highlands English has a far more Gaelic influence on vocabulary, pronunciation and
syntax than any other dialect in Scotland. Often, the accent that accompanies
Highland English can often be mistaken for lrish, the accents of Highland English and
Hiberno-English have more in common than Highland English has with other Scottish
dialects, most likely due to the Gaelic influence on both dialects.

Doric is possibly the hardest dialect to understand, even leaving some fellow Scots
baffled. Doric is the dialect spoken in the northeast of Scotland, drawing influence from
Scots, Gaelic and Scandinavian languages.

Doric employs some fantastically colourful vocabulary.

Fan div ye yoke? - When do you start work?
foggy bummer - Bumblebee
I Fit - what

Famously, the Glaswegian dialect is often cited as the hardest dialect and accent to
decipher for visitors to the UK. Historically Glasgow has been a beacon for immilrants
over the years, from the highlanders displaced during the Highland clearances ofthe
1 8th and l gth centuries to the mass exodus of the lrish during the famine.

ln formal settings, most business is conducted in Standard Scottish English, an altogether

easier accent to understand. Scotland has worked and traded globally with gre4 success
for hundreds of years. There is a big difference between the vernacular of the offce and
that of the pub and street. While bewildered tourists may be a common sight arbund
Glasgow the boardrooms of companies in Scotland do not display the same phenomena.
However, if you do find yourself with an upcoming meeting in Scotland, it may be worth
your while revisiting some classic Billy Connolly routines to prepare.

Glossary

Scots language Scotland

- national name for a collection of dialects across
Gaelic - a Celtic language spoken mainly in lreland and in the highlands and isldnds of
western Scotland
I
Billy Connolly - Scottish comedian/actor

)
zla
 UNIT 3
CRAFTING LANGUAGE
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c:\ wi ndows\ syst em3 2\ spool DRIVERS\W 2X8 6\ \CNIVIPOBA DAT
3 3 .
c:\wi ndows\system32\spool DRTvERS\w32x86\3\CNMP18A. DAT
c:\wi ndows\system32\spoo l DRIVERS\W32X86\3\CNMP2BA. OAT
c:\wi ndows\system32\spoo'l DRIVERS\W3 2X86\3\CNMFUBA DLL (2.60.2.40) .
c:\ wi ndows\system3 2\s pool DRIVERS\W32X86\3\CNMLHBA. DLL ( 2.60.2.40)
c:\ wi ndows\system3 2\s pool DRIVERS\w3 2X86\3\cNML2 BA. DtL ( 2 .60 .2 .40)
c:\ wi ndows\sys tem32\s pool DRIVERS\w3 2X86\3\cNML3 BA. DLL ( 2.60.2.40)
c:\wi ndows\system32\spoo1 DRTvERS\w32x86\3\cNMPvBA. DLL ( 2.60.2.40)
c:\wi ndows\system32\spool DRTvERS\w32X86\3\CNMSEBA. EXE ( 2.60.2.40)
c:\wi ndorvs\system32\spoo1 \DRTVERS\W32X86\3\CNMBU3 BA. DLL (2 . 60. 2 . 40)
c:\wi ndows\system3 2\spoo l \DRTVERS\W3 2x86\ 3\CNMBM3 BA. DLL (2 . 60 . 2 . 40)
c:\ wi ndows\syst em3 2\spoo'l \DRTVERS\W3 2x86\3\cNr4BS BA. DLL 3 (2 . 60. 2 . 40)
c:\wi ndows\system32\spool \DRrvERs\w3 2x86\3\cNrvrEr BA. DL L (2.60.2.40)
c:\ u/i ndovis\system32\spoo.l \DRTVERS\W32X86\3\CNMEABA DLL (2 . 60. 2 . 40) .
c:\wi ndows\system32\spoo l \DRTVERS\W32X86\3\CNMVSBA DLL (2 . 60. 2 . 40)
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c:\ wi ndows\system32\spoo1 \DRTvERS\w32x86\3\cNr.rvsBA . ExE (2 . 60. 2 . 40)
Sample Texts
1. Feature Articles
d. L e bc lItu LIte Le S

b. All Hail the Cardiff 'Maths Whisperer' and Other Li -Changing

Teachers
c. Too Much Talk for One Planet: Why l', Reducing M Word
E m issions

2. TravelWriting
a, Sea and 5a rd in ia
b. Riding the lron Rooster

3. Biography
a. Mom anci Me and Mon oy Maya Angelou
b. Anne Frank

4. Speech
a. John F. Kennedy's lnaugural Address
b. 'You've Got to Find What You Love, 'Jobs Says

5. Journalist lnterview
a. BBC Panorama lnterview Between Martin Bashir a d Princess
Diana
b. Jay Leno's lnterview with President Obama

6. Review
a. A Book Review: 'Boxer Handsome' by Anna Whitw am
b. Pick of the Weekend: The Bridge

27
Text Glossary

Article

News stories and feature articles are the staple forms of iournalism. An article is particular section
or item in either a printed or broadcast text that forms an independent part a publication or
programme. News stories are immediate and focus on a subject of current i Their aim is to
be informative and economical as they have limited space. Feature articles discu an on-Boing issue
and present the views of the writer. They are longer and more detailed than n stories and often
include visuals. This category is broad and may include written articles drawn from newspapers,
magazines, websites, or other printed publications or articles taken from the broa cast media.

Travelogue

A travelogue can be defined as a text which documents the places visited by, or t e experiences of, a
traveller. Typical travelogue convey a strong sense of place and the detailed accounts help the
reader to envisage the experiences of travel through the eyes of the traveller. T category covers a
broad range of styles and genres and examples can be drawn from b multi-modal or
printed sources. These include .journals/diaries (online or print-based), broad st documentaries,
guide books and autobiogra pies

Autobiography/Biography

An autobiography is a written account of the life of a person, writt by that person.

Autobiographies are aubjective by nature - seeing and filtering events through the perspective of
the writer. They tend to have a confessional tone and can include reminiscences nd a necdotes. The
writer is usually aware of the implied audience as he/she is writing with the inte ion of pu blication
Celebrety autobiographies are often 'ghost' written, i.e. written by a pr ional writer who
interviews the subject. An autobiographer tries to establish a rapport with the ader on a personal
level.

A biography is an account of a person's life written by a professional writer. The is usually a

lsubject
famous historical or present-day public figure. Although the writer is more distanced from the
subject there is an element of subjectivity as the subject is presented thrdugh one person's
perspective. The biographer selects and organises the material to present the suflect in a particular
way. This type of non-fictlon eploys many of the characteristics of fiction, e.B. a stronc narrative line,
descriptions of locations, events and people.

28
speech

Public speaking is the process of delivering a speech in a structured way i tended to inform,
influence, motivate or entertain a listening audience, Speeches may come from a range of sources
and contexts: politics, courtroom address/summing up, eulogy and motivationa address. Speeches
are planned and ca!'efully crafted and rely hq3v;|y on rhtorical devices and met nhnrinal la nor raoo
although the speaker may shift the style by introducing colloquial phrases to eng ge more intimately
with listeners. Rhythm is crucial in a speech and is achieved by the speake s use of lexis and
structuree. Speeches are intended to inspire and motivate the audience in some ay therefore their
main function is persuasive but they must also include features that will main in the attention of
the audience. You should be aware of the discourse sturcture, i.e. the shape nd direction of the
a rgument

lnterview

An interview is a conversation conducted by an interviewer such as TV report r, chat show host,

prospective employer or police/court official in which facts or statements are eli ited from a nothe r.
the interview may be transcribed and reproduced or recorded/broadcast lnterviews provide
cppo:'trnlties tc cornrnent on the differing !anguage structures and purpose
inte!'viewer to elicit information and by the interviewee

Review

Reviews offer critical, often personal, appraisal of a publication, product, service, event or
performance. They may be drawn from online, broadcast or traditional print-ba d sources and may
cover any art form, product or sevice. Reviews may be favourable or may adop a more negatively
critical approach. Many reviewers employ a humorous style in order to add ente a inment va lue for
the reader. Rhetorical and persuasive techniques are frequently features of revi w writing. Reviews
assume shared knowledge of their particular subject and an interest in the genr on the part of their
readers.

29
 FEATURE ARTICLES

DEFINITION
A special story, article, etc. in a newspaper or magazine; shows human-interest r than straight
news.
The feature article gives information of human interest. The label feafure covers broad range of
newspaper or magazine articles, which includes evefihing except straight news, itorials, or
advertising.
Because of its human-interest approach, the feature article allows the writer cons ble opportunity
for creativity. While the subject of a feature may be related to a news item, the will not follow
a pyramid structure of a straight news piece. Rather, it is more likely to include nventions of
fiction: plot, character, dialogue, and symbolism. A feature is a creative article th deals with real
events, issues, and trends; but unlike straight news articles, it places emphasis o the people
involved rather than on the facts of news.

CHARACTERISTICS
. Evokes an emotional reaction: joy, sympathy, anger, frustration, contentmedt, or some other
emotion
. Gives depth and meaning to complicated issues or news items, thus clarifyinQ and interpreting
events
. Follows the techniques creative writing; for example short story elements
o Avoids the pyramid structure of a straight news story
. Uses an introduction(lead) that attracts readers
. Ends with a closing that connects back to the beginning and leaves the reader with something to
think about
r Uses a tone and style appropriate to its subject
o Uses catchy titles, headings/subheads
o Uses layouts which may include bullets, various fonts/styles (bold, italics) and white spaces
. Is well researched
o Is nonfiction and factual

SUBJECT MATTER
o Society
o Health
. Food
. Politics
. Entertainment
. Individuals
. The Environment
o Sport
. Economics
. Current Issues

PURPOSE
To Inform
To Explain
To Analyse
To Advise
To Persuade

30
STRUCTURE
The'Write - off or'Stand first'in a Feature article
needs to capture the reader,s a1Itention
immediately and then the lead or introduction must maintain it, The elements reql lired to produce a
successful Feature article are a lead, a bodv and a conclusion.

LEADS
A successful lead will accomplish three objectives:
1. Attract the reader.
2. Give the reader the central idea.
3. Lead the reader into the story.

Types of Leads

DESCRTPTION
Descriptive leads often focus on what it feels like to b€ at an event by highlighting the sights, sounds,
textures, tastes and smells that evoke clear images in the mind of the reader.

DIRECT ADDRESS
This is when the writer tries to engage the reader immediately. This can be done by asking questions
or asking the reader to imagine something in particular. It is as though the writer [s expecting some
direct responses from the reader.

SHOCKTNG STATEMENT
This type of lead is also known as "the teaser". A shocking or striking statement is one that will
produce a strong response in the reader. Often it will challenge some accepted bdief, or simply be
provocative. Statistics are often effective. It involves the reader by building suspense before revealing
the focus of the story.

NARRATIVE
The narrative lead tells a story. Sometimes a short piece, often from the writer's own experience, will
lead the reader into the article. Though it is also descriptive, the narrative lead is more like a play
with a scene characters and dialogue.

QUOTANON
A relevant and effective quotation can introduce the reader to the theme of the article. The quote
should compel the reader to go further into the story.

QUESfiON
Should be used only when the question relates directly to the Feature angle and Qmpels the reader
to seek the answers further in the story. Unfortunately, most question leads can be answered with
another question.

BODY WTTH SMOOTH TRANSMONS

Good transitions in feature writing mean that one paragraph moves smoothly to the next one. Good
transitions work by repeating a word, phrase or idea that has been used in the paragraph
immediately before.

ENDINGS
The conclusion often connects with an idea that has been developed in the lead, Or it can in some
way summarise the main points of the article. The conclusion is often structured in the same way as
the lead as it refers to the angle presented in the introduction. This technique is referred to as the
'lead replay'. Often at the end of a Feature article the writer will provide relevant information about
that subject of the Feature, giving interested readers links to contact groups '...opens on Thursday'.

.,1
LANGUAGE
Paraoraphs of one to four sentences are used in newspaper feature articles.

QUOTANONS
Inverted commas indicate direct quotations. Quotes from eyewitnesses, sources experts are
{r
included in the text.

EMOTIVE NGUAGE
Feature articles are more creative in the use of language than a news report, using emotive
language. Feature articles contain objective material but often app€al to emotio Individual
speakers who are quoted in a Feature article often use emotive language.

KEY WORDS
The vocabulary includes many words that relate to the specific subject discussed. An extensive
written vocabulary is used.

CONTRACNONS
Contraction often used to create a "chatty/informal" person-to-person tone.

LAYOUT
HEADUNE
Each Feature article has a headline.

WRITE OFF/ ND FIRST

Feature articles generally include a synopsis as part of the byline. The synopsis provides the reader
with information about the content of the text. It is known as a 'Write of'of 'Stand first',
Feature articles include a byline.

BYUNE
The byline states the name of the writer. This is often part of the 'Write offl Stand first'

PI RE
A photograph, graphics, illustration or cartoon usually accompanies feature articleF.

CROSSHEADER
The crossheader (also referred to as the "tearout") refers to words which are enlarged and inserted
amongst the columns. It's easier to see as a picture.

COLUMN
The text is written in column format.

BREAKOUT BOX
A Breakout Box may support feature articles. A Breakout Box appears next to the news report and
provides readers with related factual information about the topic. Information in the Breakout Box
includes the use of technical terms, explanations, graphics and statistics.

FONT
Several types and sizes of fonts are used.

COLOUR
Colour is often used in either the headline and/or photograph(s).

LENGTH
Feature articles are usually much longer than news reports and may or may not linked to a current
"hard news" event.
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All hail the Cardiff'maths
whisperer' - and other life-c ngrng
a

teachers
A maths teacher in Cartliff helped his entire class gain A* grades in GCSEs - six
months early. Readers share stories of their own extraordinary teach

Sirin KaIe
Wed 22 Jan 2020 14 52 GMTLast modified on Wed 22 Jan 2020 18 5 GMT

I
I

Photograph: Witthaya Prasongsin/Getty Images

rancis Elive deserves a bonus. The 55-year-old maths tea recently

helped his entire class of 3o year rr students at the Fi high school in
l,eckwith, Cardiff, to achieve A* gratles in their GCSE ma exam - slx
months early.

Inspirational teachers like Elive, who has been dubbed the "maths , don't
come along often. But when they do, they can have a lifelong impa When lauren
Aitchinson was 17, she had a wobble wittr her mental health. Her d had
dumped her for her best friend and her confidence plummeted. "I th t I was the
most stupid person alive," Aitchinson, a 3r-year-old caseworker fro Perthshire,
remembers. "I didn't deserve to go to uni." Aitchiuson refused to sit e exams she
would need to pass to go to university.

"All the teachers thought I had an attitude problem, so were like: ' her fail,"'
Aitchinson says. Only Mr Pullar, her religious studies teacher, tho t differently.
"He said: 'No, she needs encouragement."' Pullar arranged for Ai n to sit her

34
exams on a tlay the school was closed. When she passed them, he di 't make a big
deal of it. Aitchinson went on to college and has a book coming out u year. She
plans to send him a copy when it is published, with a note saying kyou.

If it weren't for Miss Cockburn, Iionie Druqy's life rvould have turn out very
differently. It is down to her that Drury, who is 36 and lives in Lon , became a
teacher. "In my zos, I was lost and I didn't know what to do, so I wen to see her,"
recalls Dmry. "She said: 'Become an English teacher! You love books " She was right
- Drury has been an English teacher for seven years, and loves herj o

Cockburn was an inspirational teacher. "She had a bright-red bob an was the most
literary person I've ever met," Drury smiles. "She could bring anlth to life."
Cockburn started a poetry competition at Dru4/s all-girls school. 'W all thought r.r'e
were Sylvia Plath, obviously," Drury laughs.

"It was the sort of school where everyone's ambition was to be a foo t hooligan,"
says Shaun Paul Tomkiss, a 4z-year-old chef from Shrewsbury, of secondary
school. 'You weren't allowed to like books or art. It wasn't on." As a ult, Tomkiss
kept his passion for books quiet. After school, when his classmates playng
football, Tomkiss would read Oscar Wiltle in the privacy of his bedro

Miss Herbert changed everything. "She'd read aloud from the The Ca,tcher in the Rye,
but insist on tloing it in a New York drawl," Tomkiss laughs. He was trausported, aud
took the JD Salinger novel home to finish in his own time. The next lesson, Herbert
noticed he seemed disengaged, and pulled him aside. What was going on? "I said: 'I
took the book home and read it already and loved it to bits. Are there any more books
like this?"' Her eyes lit up. She wrote him a list ofbooks, which he devoured. Tomkiss
credits her for his lifelong love of books.

Drury and Cockburn remain friends to this day, catching up once a year to talk about
books and life. Sadly, Herbert died while Tomkiss was in his late teer fs, so he never
got a chance to say thank you. 'It took a lot for a r4-year-old council boy to r
fstate
follow such lofty pursuits," Tomkiss says. "I'm uot sure I'd be the sanDe person
without her."

htt uardian.com education sh ortcuts 2020 n 22 cardiff-maths- his erer-readers-

life-changing-teachers

35
Article

Charlie Brooker: 'Too much talk for one planet: why l'm reducin my word
emissions'

This is an article from the Guordion newspaper by Charlie Brooker, the glish satirist
and broadcaster. He has worked in television, radio, print and online

Too much talk for one planet: why I'm reducfng my

word emissions I

f've been overwhelyned by the amorurt ofjabbef in the

world - it's a vast cloud of blah I

agle-eyed readers may have spotted I haven't been w

this column for a while. Roughly two people noticed i
absence, until the other day when a paragraph in te Eye
claimed I'd asked Alan Rusbridger, editor of the Guardian, switch
off the reader comments underneath my articles (not true), a d that
he'd refused to do so (also not true), so I'd quit (not entirely
This led to an intense flurry of activity, by which I mean fou people
asked me about it-
Although the Private Eye story wasn't completely wrong - I
stopped doing this particular column for a while, for reaso r'11
explain in a moment - I was all set to write to their letters p
to whine in the most pompous manner imaginable, s I've
always secretly wanted to do, when I figured I might as well spond
here instead, for money.
Incidentally, I'm aware this is Olympic-level navel gazing, you're
a human being with free will who can stop reading any time Here,
have a full stop. And another. And another. There are exits a I over
this building.
Anyway, I haven't quit the newspaper, but I have, for the me time,
stopped writing weekly, partly because my overall workload
making that kind of timetable imFossible, and partly beca I've
recently been overwhelmed by the sheer amount ofjabber in
world: a vast cloud of blah I felt I was contributing to every even
days.
If a weatherman misreads the national mood and cheerfully sieg-
heils on BBC Breakfast at 8.45am, there'll be 86 outraged c
95 despairing blogs, half a million wry tweets and a rib-
pass-the-parcel Photoshop meme about it circulating by I 1me.
It happeDs every day. Every day, a billion instantly conjured
on any contemporaneous subject you can think of. Events nolse.
events and noise; everything was starting to resemble n but
events and noise. Firing more words into the middle of all
began to strike me as futile and unnecessary. I started to

36
 Article

myself as yet another factory mindlessly pumping carbon dioxide

into a toxic sky.
This is perhaps not the ideal state of mind for someone writing a
weekly column in a newspaper. CIearIy it was time for a short
Reader conments form part of the overall wordstorm described
above, and it's true I'm not a huge fan of them, but that's chiefly
because I'm an elderly man from the age of steam who clings
irrationally to the outmoded belief that articles and Letters
pages should be kept separate, just like church and state. I guess
conceptually I still think I'm writing in a "newspaper", even
the reality of what that means has changed beyond measure I
started doing it. So now I'm sitting grumpily in a spaceship with v
arms folded, wearing a stovepipe hat. Ridiculous.
These days most newspaper sites are geared towards encourag
interaction with the minuscule fraction of readers who bother to
interact back, which is a pity because I'm selfishly uninterested
in conducting any kind of meaningful dialogue with humankind
in general. I'd say Twitter's better for back-and-forth discussion
anyway, ifyou could be arsed with it. Yelling out the window at
passersby is another option.
When it comes to commeDts, despite not being as funny as I
was in the first place, I get an incredibly easy ride from passing
wellwishers compared with any woman who dares write anythin
on the internet anywhere about anything at all, the ugly bitch,
boo, go home bitch go home. cetting slagged off online is par for
the course, and absorbing the odd bit of constructive criticism is
character-building. The positive comments are more unsettling.
needs to see typed applause accompanyiDg an article? It'sjust
I don't get it.
But then right now I don't "get' most forms of communication.
There's just so much of it. Everybody talking at once and all
over each other; everyone on the planet typing words into their
computers, for ever, like I'm doing now. I fail to see the poiDt
of roughly 98% of human communication at the momeot, which
indicates I need to stroll around somewhere quiet for a bit.
After my break, and a rethink, I'II quietly return later in the year to
write something slightly different, slightly less regular\ (prob Y
fortnightly). In other words, I'm reducing my carbon emissions.
And whatever the new thing I'm writing turDs out to be, it'Il
both online, still accompanied by the requisite string of commen S,
and in the newspaper, which is a foldable thing made of paper,
containing words and pictures, which catches fire easily and is
sometimes left on trains.
Now get out.

5t
 TRAVEL WRITING

UNDERSTAND TRAVEL WRITING

Before we discuss what travel writing is, perhaps we should say what it isn't. T writing isn't
writing about your family's vacation. It isn't writing about what you liked or dldn't ike about your last
trip. And it definitely isn't about writing about destinations so that you can travel r free.
Travel writing is writing about places, persons, and things in other places--also w ng about how to
travel, when to travel, and advice on traveling-all with the reader in mind. It's a ut relaying your
travel experiences to others so that they may emulate them or at the very least n make the same
mistakes you did. And it's writing about things in your own back yard that are exotic to everyone
else--a local farmer's market, historic site, restaurant, museum.

To be a good travel writer, you need to be ON all the time, not just when you wa4t to. When you're
on vacation, you do what you want when you want. You're mind focuses on the pface you're visiting
only when lt wants to. But to interpret a destination for your readers, you have to look for new angles
on the same old things while at the same time sharing your pleasure with your reiders.

But before we go further into travel writing, we need to take a look at the readers that will devour
what you say about a place. There are three parts to the @mmunication process-the sender (the
writer), the receiver (the reader), and the message. When you were in school, you subconsciously
learned that the writer was the most important part of the process because in acapemic writing,
thafs the case. But in general writing, including travel writing, the reader is the mpst important part
of the process. If a writer doesn't think about the reader before writing. the reader most likely won't
be interested or might possibly not understand what the writer is saying.

DEFINITION
Travel writing is writing about visiting different places. It can appear as a newspaper article,
informing readers abut a specific destination. It can also be a form of literary non-fiction, written as
a book, telling a longer narrative about a journey or place. This diffem from a travel blog because the
writing is more detailed and less informal.

LANGUAGE
- written in the first pe6on - using 'I'
- vivid descriptive - telling about the place
- literary non-fiction aiminq at entertaining as well as inform

STRUCTURE

LEAD
start with a compelling lead. Your "lead" paragraph must reel in readers right away. If you can't hook
them in the first 35 w;rds, chances are you'regoing to lose them. You've dreamef for years of
visiting Africa? That's not an exciting first sentence. You're on a trip with your sigrlificant.other? That's
not in[eresting either. you taught Kalahari Bushmen how to play Frisbee? Now we're getting
somewhere. Iiany beginning tiavel writers clog their leads with too much background information.
When they do thii, readers never get to the exciting part, An audience will move on to something
your theme
else if the beginning of a story is mundane. so pounce into the action right away. Make
clear and enticing at the outset.

CHRONOLOGICAL EVENTS
with a
Develop your story thematicall y or chronologically, but keep it moving.Many trave tales unfold
simple chronological sequence . Others follow a series of scenes or anecdotes. Let s
go back to that
flan in Guadalajara we talked a bout in part one of this series. After your first toe-! iurling taste, you
decide to embark on a weeklong mission to find the best flan in town' Over the n(lxt seven daYs, You
your l]five or six favorites.
scarf down twelve helPings of th e caramelly custard. You might write about

,o
And maybe a couple of not-so-favorites. You don't have to cover them in the o you ate them.
Instead, write in the order that best builds excitement. Just as you want to catch attention
right away with a strong lead, the body of your story must hold readers' fascinat by maintaining -
and ideally increasing - the action and energy. Occasionally, you need to include detail that's not so
enthralling to keep the story flowing. That's okay, but get through those points co sely. Move on
quickly and then zing your readers with more thrills.

ENDING
End with a lesson, a discovery, or a personal transformation. Riding into the p al sunset can be
a natural way to end a tale but you'll conclude on a more powerful note if you de strate some sort
of transformation. Have you learned something new about yourself or the world? nged your way
of thinking or seen somebody else change theirs? Big insights come frequently we're away from
our everyday world and culture, Share those insights with your readers so those ho wander
vicariously through your writing can share in your discoveries.

TYPES
common types of freelance travel journalism are

1, Destination articles
Here, the game's in the name: destination articles tell readers about a place to which they might
want to travel one day. One of the most standard type of travel stories, these piedes act as the
armchair reader's bird-eye view of a place. Useful or interesting facts pepper the \ii/riting. History,
points of interest, natural scenery, trendy spots: a destination article can touch upion them all within
the framework of a broad narrative.

Where the average article gives readers a sense of the destination, the best of th€ best convinces
readers that this is a destination they want, nay, ,eedto visit. As such, though some destination
articles are written in first person. the focus is rarely on the writer. Instead, the destination is the star
of the show.

Examples:
. Besal0, the most interesting Spanish village you probably don't know (LA Times)
. In Indonesia (Washington Post)
. 35 Hours In The Finger Lakes Region of New York (New York Times)

2, Special-interest articles
Special-inierest articles are offshoots of destination articles. Instead of taking the reader on a tour of
an entire country or city, these pieces cover one particular aspect of the destination. This kind of
writing can cover anything from art in Colombia, ghost towns in the U'S., trekkinq in Patagonia,
alpaci farms in Australia, motorbiking in Brazil, railroads in France. volunteering in Tanzania you
-
get the gist.

Since spec ial-interest articles are narrower in topic, many writers tailor them for n che magazines or
websites. Befo re you start pitching, we recommend flipping through the Writer's andbook, one of
the most useful guides to the freelance publishing market, to see which publicatio fit your target
audience.

Examples:
o Exploring Portugal -From Pork To Port (epicurious.com)
. This Unsung Corner of Spain is Home to Fabulous Food (Washington Post)
o Karsts of China's Getu River region attract rock climbers, other travelers (CNN Travel)

3. Holiday and special events

Holiday and special events travel articles ask writers to write about a destination $efore the event
takes place. The biggest global events are magnets for this type of travel writing such as the World
Cup, the olympics, the World Expo, fashion weeks, and film festivals. Depending the oublication,
regional events work just as well. fn
i

39
 Examples:
This summer's solar eclipse is southern Illinois'chance to shine (Chicago Trib e)
How To Plan A Trip To The 2016 Rio Olympics (Travel & Leisure)

4. Round-ups
You'll recog nize a round-up article when you see one, as it,ll go,..4O best beaches n West Europe,"
or, perhaps, "20 of the greatest walks in the worldl,, It,s a classic tool in a ny mag ne or newspaper
writer's toolbox . taking a bunch of destinations and grouping them all un der one mon thread.
Ultimately, a clear motif makes this type of article a breeze to read, as th ey're a p y on the
ubiqu itous List Format. But, OK, before you jump at this excuse to sacrifi ce your lly at 99 food
trucks in N ew York City, remember that your premise should be o riginal, not to n practical
What's tou gh is coming up with X ways to do y in the first place, as that demands you put in the
travel and research to produce a thorough write-up

Evamples:
. 12 new art exhibits to see this summer (Smithsonian)
. 21 ways to see America for cheap (Huffington post)
. 41 places to go in 2011 (New York t'tmes)

5. Perconal essays
Publishers are experiencing something of a personal essay fatigue, so the market llo, ,or" might be
scarce these days. However, quality trumps all, and a good personal travel essay ib iust plain qood
writing in disguise: something that possesses a strong voice while showing insight] growth, and
backstory.

Just don't make it a diary entry. In an interview with The Atlantic, travel writer paul Theroux said:
Yhe main shortcut is to leave out boring things. People write about getting sick, they write about
tummy trouble. They write about waiting. They write three pages about how long it took them to get
a visa. I'm not interested in the boring parts. Everyone has tummy trouble. Everycine waits in line. I
don't want to hear about it."

EYample:
. Taking the Great American Roadtrip (Smithsonian)

6, Op-eds
Have a burning opinion to share? Sometimes publications end up giving op-eds to staff, but there are
always open calls for opinion pieces.

Travel op-eds are much rarer than political opinion pieces, but there's a pattern to the ones that
make the cut: good persuasive writing. If you can come at a topic from a unique d ngle (and argue
your case clearly) then you may be able to publish your opinion.
Examples:
. The West Coast Is The Best Coast For Food In America (Food & Wine)
. Why Climate Change Is Actually Relevant To Travel (Conde Nast)

7. Travel Blogging
When typing "travel blog" into Google returns 295 million results, we can guess ifF a fairly
competitive market. I

Heret the plus side: bloggeE get to write what they want and go where they ple4se. When it comes
to blog posts, there are no editors, no gatekeepers. Only you and the "PUBLISH" button.
We won't go revisit the types of travel writing we covered earlier (such as the rouhdup format).
Instead, we'll explore some of the other formats bloggers use to tell their travel stories. Since the
rules of travel blogging are next to non-existent, our tally below is by no means definitive. And, again,
our best advice is to note what your favorite bloggers do on their blogs.

40
 L How-To
How-To articles are already fairly popular in magazines, but they,re positively om present in the
travel bl ogging world. Blogs provide a direct communication platform. allowing to build up
quicker ith the readers. As a result, for the search query,'.How to travel Europe n a budget," six
out of th e top ten results are posts from trusted independent blogs.

A How-To article is the most standard form of advice column a travel bl ogger can roduce. It's
intrinsically useful, promising that it'll teach something by article,s end. A blogge challenge is
delivering fully on that promise

Examples:
. How To Start A Travel Blog (Nomadic Matt)
. How To Travel Solo To A Party Destination (Adventurous Kate)
. How to Visit Penang's Kek Lok Si Temple (Migrationology)

9. Itineraries
Itineraries reveal the schedule that the writer took at a given destination, city-uy-Jity or sight-by-
sight. They're meant for the traveler who's embarking on a similar trip and needs A template.
Typicalty, you1l find that an itinerary post is an easy place for you to slip in recomtnendations,
anything from the accommodation you used or the restaurants you tried.

You can use itinerary posts to reinforce your blog's brand. For instance, an itinera{y posted on a blog
focused around budget travel will probably maximize cost-saving chances.

Examples:
. My Trip Tolapan (A Complete lapan ltinerary)
. Backpacking Vietnam on a budget: 2-3 Weeks Itinerary + llps
10, Longform posts
Longform travel blogging tells a travel story through extended narrative content, as it takes a week's
worth of adventure and shapes it into a story. Longform blog posts about travel often end up
being creative nonfiction: a way to present nonfiction factually accurate prose about real people
and events in a compelling, vivid, dramatic manner.
-
-
Photography can add another dimension to the form, as Emmanuel Nataf (our co-founderl) shows on
his travel blog. And Reedsy's very own Arielle provides a glimpse into why she prefers longform travel
writlng on her blog,Steps. a Travel lournal:

favourite kinds of storbs are the ones that give you a real sense of place. Thatb why I enjoy
fuly
longform travel blogging: I get to describe the character of a place through the experiences I
encounterd there,

Examples:
o The Cow Head Taco Philosopher King of Oaxaca (Legal Nomads)
. The Best Worst Museum In The World

11, Eooks
When it comes to writing a book, you can take all the challenges about travel wridng from above and
magnify it times 2,000. If you?e asking readers to commit to you for more than 100 pages, you'd
best make sure that your book is worth their while.
As far as examples go. travel writing's boomed in the mainstream book market ly. But there's
much more to it than Faf, Pray, Love and its descendants.

41
 12. Travelogues
In travelogues, authors record their adventures in a w ay that illustrates or sheds i sight upon the
place itself. Travelogues possess a storied past, from Lady Mary Wortley Montagu'
Turkish Embassy
Letters in 1763 to Mark Twain,s 1867 The Innocents Abroad, which paved the for the sort of
comic travelogues that Bill Bryson,s perfected today.

Examples:
. Notes From A Small Island, by Bill Bryson
. In Patagonia, by Bruce Chatwin
o Travels with Charley In Search of America, by lohn Steinbeck

13. Travel memoirc

Nowadays, travel memoirs are practically synonymous with Elizabeth Gilbert,s wild y
Wpulat Eat,
Pray, Love and Cheryl Strayedls bestselling Mld, which were both recenfly ada into Hollywood
blockbusters.

That said , be aware that you'll need a pretty exceptional personal story for your rnemoir to compete
in todayi s market. If you're still set on writing or self-publishing a travel memoir, ifs tricky to balance
personal ba ckstory and travel for 400 pages, so think about taking on a professio nal for a second pair
of eyes.

Did you know? You can find Nicki Richesin, a top Bloomsbury editor who,s edited r Cheryl Strayed,
on our marketplace.

Examples:
. Under the Tuscan Sun, by Frances Mayes
. basting, by Jonathan Raban
. Win4 Sand, and Stars, by Antoine de Saint-Exupery

14, Guid€books
As Oscar Wilde said, "I
never travel without my diary. One should always keep something sensational
to read in the train." But these days, people are replacing diaries with travel guideb
the ubiquitous
Lonely Planet becoming one of the more common sights on transit.
-
Travel writing in guidebooks is straightforward, informative, and fact-filled. In addition, there's a
certain amount of responsibility that comes with the job. Lonely Planet alone is read by millions of
travelers worldwide.

TIPS
Get specific and dive deep. Travel journals, by nature, tend to skim the surface ofa journey
That's okay; we use these diaries as tools to remember our adventures after a tri is finished. But
travel stories we share with others are more compelling when they hone in on a s fic moment,
event, or topic.
Instead of telling us in one article about your entire week in Paris. write with lots detail and
emotion about getting lost on the M6tro, or tangling with the chaotic crowds arou the Mona Lisa,
or haggling at a flea market, or... the possibilities are endlessl Encounters with i ividual people can
also make great stories, Maybe you had a whimsical chat with a Las Vegas card d ler, or you
detoured down a Bangkok side street into a neighborhood where tourists don't Focus on
something specific in each story.

A little post-trip research can help flesh things out. You ate some orgasm flan in Mexico?
Read up on the history of the desert and sweeten your story with those details. Y u tangoed with a
romantic stranger in Buenos Aires? Lucky you! But hey, did you know the dance rived from the
ceremonies of former slaves, or that it's especially popular in Finland, or that UN has declared
the tango part of the world's "intangible cultural heritage?" Detour into those deta lils, keep us in
suspense for a few paragraphs before telling us how your evening wrapped up, ar|ld you're not just
sharing a personal anecdote, you're teaching us something too!

42
Think like a writer as you travel. Be on the lookout for stories you can write . Take notes as
you travel that will jar your memory when you're home and have time to expand those ideas.
Once you start actively searching for topics, you'll be amazed how many come to . Keep a list so
you don't forget them. And don't feel oven.rhelmed if your list contains more than you have
time to write, Too many ideas is better than too few ... so pick one of your favo and get writing!

References:
http://bobbrooke.com/WritersCorner/whatistravelwriting.htm
httos://www.bbc.co,uUbitesize/ouides/zwx8hv4/revision/9
inn i iddles d-en
httos ://blog. reedsy.com/tvpes-of -travel-writi ng/
http://www.globeiotting.com/travel-writino-tips-for-beginners-get-specific/

43
 Trave oSue

Seo ond Sardinio by D.H. Lawrence

This is an extract from Sea and Sardinia by the English writer D.H Lawrence, o travelled
from his home in Sicily to Sardinia in 1921.

I slept not so badly through the stifed, rolling night-in fact later on s t
soundly. And the day was growing bright when I peered through the por
the sea was much smoother. It was a brilliant clear morning. I made haste
washed myselfcursorily in the saucer that dribbled into a pail in a cornet: here
was not space even for one chair, this saucer was by my bunk-head. And I
I

on deck.
Ah the lovely morning! Away behind us the sun was just coming above sea s

horizon, and the sky all golden, all ajoyous, fire-heated gold, and the sea
glassy bright, the wind gone still, the waves sunk into long, low undul s, the
I

foam of the wake was pale ice-blue in the yellow air. Sweet, sweet wide nlnS
I
on the sea, with the sun coming, swimming up, and a rall sailing bark, h her
I I

flat fore-ladder ofsails delicately across the light, and a far-far steamer on
electric vivid morning horizon.
The lovely dawn: the lovely pure, wide morning in the mid-sea, so
aired and delighted, with the sea like sequins shaking, and the sky far, 6r far
above, unfathomably clear. How glad to be on a ship! What a golden hou for
the heart of man! Ah if one could sail for ever, on a small quiet, lonely , from
land to land and isle to isle, and saunter through the spaces of this lovely ld, I

always through the spaces of this lovely world. Sweet it would be somet to
come to the opaque earth, to block oneselfagainst the stiffland, to annul he I

vibration ofonc's fight against the inertia ofour terra 6rma! but life i would
be in the flight, the tremble ofspace. Ah the trembling ofnever-ended s

as one moves in flight! Space, and the frail vibration ofspace, the glad v
wringing of the heart. Not to be clogged to the land any more. Not to eny
more like a donkey with a log on its leg, fastened to weary earth that has
answer now. But to be off.
To find three masculine, world-lost souls, and world-lost saunter, and s ter
on along with them, across the dithering space, as long as life lasts! Why to
anchor? There is nothing to anchor for. Land has no enswer to the soul more
It has gone inert. Give me a little ship, kind gods, and three world-lost I

Hear me! And let me wander aimless across this vivid outer world, the
empty of man, wherc space fies happily.

44
Travelogue

Riding the lron Roorter: By Troin Through Chino by Paul Theroux

This is an extract from the travelogue by the American travel writer nd novelist, Paul
Theroux, who took eight trains across Europe, Eastern Europe, the USSR a d Mongolia on his
way to reaching the Chinese border.

We came to Paris and were met by a bus and brought to a hotel. his was in
the fourteenth arrondissement near the end of the Metro line, n a district
that was indistinguishable from the outskirts of Chicago, or Sout Boston. lt
was mainly post-war blocks of flats that had once been light stu o and were
now grey. There were too many of them, and they were too cl togethel
and people said: 'ls this Paris? ls this France? Where's the Eiffel owe r?' The
centre of Paris is a masterpiece of preservation, but the suburbs uch as this
one are simple and awful. The brutal pavements and high windo of Saint-
Jacques seemed designed to encourage suicide.
Then I was told ('funnily enough') that Samuel Beckett lived in e of those
blocks of flats and indeed had been in it foryears. That was wh e he wrote
his stories and plays aboutthe sheer pointlessness and utter mise of human
existence. I thought: No wonder! I was told that he often came over to our
hotel, the Hotel SaintJacques, to have a morning coffee. The otel was a
newish, spick and span place that resembled the lonely hotels th are found
just outside American airports, where people stay because th is nowhere
else. Beckett came here for pleasure? I walked the streets, I I d in the
coffee shop, 1 prayed for him to appear; but, nothing. lt was a I n, though.
When people read 'Samuel Beckett lives in exile in Paris', they d not know
that it meant a poky little flat on the fifth floor of number thi two - a tall
grey building in which residents w aited for Codotby watching tel ision. And
it was seventeen stops on the Metro from the centre of Paris, th Left Bank,
the museums.
.. . lt was a wet black morning in Paris, the street-sweepers and mi kmen doing
their solitary rounds by the light of street-lamps, and just as daw broke over
the eaves and chimney pots we plodded out ofthe Gare de l'Est. I thought we
had left the suburbs behind in the rue Saint-Jacques, but there we more, and
they were deeper and grimmer. The people in the group, with ir faces at
the windows of the train, were shocked and disillusioned. lt was 't gay Paree,
it wasn't even Cleveland. The Americans looked very closely. We re unused
to this. We put up suburbs too quickly and cheaply for them to r well. We
expected them to decline and collapse and be replaced; they 't built to
last, and they look temporary because they are temporary. But nch suburbs
- villas, terraced houses and blocks offlats - are solid and fairly u ly and their
most horrific aspect is that they look as though they will last fo ever. lt had
been the same in outer London: how could houses so old look so awful?

45
 Biography
Definition of Biography
A biography is simply an account or detailed description about the life of a person It entails basic
facts, such as childhood, education, career, relationships, family, and death. Biog phy is a
literary genre that portrays the experiences of all these events occurring in the I of a pe6on,
mostly in a chronological order. Unlike a resume or profile, a biography provides life story of
a subject, highlighting different aspects of his of her life. A person who writes b raphies, is called as
a "biographer."

Types of Biography
There are three types of biography:

Autobiography
An autobiographv tells the story of a person's own life. While that person writes h own account, he
or she may take guidance from a ghostvvriter or collaborator.

Biography
A biography narrates the life story of a person, as written by another person or wtiter. It is further
categories:
divided into five
1. Popular biography
]

2. Historical biography
I

3. Literary biography
I

4. Reference biography I

5. Fictional biography
Memoir
This is a more focused writing than an autobi@raphy or a biography. In a merrroif, a writer narrates
the details of a particular event or situation that occurred in his or her lifetime.

Function of Biography
The function of writing biographies is to provide details regarding the life of a pe or a thing in an
entertaining but informative manner. By the end of a biography, readers feel like hey are well-
acquainted with the subject. Biographies are often non-fictional, but many biogra hers also
use novel-like format, because a story line would be more entertaining with the i clusion of
strong exposition, rising conflict, and then climax. Besides, the most inspirational ife stories could
motivate and put confidence into the readers.

Content of Baography
1. Birthday and place
2. Family members
3. Childhood and school life
4. Hobbies, interests, and activities
5. Anecdotes
6. Career
7. Reason for fame
8. Later life/old age
9. Death
10. Photo and likenesses

Structure of Biography
1. Orientation (brief explanation regarding to 5W 1H)
2. Series of Events
3. Reorientation

46
Language of Biography
1. Third person's point of view
2. Past tense
3. Capital letters for names of people and place
4. llme connectives
5. Action verb
6. Various sentence structure
7. Emotive language
https: //litera rydevices. neUbiooraphy/

+Writing +A+Biography.pdf

47
Autobiography/ Biography

Mom t Me e Mom by Maya Angelou

This is an extract from Mom d Me d Mom, an autobiography by th African-American

author, poet, dancer, actress and singer, Maya Angelou.

By the time I was twenty-two, I was living in San Francisco. I had a five-year-
old son, twojobs, and two rented rooms, with cooking privileges the
hall. My landlady, Mrs. Jefferson, was kind and grandmotherly. She a ready
ba\sitter and insisted on providing &nner for her tenants. Her ways so
tender and her personality so sweet that no one was mean enough to rage
hcr disastrous culinary exploits. Spaghetti at her table, which was d at least
three tirrres a week, was a mysterious red, white, and brown .We
would occasionally encounter an unidentifiable piece of mcat hidden the
pasta. There was no money in my budget for restaurant food, so I and son,
Guy, werc always loyal, ifoften unhappy, diners at ChezJeffersou.
My mother had moved into another large Victorian house, on Ful Street,
which she again 6[ed with Gothic, Leavily carved furniture. The u tery on
the sofa and occasional chairs was red-wine-colored mohair. Oriental gs were
placed throughout the house. She had a live-in employee, Poppa, w cleaned
the housc and somcrimcs 6lled in as cook he\rr.
Mother picked up Guy twice a week and took him to her house, w she fed
him peaches and cream and hot dogs, but I only went to Fulton St once a
month and at an agreed-upon time.
She understood and encouraged my self-reliance and I lookcd for eagerly
to our stending appointment. On the occasion, she would cook onc my
favorite dishes. One lunch date stan& out in my mind. I call it Vivi s Red

Rice Day.
When I arrived at the Fulton Street house my mother was dressed utifully.
Her makeup was perftct and she wore goodjewelry. After we emb I
washed my hands and we walked through her formal, dark dining and
into the large, bright kitchen.
Much oflunch was already on the kitchen table.
Vivian Baxter was very serious about her delicious meals.
On that long-ago Red Rice Day, my mothcr had offered mc a c , dry-
roasted capon, no dressing or gravy, and a simple lettuce salad, no or
cucumbers. A wide-mouthed bowl covered with a platter sat next to plate
She fervently blessed the food with a briefprayer and put her left nd on the
platter and her right on the bowl. She turned the dishes over and loosened
the bowl from its contents and revealed a tall mound ofglistening rice (my
favorite food in the entirc world) decorated with finely minced and green
stalks of scallions-
The chicken and salad do not Gature so prominently in my memory,
but each grain of red rice is emblazoned on the surface ofmy tongue

48
 Aufobiography/ Biography

"Gluttonous" and "grccdy" ncgatively describe the hearty eater offered the
seduction ofher favorite food.
Two large portions ofrice sated my appetite, but the deliciousness ofthe
made me long for a larger stomach so that I could eat two more helpings.
My mother had plans for the rest ofher afternoon, so she gathered her
and we left the house together.
We reached the middle of the block and were enveloped in the stinging
aroma ofvinegar from the pickle factory on the corner of Fillmore and Ful
streets. I had walked ahead- My mother stopped me and said, "Baby."
I walked back to her.
"Babn I've been thinking and now I am sure. You are the greatest woman
ever met-"
I looked down at the pretty little woman, with her perfect makeup and
&amond earrings, and a silver fox scarf. She was admired by most people in
Francisco's black community and even some whites liked and respected her.
She continued. 'Youare very kind and very intelligent and those
not always found together. Mrs. Eleanor Roosevelt, Dr. Mary Mcleod
and my mother-yes, you belong in that category. Here, give me a kiss."
She kissed me on the hps and turned andjaywalked across the street to her
beige and brown Pontiac. I pulled myselftogether and walked down to F
Street. I crossed therc and waited for the number 22 streetcar.
My policy ofindependence would not allow me to accept money or even
ride hom my mother, but I welcomed her and her wisdom. Now I thought
what she had said. I thought, "Suppose she is right? Shet very intelligent
often said she didn't fear anyonc enough to lie. Suppose I really am going to
become somebody. Imagine."
At that moment, when I could still taste the red rice, I decided the time
come to stop my dangerous habits like smoking, drinking, and cursing.
I might really become somebody. Someday.

49
 Anne Frank
1929 - 1945
@
Anne Frank was born to Otto Frank and his wife ith on June 12,
1929. They named her Annelies Marie. She had sister Margot who
was three years older. They were a lewish fami llving in Germany.
Their families had lived in Germany for centuries.

By 1932 Adolph Hitler had risen to power in ny and instead of

enjoying a democracy, the German people now s red under the
rule of a dictator. Hitler blamed the Jews for all e problems in the
country. Otto realized it was becoming unsafe his family in
Germany and moved them to the Netherlands. set up a company
in Amsterdam making a product that the women to make
homemade jam. It was called Opekta. (pectint is from fruits
and will cause jelly and jam to jell. In America yo can buy a pectin
product called Sure Jel.)

The family was safe for a while, but then in 1940 Germans
invaded the Netherlands and began to arrest and persecute the lews
Statue Anne Frank in UtrechC nade by there. They put restrictions on the lews and them wear an
1
Pleter dHont in 1959 and placed in 0 identifying yellow star on their clothes. They coul not own a
at the Janske*hof
fhoto by wikipedia user afibl
business. They could not ride a bicycle. Life beca very hard, and
the Jews feared for their lives.

Margot, Anne's sister was called to report to a work camp in Germany. The family ad been planning
a hiding place, but with Margot's call-up they knew they had to hide immediately. nd so they did.
The date was July 5, 1942.

The hiding place became known as the Secret Annex. It was located at
263 Prinsengracht. The Frank family would occupy two rooms on the first
floor. A week later Mr. and Mrs. Van Pels and their son would move into
the two rooms on the second floor. From Peter's tiny room they could
access the attic where food was stored. There was a small bathroom on
the first floor.

The first thing they did was make curtains to prevent anyone from seeing
in. An eighth person, FriE ffeffer, an older man, a dentist, arrived in
November and would share a room with Anne.

Father Voskuijl made a movable bookcase to hide the door through which
they entered their quarters.

This picture shows the streetside view of the building. Otto Frank's offices
were at the front of the building and the hiding place was at the rear.

There were four people who helped them during the two years and 30
days they were in hiding. Miep Gies, Victor Kugler, Johannes Kleiman and
Bep Voskuijl provided food for them, and at great personal risk to their
own lives visited daily and brought news from the outside world.

The people in hiding must be very quiet when the warehouse workers are at wo downstairs. They
can move around when the men are gone for lunch, and at 5:30 in the afternoon n the workers
leave the building Anne and the others are free to go downstairs into the office Anne calls it
their "nightly freedom".

The Franks had brought school books for an extended stay and library books are rought to the
group weekly. They spend a lot of time reading. studying, and working correspo courses.
 Anne writes in her diary.x She creates n imaginary friend
"Kitty" with whom she shares her inne thoughts in
her writings. Sometimes she writes s stories. After
- hearing on a radio broadcast that there would be a
r5E collection of the diaries and writings during the war,
Anne begins to think about making her ngs into a
book. After a lot of thought she decid she will call it
"Achterhuis" (Secret Annex).

She begins rewriting her entries, leavi out some very

personal items she would rather not sh re. For over two
months she works rewritinq her diaries.

On August 4, 19.+4 the people in hiding were discovered. Someone, they never fo nd out who,
betrayed them and a Secret Service officer and three men of the Dutch police fo came up the
staiB, entered with guns, and herded them away to jail. The two men who had n helping them
were also arrested and taken to the city prison. The two women helpers, Miep a Bep, were left
behind. They went into Anne's small room. Her diaries were scattered all over the r. They
collected them and Miep kept them.

The eight people are taken to a transit camp, Westerbork. From that camp people are taken to
extermination and concentration camps.* During the month they are there they h to break up old
batteries. On September 2, 1944 their names appear on the list of people to be . They are put
on freight cars and three days later they arrive at the Auschwitz-Birkenau con on camp. The
people in the freight cars were divided. Men and women were separated and then they were divided
into groups; one group would go to labor camps, and those who could not work uld be killed in the
gas chamber.

By the end of October Anne and her sister Margot are transferred to another cam , Bergen-Belsen.
They both become ill there and died of typhus in March of 1945. They died just a weeks before
the British Army arrived and freed the prisoners.

The four helpers survived the war and so did Anne's father Otto Frank. He sea desperately for
word of the fate of his family. Finally in .July he met two sisters who witnessed the death of Anne and
Margot.

After Otto learned of the death of his daughters, Miep gave him the pages of the iary she had been
saving. He was surprised at the depth of her writings. This was an Anne he neve r . He honored
her wish to have her writings published as a book. First the book was published i n the
Dutch* language, then German, French, and English. The book was made into a ge play, then into
a film.

Today when you see the word "Holocaust"* it usually refeB to this time
in which the German Army systematically* killed nearly 6 million Jews. r&.-
People need to learn about the Holocaust and the reasons why it
happened, lest periods of hatred and discrimination cause a similar
genocide.* Some say it never happened at all, but we know it did
because there are too many witnesses and survivors who lived to tell
the world about those darkest of times.

Today if you visit the site of the Bergen-Belsen concentration camp you
can see a memorial to Anne Frank and her sister Margot.

This biography by PaEy Stevent a retired teacher, was witten in 2007' Source'
h tW : //qa rde n ob ra ise. com/i bda n ne f, h tm

51
SPEECH ELEMENTS

1. SELF INTRODUCTION

The first thing to do in any speech you write, is to introduce yourself. If yotlr,ve seen footage
of historic speeches, the speaker might skip over the formality of introducir{g themselves, or
they might be introduced by someone before they take the stage.

In fact, your introduction is an opportunity, An opportunity to show your exlminers that you
can adapt to introduce yourself to any audience. Here's two examples of different audiences
and how you could introduce yourself appropriately:
I

. You're giving a speech to vour teachers

Becausi youlre talking to your teachers, in this example, your introducfion would need
to be more formal. For instance; "Hello, and thank you for taking the tlme to listen. My
name is Lawrence Smart, and I'm here today to talk to you about..." I

Notice how the speech writer in this example uses their full name and fs very polite to
his audience.

're makin ch
In this example, your language can be more casual. Your classmates a ready know who
you are, so you could say; "Hi everyone. Most of you know me already know me - my
name's Shanice. I'm the one who always sits at the back of the class.
This speech writer is far less formal, but that's perfect for her audienc e. She is spea king
to her equals, and she can connect with them far more effectively by rising the language
they would usually use with each other.

Remember - your introduction is an opportunity. Be creative and introduce yourself to your

audience with the tone you mean to 9o on with.

2. GRABBER/GREAT OPENING

A grabber is used to open your remarks, connect with your audience and capture eir attention.
].'
There are many techniques you cirn use to draw listeners

Now the audience know who you are, it's time to make them pay attention.
You should always begin writing your speech in a way that is catchy. You want to craft an
introduction that will captivate your target audience. A good opening statement is fairly brief,
but uses language techniques to make an immediate impact.

To begin your speech, try using some of the following language techniquesi
A rhetoric al ouestion
Rhetorical questions are questions that you don't expect your audienc$ to answer. So
why use them? Because they make your audience think. When you aslt a question that
your audience wants to know the answer to, they will pay attention. Il1 you then provide
an answer to your own question. your audience will be hooked.
Example:
"I'm here to talk to you about what ordinary people can do to fight agEinst climate
change. Why? Because we're running out of time to act."

aluplrslnssalcloctr!
Surprise is a powerful tool in any speech. It makes your audience sit qp and pay
attention. Think of the most surprasing opinion or fact you want to co4vey in your
speech. Now, use it right at the beginning.

52
 A famous ouote
Before your exam, ta ke a look at a list of famous ouotes, Don.t worry bout revising
famous quotes befo re your exam: the quote itself won,t get you marks But, if you can
remember one whic h is relevant to your speech topic, use it. It will de onstrate your
creativity and flair.
Example:
"As a wiser woman than me once wrote: .It is our choices, that show hat we truly are,
far more than our abilities,.,,
A Storv
Literarv References
Jokes
e nta t new r r n
Releva nt personal Feelings
Feelin s or insiohts the sDeaker h about the a dience
Tra its. feelinqs or ex iences the s ker has in mmon with audience

Think about how these different techniques effectively grab your attention, and remember
that you can do the same with your speech.

3. Subject
Explicitlv state the subiect of vour remarks. Doing so can be as simple as this exarhple: "I'm here
today to talk about the role of mentors in our work.,,

stating your subject might feel like stating the obvious, but it expresses a commitrnent to your
audience. A stated subject shows that you have a plan and have prepared for your talk; that you
value the time they spend listening to you and that you,re going to stay on topic.

Relate everything you include in your speech structure to one single purpose, That may
mean you have to edit out some of the material you like the most, but if it doesn't relate to your
purpose it doesn't belong in the speech structure.

4. Message/Content
Related to the subject but more specific. the message is a single sentence that enca psulates what it is
you will communicate through your speech. Your message includes the thesis or y'oi nt you intend to
illustrate for your audience.

Following on the example above, a message might be, "Introducing mentors has a llowed us to double
the effectiveness of our programs."

State vour message within vour speech introduction, and restate it in your conclusion to summarize
your remarks.

5. Theme

A theme can be an image, a metaphor or a poweful word that adds interest to your remarks. A
theme offers language that unifies the points in your speech, pulling your words together.
For example, a relevant theme in a speech about mentors might be'navigation'. The incorporation of
language that reflects the theme of navigation (e.9. direction, compass, pathwayq, journey) can add
interest, imagery and power to your speech. It can also support idea generation for other speech
elements.

One of the biggest speech writing mistakes speakers make is trying to pack in tod much
information into their structure. Like a gingerbread house that's designed to be part castle, part
luxury hotel, part mountain refuge, we will become confused about what your spJech is built for.

53
 Other speakers stay focused on one tiny area of their s peech structure for long and then
rush the rest of the speech, like making a really beautiful door for your gingerb house, but
having nothing to attach it to

6. Call to action

Every speech should have a call to action that is related to your message . It mig be a big bold
rallying cry or a simple step audience can take with them and implement. ur rem
call to action to help your audience feel part of your message.

Stru cture of the Mes qe/Co nt

Make your speech structure clear to the audience. Don't insert unrelated an about your
childhood and skip from point A to point e. Use your speech structure to stress r most important
points. If you focus on a minor point too long then the audience will get the wron idea
of what's
important. Don't be afra id to repeat your key points. A classic way to structure a is that the
introduction is 100/0 of your speech, content 800/o, and conclusion 10olo. This all for your audience
to remember the meat of your speech versus an over-long introduction or conclus n.

To structure your speech and make it easy for your audience to understand your point, split
it into three sections: Introduction, main body, and conclusion. In each secfion you,re trying
to achieve a different aim: I

INTRODUCTION

In the Introduction, your aim is to tell your audience who you are and what you,re talking
about. Then, you want to grab their attention.

MAIN BODY
The main body of your speech is where you make your arguments. Divide this main body into
2-3 points. and separate each point into different paragraphs.
A number of different structural approaches can be used depending on the messaEe and subject
matter. For example, a speech body can be structured by:

. Achronological comparison such as 'past' vs 'present' or 'present' vs 'futufe'

. The'ways'or 'reasons'your main idea or message is true
. The'steps'that have been taken or are underway for achieving a goal or viqion mentioned in
your message
. The'challenge' you are facing and your 'response' to it
. Melodrama Structure: A story personal to the speaker with a similar struclpre to many
movies. We meet the character and see their circumstances. Then a tragedy pccurs. And finally
tell how your character overcomes and triumphs over the tragedy. This speeqh structure creates
a journey that will emotionally engage your audience and build credibility.
. The Tower Structure: This structure is all about using different layers of inFormation that
garners the audience's attention by supporting your key message. When you (and your
audience) finish building the structure together you can look at the power of the structure you've
created.
. Mystery Structurei Structure your speech around asking a question or pre+enting a Problem to
the audience that they are desperate to know. Keep them on the edge of thdir seats by their
desire to hear your crucial message.
. Ping Pong Stiucture: Another fun way to structure a speech is to present hth sides of the
argument in such a way that the audience wanG to find out "Who wins?".

Once a body structure is established it forms your speech outline; ur n

a roadmap of vour remarks and to provide listeners with a feeling of anticipation.

54
For example, "Today I'm going to tell you what the mentoEhip program has done for our
organization. First it has attracted new volunteers from our priority communities. nd, it has
allowed for a more meaningful connection between participants and our organizat n. And third, it
has created an opportunity for that connection to be ongoing.,,

Having introduced your speech structure in the introduction, a U or section as you

proceed, to make your speech easy to follow.

CONCLUSION

o At the end, comes the conclusion. A good conclusion takes everythin[ you saia and
sums it up,

LANGUAGE I

Begin every paragraph with a topic sentence I

Because you're dividing your speech into separate paragraphs, it's importadt to make it clear
what each section is about. To do that, ensure that you have topic sentencfs for each
paragraph. I

For example: "Jellyfish are the second thing I want to put into Room l0t, Nnd for good
reason.'

Use proper English

Good English is essential for your examiner to give you good marks.
But don't worry, if you're not confident, there are couple of tricks you can use to avoid
making mistakes:
o Avoid long sentences. Write short sentences instead. By keeping thingS short, you limit
the amount of complex punctuation you need to use. However. bear in mind that for the
top marks, examiners are looking for a range of sentence structures and punctuation.
. Practice. It's a simple tip but it's the best one I can give you. Trying anything for the
first time takes your attention away from your grammar and spelling, and that can lead
to mistakes. Practice makes perfect, and it also makes you more confident.
Watch this video for m com ista you want to avoid in your English exam.

Express opinion

The most common mistake students make when writing a speech is that th€y don't express
an opinion.
Opinions are the element that make a speech interesting. Whatever you are writing a speech
about, express yourself. Don't just write aboutyout topic, write what you think about it.
What if you don't have a strong opinion on the subject? Imagine you do, al]ld write from that
perspective. The examiner won't care about your opinion, or whether they bgree with it.
What they will care about is that you are expressing an opinion in a persuaisive, engaging
way.

lst person and engage audience

When writing your speech, always ensure that you write using the lst persPn. This means,
use "I" as you write. By doing this, your audience will recognise that what you're saying is
your opinion,
You should also address your audience directly as if you were actually talking to them. Use
"we" and "you" in your writing. For example: "I'm sure you'd all agree thatf..", or "As a
community, we need to...".
Using the 3rd person makes each of your audience members sit up and listFn. It makes them
think about how your topic and argument applies to them.
I
Use personal details and anecdotes

Every good speech writer aims to ma ke the audience relate to them. If you audience relates
to you, they are far more likely to ag ree with what you're saying
One of the best ways to do that is to tell a short story about yourself, or p ide short
personal details. You don't want to s pend too much time talking about you
lf and not about
your argument, but small details will bring your speech to life.
Here's some examples:
In a speech about bullying, you might say: "Like it is for so many you people, bullying
is a subject th at is close to my heart. When I was at primary school, I as bullied and I
now know h ow harmful it can be."
. For a speech about music, you could say: .'Ever since the day I first h rd Kanye West's
Runaway, I knew I'd be a lifelong fan.,,
If you were talking about sport, you might say: "I was never a good r by player. But,
football? My school's muddy, overgrown footbal I field is where I found y true calling. "

Use rhetorical questions

Use rhetorical questions throughout your speech, just like I suggested you !bhould do in your
opening. Remember: rhetorical questions grab your audience,s (and your eiiaminer's)
attention.
But, don't use too many questions, or you'll begin to sound like you don,t kfrow what you're
talking about! A good rule of thumb is to use 2-3 rhetorical questions in thrllughout your
speech, each in different paragraphs.

Use emotive language

Emotive language is one of the most basic, but most effective tools a speech writer can use.
In your speech, things shouldn't simply be described just as "good" or "badf. They should be
"fantastic" or "horrible", "pure" or "corrupted", "exciting" or "disappointing'tf Notice how
these example words express more than just "good" or "bad", they also add other flavours to
your description.
But, be careful not to over-use emotive language. If you go go over the top it can reduce the
effectiveness oF all of your words, Use emotive words sparingly throughout your speech.

Use figurative language

As with emotive language, this shouldn't be over-used. But, used sparingly, fig urative
language creates powerful images in your audience's mind. There are many types of
f,gurative language, but these are the main ones you should focus on using in your speech:
. Simile - Describing something to be like something else. For instance, "She has eyes
like a hawk", "He's thin as a twig", or "They're fighting tik ts ndd
. Metaphor - Describing something by using a word that isn't literally levant. For
example, "It's raininq men", "I'm feeling blue", or "The weather was rl co ld ".
. -
Imagery Using words to make you imagine how they would affect ur senses. For
example; "A sweet apple", "A sharp pin", or "The lion roared".

Use contrast

Contrast is a powerful technique. It highlights your point because of the cl dsh of imagery it
creates in the audience's mind.
You can exploit this by using contrasting words and phrases in your senten For instance;
fes.
"I love writing, but I hate writing essays".
You can also bring added flavour to your figurative language, by using con asting imagery.
For example, you could describe one person as a "fiery and passionate" an another as "cold-
hearted".

56
Use repetition

Repetition is for emphasis. Repetition is memorable. Repetition is one of ny persuasive

techniques which will help you get a good grade.
As I've just done, starting consecutive sentences with the same word is a ry effective
tech nique.
Repetition can also be used for key phrases in your introduction and conclu ion to bring your
speech full circle. For instance, if you started your speech by saying "The p n is mightier
than the sword", repeat that phrase in the conclusion to your speech.

Use the list of three

We don't know exactly why, but the human brain easily remembers things i threes. Use this
to your advantage.
When you're using a list of adjectives to describe something, use three. W n you're
A very common technique is to combine repetition with the list of three. By repeating a word
three times in consecutive sentences, you can make a very compelling poi

Focus on the topic

When writing a speech in an English exam, always stay focused on the topi you have been
asked to write about. Never derail from the subject of the speech you are riting. This will
make you lose marks.
This is why it is so important to plan your speech before you begin writing . Think through
the structure you are going to use and stick to it. That way, you'll stay on t pic and your
arg ument will be focused

57
TIPS

Preparing a speech text

. Seek a structure that turns up the intensity as you progress through your speech.
. Keep the audience's attention throughout your speech by building to a climaxf rather than
peaking too soon. Your structure should always show them a reason why the'i,should keep
listening, but don't quite salisfy that reason until just before the end of your lpeech.
. Use your structure to build that intensity over time to a crescendo then end qLrickly. this allows
the audience to remember your peak and not a 10 minute droning ending thqt never ends.
(Think "out with a whimper")
. I

Organise your thoughts so that you don't have to make snap decisions while presenting.
. Structure your speech so that you send your audience home remembering yofr key messages
rather than wondering "what was that all about"?
. Don't be afraid to edit your speech down to the simplest possible structure. Ifiyour structure is
simple (without being over simplistic) you will keep everyone on board.
. As you establish youi structure and feel confident about it, you are more able to improvise and
then come back to the plan. This helps you to be more fresh and empathetic with your
audience.
. The following acronym might help you

P-ersonal anecdotes to bring your speech to life

E-motive language to persuade your audience.
R-hetorical questions to make your audience listen.
F-igurative language such as metaphors and similes.
E-mphasis through repetition and the rule of three.
C-omparison and contrast to make your points clear.
T-one of voice that is relevant and persuasive for your specific audience

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or-oresentation

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 Speech

John F. Kennedy's lnaugural Address in Washington on lanuary 2O,196

This is an extract from the speech by John E Kennedy at his inauguration, a form I ceremony
to mark the beginning of his term of office as President of the United States of menta

To those new states whom we welcome to the ranks of the free, we pledge word that
one form ofcolonial control shall not have passed away merely to be replaced a far
more iron tyranny. We shall not always expect to 6nd them supporting our But we
shall always hope to 6nd them stroagly supporting their own freedom - and remember
I

that, in the past, those who foolishly sought power by riding the back of the ger ended
up inside.

To those people in the huts and villages ofhalfthe globe struggling to break bonds of
mass misery, we pledge our best efforts to heip them help themselves, for period
is required - not because the Communists may be doing it, not because we their
votes, but because it is right. Ifa free society cannot help the many who are it cannot
save the 6w who are rich.

To our sister republics south ofour border, we offer a special pledge: to convert our
good words into good deeds, in a new alliance for progress, to assist free men and free
governments in casting offthe chains ofpoverty. But this peaceful revolution ofhope
cannot become the prey ofhostile powers. Let all our neighbours know that rve shalljoin
with them to oppose aggression or subversion anywhere in the Americas. Anc I let every
other power know that this hemisphere intends to remain the master of its ol'lrn house.

To that world assembly of sovereign states, the United Nations, our last best htoPe rn an
age where the instruments ofwar have far outpaced the instruments ofpeace, we renew
our pledge of support - to prevent it from becoming merely a forum for inve<
ftive
ti
strengthen its shield ofthe new and the weak, and to enlarge the area in whiclI rts wrrt
may run.

Finally, to those nations who would make themselves our adversary, we o{fer not a pledge
but a request: that both sides begin anew the quest for peace, before the dark powers
ofdestruction unleashed by science engulfall humanity in planned or tal self-
destruction.

We dare not tempt them with weakness. For only when our arms are sufi t beyond
doubt can we be certain beyond doubt that they will never be employed.

But neither can two great and powerful groups ofnations take comfort from r Present
course - both sides overburdened by the cost ofmodern weapons, both alarmed
by the steady spread ofthe deadly atom, yet both racing to alter that unce balance of
terror that stays the hand of mankind's 6nal war. I

I
So let us begin anew -remembering on both sides that civility is not a sign weakness,
I
and sincerity is always subject to proof. Let us never negotiate out of Gar, but let us never
I

fear to negotiate.

6.O
Speech

Let both sides explore what problems unite us instead ofbelaboring those blems which
divide us.

Let both sides, for the first time, formulate serious and precise proposals for lnspectlon
and control of arms, and bring the absolute power to destroy other nations the
absolute control ofall nations.
I

Let both sides seek to invoke the wonders of science instead of its terrors let
I
us explore the stars, conquer the deserts, eradicate disease, tap the ocean and
encourage the arts and commerce.

Let both sides unite to heed, in all corners of the earth, the command ofl to "undo
the heavy burdens, and [to] let the oppressed go free."

And, ifa beachhead ofcooperation may push back thejungle ofsuspicion, both sides
join in creating a new endeavor - not a new balance ofpower, but a new oflaw -
where the strong arejust, and the weak secure, and the peace preserved.

All this will not be finished in the 6rst one hundred days. Nor will it be 6ni in the
6rst one thousand days; nor in the lifc of this administration; nor evcn ln our
lifetime on this planet- But let us begin.
I

60
'Youtve got to find what you love,'Jobs says ]

This is a prepared text of the Commencement address delivered bv Steve Jobs. CdO of Apple
Computer and of Pixar Animation Studios, on June 12, 2005. I

I am honored to be with you today at your commencement from one of the finest Lniversities in the
i
world. I never graduated from college. Truth be told, this is the closest I've ever pl)tten to a college
graduation. Today I want to tell you tkee stories fiom my life. That's it. No big;t)al- Just three
stories. - I

The first story is about connecting the dots.

I dropped out ofReed College after the first 6 months, but then stayed around as a drop-in for another
l8 months or so before I really quit. So why did I drop out?

It started before I was born. My biological mother was a young, un*ed college grfduate student, and
she decided to put me up for adoption. She felt very strongly that I should be adopf ied by college
graduates, so everything was all set for me to be adopted at birth by a lawyer and l] is wife. Except that
when I popped out they decided at rhe last minute that they really wanted a girl. Sdi my parents, who
were on a waiting list, got a call in the middle of the night asking: ..We have an uniExpected baby boy;
do you want him?" They said: "Ofcourse." My biological mother [ater found out t]hat my mother had
never graduated from college and that my father had never graduated fiom hi refused to
sign the final adoption papers. She only relented a few months later when my sed that I
would someday go to college.

And l7 years later I did go to college. But I naively chose a college that was almost as expensive as
Stanford, and all ofmy working-class parents' savings were being spent on my college tuition. After
six months, I couldn't see the value in it. I had no idea what I wanted to do with my life and no idea
how college was going to help me figure it out. And here I was spending all of the money my parents
had saved their entire life. So I decided to drop out and trust that it would all work out OK. It was
pretty scar-y at the time, but looking back it was one ofthe best decisions I ever made. The minute I
dropped out I could stop taking the required classes that didn't interest me, and begin dropping in on
the ones that looked interesting.

It wasn't all romantic. I didn't have a dorm room, so I slept on the floor in friends'frooms, I returned
Coke bottles for the 5l deposits to buy food with, and I would walk the 7 miles acrbss town every
Sunday night to get one good meal a week at the Hare Krishna temple. I loved it. ,{nd much of what I
stumbled into by following my curiosity and intuition tumed out to be priceless lattr on. Let me give
you one example:

Reed College at that time offered perhaps the best calligraphy instruction in the c Throughout
the campus every poster, every label on every drawer, was beautifully hand calli ed. Because I
had dropped out and didn't have to take the normal classes, I decided to take a call y class to
learn how to do this. I learned about serifand sans seriftypefaces, about varying amount of space
between different letter combinations, about what makes $eat t,?ography geat. It was beautiful.
historical, artistically subtle in a way that science can't capture, and I found it fascifrating.

None of this had even a hope ofany practical application in my life. But 10 years later, when we were
designing the first Macintosh computer, it all came back to me. And we designed it'all into the Mac- It
was the first computer with beautiful typography. IfI had never dropped in on that ingle course in
college, the Mac would have never had multiple typefaces or proportionally fonts. And since
Windows just copied the Mac, it's likely that no personal computer would have th . IfI had never
dropped out, I would have never dropped in on this calligraphy class, and personal omputers might
not have the wonderful typography that they do. Ofcourse it was impossible to c the dots
looking forward when I was in college. But it was very, very clear looking bac l0 years later

61
 Again, you can't connect the dots looking forward; you can only connect them
I ng backward. So
you have to trust th at the dots will somehow connect in your future. You have
to st in something
your gut, destiny, Iife, karma, whatever. Th is approach has never let me -
down, an it has made all the
difference in my life.

My second story is about love and loss.

I was lucky I found what I loved to do ear ly in life. Woz and I started Apple in y parents' garage
when I was 20.- We worked hard. and in l0 years Apple had grown from just the ofus in a garage
tn to a $2 billion company with over 4,000 employees. We hadjust released
our fi est creation the
Macintosh a year earlier, and I hadjust tumed 30. And then I got fired. How - from
you get fired
a company you started ? Well, as Apple grew we hired someone who I thought w very
talented to
run the company with me, and for the first year or so things went wel[. But then o visions ofthe
future began to di verge and eventually we had a falling out. When we did, our B of Direclors
sided with him. S o at 30 I was out. And very publicly out. What had been the foc of my entire adult
life was gone, an d it was devastating.

I really didn't know what to do for a few months. I felt that I had let the prevrous eration of
entrepreneurs down that I had dropped the baton as it was being passed to me. I met with David
Packard and Bob Noyce and tried to apologize for screwing up so badly. I was a public failure,
and I even thought about running away fiom the valley. But somethin g slowly beg[n to dawn on me
I still loved what I did. The tum of events at Apple had not changed that one bil . I had been
-
rejected, but I was still in love. And so I decided to start over.

I didn't see it then, but it tumed out that getting fired from Apple was the best lhinl that could have
I
ever happened to me. The heaviness ofbeing successful was replaced by the lightqess of being a
beginner again, less sure about every.thing. It freed me to enter one ofthe most cre!rtive periods of my
life.

During the next five years, I started a company named NeXT, another company named Pixar, and fell
in love with an amazing woman who would become my wife. Pixar went on to create the world's first
computer animated feature film, Toy Story, and is now the most successful anim atibn studio in the
world. ln a remarkable tum of events, Apple bought NeXT, I retumed to Apple, anld the technolory
we developed at NeXT is at the heart of Apple's current renaissance. And Laure neland I have a
wonderful family together.

I'm prett5z sure none of this would have happened if I hadn't been fired fiom Appl e . It was awful
tasting medicine, but I guess the patient needed it. Sometimes life hits you in the with a brick.
Don't lose faith. I'm convinced that the only thing that kept me going was that I I what I did
You've got to find what you love. And that is as true for your work as it is for you lovers. Your work
is going to fill a targe part ofyour life, and the only way to be truly satisfied is to what vou believe
is great work. And the only way to do great work is to love what you do. Ifyou ha en't found it yet,
keep looking. Don't settle. As with all mafters ofthe heart, you'll know when you tn d it. And, like
any great relationship, itjust gets better and better as the years roll on. So keep lo ing until you find
it. Don't settle.

My third story is about death,

When I was 17, I read a quote that went something like: "Ifyou live each day as if t was your last,
someday you'll most certainly be right." It made an impression on me, and since , for the past 33
years, I have looked in the mirror every moming and asked myself: "Iftoday were he last day ofmy
life, would I want to do what I am about to do today?" And whenever the answer been 'No" for
too many days in a row, I know I need to change something.

ol
Remembering that I'll be dead soon is the most important tool l,ve ever encount to help me make
the big choices in life. Because almost ever1^hing all extemal expectations, all ide, all fear of
embarrassment or failure - in the face of death, Ieavin only what is truly
these thingsjust fall away
important. Remembering -that you are going to die is the best way I know to avoid trap ofthinking
you have something to lose. You are already naked. There is no reason not to foll your heart

About a year ago I was diagnosed with cancer. I had a scan at 7:30 in the m and it clearly
showed a tumor on my pancreas. I didn't even know what a pancreas was. The d ors told me this
was almost certainly a type of cancer that is incurable, and that I should expect to ive no longer than
three to six months. My doctor advised me to go home and get my affairs in order which is doctor's
code for prepare to die. lt means to try to tell your kids everlthing you thought 'd have the next l0
years to tell them injust a few months. It means to make sure everything is button d up so that it will
be as easy as possible for your family. It means to say your goodbyes.

I lived with that diagnosis all day. Later that evening I hada biopsy, where they k an endoscope
down my throat, through my stomach and into my intestines, put a needle into my ancreas and got a
few cells liom the tumor. I was sedated, but my wife, who was there, told me that hen they viewed
the cells under a microscope the doctors started crying because it tumed out to be very rare form of
pancr€atic cancer that is curable with surgery. I had the surgery and l'm fine now.

This was the closest I've been to facing death, and I hope it's the closest I get for a few more decades
Having lived through it, I can now say this to you with a bit more certainty than w en death was a
useful but purely intellectual concept:

No one wants to die. Even people who want to go to heaven don't want to die to g{t there. And yet
death is the destination we all share. No one has ever escapd it. And that is as it s(ould be, because
Death is very likely the single best invention of Life. It is Life's change agent. It clears out the old to
make way for the new. Right now the new is you, but someday not too long fiom riow, you will
gradually become the old and be cleared away. Sorry to be so dramatic, but it is quite true.

Your time is limited, so don't waste it living someone else's life. Don't be trapped by dogma
which is living with the results ofother people's thinking. Don't let the noise ofothers' opinions -
drown out your own inner voice. And most important, have the courage to follow your heart and
intuition. They somehow already know what you truly want to become. Everythin else is secondarv
When I was young, there was an amazing publication called The \Yhole Earth Cat og, which was
one ofthe bibles ofmy generation. It was created by a fellow named Stewart B not far from here
in Menlo Park, and he brought it to life with his poetic touch. This was in the late I 60s, before
personal computers and desktop publishing, so it was all made with typew ters, sc ssors and Polaroid
cameras. lt was sort of like Google in paperback form, 35 years before Google c along: It was
idealistic, and overflowing with neat tools and great notions.

Stewart and his team put out several issues of Zfte Whole Earth Catalog, and then en it had run its
course, they put out a final issue. It was the mid- 1970s, and I was your age. On the cover oftheir
final issue was a photogaph of an early moming country road, the kind you might nd yourself
hitchhiking on ifyou were so adventurous. Beneath it were the words: "Stay Hun Stay Foolish." lt
was their farewell message as they signed off. Stay Hungry. Stay Foolish' And I ha always wished
that for myself. And now, as you graduate to begin anew, I wish that for you.

Stay Hungry. Stay Foolish.

Thank you all very much.

63
 JOURNALIST INTERVIEW

lournalism is a unity of the technological and creative forms of obtaining, recordirig,

accumulating, processing and spreading information of high public interest or coniern

CHARACTERISTICS
1. As a rule, an interview reflects reality and is presented in the form of questions and
answers.
2. While holding an interview, one party - the respondent or the interviewEe, is the possessor
and source of some definite information; the other - the iournalist or tte interviewer - is
the receiver and disseminator of this information.
3. An interview-as-genre must pertain to something topical and interesting for general audience,
not just for the journalist who conducts it. It implies readership, listenership or viewership.
4, An interview, unlike all other journalistic genres, serves to show the opinion of the
respondents but not of the journalists themselves.
5. An interview excludes discussion.
6. The time interval between the interview taking place and being published or b roadcast should
be as short as possible.

Asking Journalistic Questions

Alljourn;lists set out to flnd answers to the same essential question s; Who is invived? What is
happening? Whereis il happening? When is it happening? Why is it hapFning? Hpwis it happening?
These 'iournalisJjc.sucstionj are also known as the 5 WlGruLH. Indeed, asking journalistic questions
can help you assess most situations, whether you are planning a project, researchlng a topic, or
evaluating finished work. The following chart shows the questions you could ask in each situation.
5 W's and H Chart
Journalistic observing Researching a Planning a Proiect E{aluating a Proiect
Questons an Eventor Topic
Situation
Who? Who is Who caused this? Who is involved with Who created each part?
involved? Who is most this project? Who will Who provided the most
affected by it? benefit in the end? help to others?

What? What is What is the nature What gcl

do we What feature is strongest?
happening? of this? What is the have? What tasks What feature is weakest?
extent? should we complete?

Where? Where is it Where is this? Where will we work? Where should we present
happening? Where else might it Where will we this project?
be? present?

When? When is it When did this first When is it the project When was it due? When
happening? appear? When will it due? When is each did we complete work?
cease? task due?

whv? Why is it Why is this Why are we doing Why did we choose this
happening? important? Why this project? Why will project? Why did it turn
does it impact our our project stand out as it did?
lives? out?

How? How is it How is this useful How will we complete How did our Plan work?
happening? now? How could it the work? How will How did the team work
be used in the others judge what we together?
future? did?
https://euiournal.orgr/index.php/esj/article/viewFile/2376l2249
http://thoughtfullearnino,com/inquireHSbooUpo346

64
 lnterview

BBCI Ponoromo interview between Martin Bashir and Princess Diana

This is an extract from the television interview broadcast in 1995 between Ma n Bashir, a
journalist with the BBC current affairs programme Ponoramo, and Drana, Princ of Wales.

Ollill: I think the British people need someone in public life to give a to
make them feel important, to support them, to give them light in dark
tunnels. I see it as a possibly unique role, and yes, I ve had diffc as
everybody has witnessed over the years, but lett now use the know lve
gathered to help other people in distress.

llSlllil oo you think you can?

llllJlll t k""* I can, I know I can, yes.
BlSllli: up until you came into this family, the monarchy seemed to enjoy a
unquestioned position at the heart ofBritish life. Do you feel that y ie at
all to blame for the fact that survival ofthe monarc\ is now a quest that
people are asking?

0llXl: No, I don't feel blame. I mean, once or twice I've heard people say to me that,
you know, 'Diana's out to destroy the monarc\', which has me,
because why would I want to destroy something that is my children future. I
will 6ght for my children on any level in order for them to be happy d have
peace of mind and carry out their duties. But I think what concerns most
ofall about how pcople discuss the monarchy is they become i and
I think that is a problem, and I think that should be sorted out, yes.

BtsHrn: When you say indifferent, what do you mean?

0ttrt: They dont care. People don't care anymore. They've been so force- with
marital problems, whatever, whatever, whatever, that they re Gd up. Imfed
up of reading about it. I'm in it, so God knows what people out t must
think.
BISHIII Oo you think the monarchy needs to adapt and to change in order survive?

DhIl: I understand that change is frightening for people, especially ifthere'i nothing
to go to. It's best to stay where you are. I understand that. But I do thLirk ,hr,
there are a few things that could change, that would alleviate this dor
[,u,, ",a
sometimes complicated relationship between monarchy and public. I ithink
they could walk hand in hand, as opposed to be so distant.

BlSllli: wt at are you doing to try and effect some kind of change?

Itlllll: well, with william and Harrn for instance, I take them round
projects, I've taken William and Harry to people dying of Aids - I told
them it was cancer - I've taken the children to all sorts of areas w I m
not sure anyone ofthat age in this family has been before. And they ave a
knowledge - they may never use it, but the seed is there, and I hope will
grow because knowledge is power-

65
lnterview

BlSlllfil Wh.t are you hoping that that experience for your children - hat impact
that experience will have on your children?

lllllll I want them to have an understanding ofpeople's emotions, [e's

insecurities, peoplei distress, and people's hopes and dreams.

B[SHI[: What kind ofmonarchy do you anticipare?

0llllll f would like a monarchy that has more contact with its people and I don't
mean by riding round bicycles and things like that, butjust a more
in-depth understanding. And I don't say that as a criticism to Present
monarchy: Ijust say that as what I see and hear and feel on a d y basis in the
role I have chosen for rnyself.

Bl$Hl[l fhere's a lot ofdiscussion at the moment about how matrers vourself
and the Prince of Wales will be resolved. There's even the n ofa
'What
divorce between you. are your thoughts about that?
Itlllll t dont want a divorce, but obviously we need clarity on a si that has
been ofenormous discussion over the last three years in pa . So all I say
to that is that I await my husband's decision of which way we all going to
go.

BTSHIR: Ifhe wished a divorce to go through, would you accept that?

IItm: I would obviously discuss it with him, but up to date neither of us has
discussed this subject, though the rest ofthe world seems to hdve.

Blsilln: Would it be your wish to divorce?

ltIITI: No, it's not my wish.

8$ilnr Why? Wouldnt that resolve matters?

0tlm: Why would it resolve matters?

BISHIR: It would provide the clarity that you talk about, it would re matters as
far as the public are concerned perhaps.

0tAm: Yes, but what about the children? Our boys - that's what mat{ers, isn't it?
I

BISHIN: Do you think you will ever be Qgeen?

0lAx[: No, I don't, no.

BISHIR: Why do you think that?

Dhxt: I'd like to be a queen ofpeople's hearts, in people's hearts, but I dont see
myself being Qgecn of this country. I don't think many people will want me
to be Qeen. Actually, when I say many people I mean the es{ablishment that
I married into, because they have decided that I'm a non-startpr.

bb
 lnterview

Jay Leno's interview with President Obama (transcript)

This is an extract from the television interview broadcast in 2013 between lay o, host
of NBC's The Tonight Show with Jay Leno, and Barack Obama, President of t United
States of America.

O: Welcome the President of the United States Barack Obama. (AppI se.)
-
Welcome back, sir

THE PRESIDENT: Thank you. It's good to be back. (Applause.)

o: WeII, we're thrilled to have you
It is good to be back.
O: And a happy birthday.
THE PRESIDENT: Thank you very much.
O: Happy birthday to you.
THE PRESIDENT: Thank you. (Applause.)
O: So how did you celebrate Sunday? What did you do?

THE PRESIDENT : I had a bunch of friends come over who I don't see at often
from high school and college. And we played a little golf, and then tried to
play a little basketball. And it was a sad state of affairs. (Laughter.)
o: Really?
THE PRESIDENT: A bunch of old guys. Where's the Ibuprofen and all that
stuff. (Laughter.)
o: But you're pretty competitive.
THE PRESIDENT: I am pretty competitive. But the day of my birt y-we
do departure photos of people who are transitioning out of the Whi House.
And we Iet them bring their families and they take a picture in the Ov I office.
And this wonderful staff person came in and had a really cute, you son. I{e
looked like Harry Potter, a six-year-old guy. (Laughter.) IIe came in, h had an
economic report for me. He had graphs and everything. (Laughter.) And he says,
"My birthday is in August, too." I said, "Well, how old are you going t be?" He
said, "Seven." He said, "How old are you?" I said, "Fifty-two." He said, "Whoa."
(Laughter.) Whoa. Whoa. (taughter.) IIe looked off in the distance. He s trying
to project. (Laughter.)
O: Yes, you can't even
-
THE PRESIDENT: You caD't go out that far.

67
lnterview

o: You can't grasp that [umber, no. (Laughter.) Now, I've seen Mic] relle tease you
about your gray hair. You have a bit of silver in your hair. Do you tease back?
THE PRESIDENT: No. (taughter and applause.) That's why we' re ceiebrating
our 21st anniversary. (Laughter.)
O: As I'm married 33 years, I know exactly what you're saying. (. Laughter.) I've
got to ask you about this. Everyone is concerned about these emt ,assy closings.
How significant is this threat?
THE PRESIDENT: WeIl, it's significant enough that we're takitrg every
precaution. We had already done a lot to bolster embassy securi ty around the
world, but especially in the Middle East and North Africa, whe re the threats
tend to be highest. And whenever we see a threat stream that we tI rink is speciflc
enough that we can take some specific precautions within a cert4in timeframe,
then we do so.
I

Now, it's a reminder that for all the progress we've made getti .ng bin Laden,
putting aI Oaeda between Afghanistan and Pakistan back- on its r heels that
-
this radical, violent extremism is still out there. And we've got to stay on top
of it. It's also a reminder of how courageous our embassy person nel tend to be,
because you can never have 100 percent security in some of the se places, The
countries themselves sometimes are ill-equipped to provide the ki .nd of security
that you want. Even if we reinforce it, there are still vulnerabilit ies.
And these diplomats, they go out there and they serve every day. Oftentimes,
they have their families with them. They do an incredible job and sometimes
don't get enough credit. So we're grateful to them and we've got to do everything
we can to protect them. (Applause.)

68
 REVIEW TEXT
DEFIN ITION
A review text is a flexible genre which mayvary according to the nature of the treative work being
worked on, the intended audience. and the aspects of the work considered worth lcommenting on.

In other words, review text is an evaluation of a publication, such as a movie, video game, musical
composition, book; a piece of hardware like a car, home appliance, or computer; br an event or
performance, such as a live music concert, a play, musical theatre show or dance show

PURPOSE
The purpose of review text is to summarize, analyze, evaluate, review, critic. and respond to some
creative works such as an event, artworks, movies, shows etc, and to inform people about its
strengths and weaknesses.

ELEMENTS

1. Title
Briefly identifies the subject of the review in some interesting way, and generally is linked to the
reviewer's name.

2. Identification of the work

Identifies:
The name of the creative work which is the subject of the review.
' What kind of work it is (such as film, movie, novel, research investigation, books, cassette etc)
' Its autho(s), publisher or producer, and date of production. Not all these details are necessary

3. Evaluation of the work

The reviewer describes particular aspects of the work, and offers their opinion regarding them, their
quality, effectiveness, and so forth.

4. conclusions/ recommendations
The reviewer summarizes their assessment of the value of the work, and makes recommendations
regarding how others should regard the work.

STRUCTURE

l. Orientation
Background information of the text. It means we discuss the work in its general and particular
context, often by comparing it with otheB of its kind or through an analog with a non-art object or
event. I

2. Interpretative recount
Summary of an art work (including characters and plot). It means we provide infoemation regarding
to the plot and/or providers an account of how the reviewed rendition of the work came into being.

3, Evaluation
Concluding statement: judgement, opinion or recommendation regarding to its performance or
production.

4, Evaluative summation
The last opinion consisting of the appraisal or punch line of the art work being reviewed.

AO
LANGUAGE
Present tense.
The use of complex and compound sentences
The use of adjectives and phrases of appraisal
The use of metaphorical expressions
The use of noun phrases

70
 Review

Flemmich Webb on Boxer Hondsome by Anna Whitwham

This is a review of Anna Whitwham's n ovel Boxer Hondsome by the freelance edi r, presenter
and iournalist, Flemmich Webb.

Arts+Ents> Books > Review

Book review: 'B oxer Handsome' by rLa

Whitwham
Friday 10 January 2014

Bo*r Handsome is Anna Whitwham's first novel and was inspired by her grandfather,
John Poppy, a young featherweight boxer at the Crown & Manor Boys Clup in Hoxton.
This familial connection gives this exciting debut an authenticiry which allied to a
conf,rdent writing style, suggests Whitwham has a promising future ahead of her.
The story opens with Bobby fighting childhood friend Connor over a girl. Both amateur
boxers in the same boxing club in East London, they are due to fight each other in the
ring in a divisional competition in a week's time, but this flurry of flrts takes place by the
canal, bare-knuckled and brutal. Bobby wins but can't resist a victorious ao ofbrutality
that drives subsequent events. I

Whitwham acknowledges the value of boxing in society - giving wayward kids a focus,
trainers acting as father flrgures to young men - through Derek, who runs the Clapton
Bow Boys Club and keeps an eye out for Bobby and his other charges.
But she doesn't shy away from its brutal side and the thin line that separates regulated
fighting in the ring from unfettered violence outside it. Casualties ofthis wotlld lay strewn
throughout the world Whitwham creates. Joe, Bobby's father, was once a decent boxer
himself, but is now a sad alcoholic, a broken shell ofa man with none ofthe respect that
his fists once commanded. Bobby's mother, a victim of domestic abuse at the hands of
Joe, sees history repeating itself as her son follows in his dad's footsteps, a slave to the
code of honour that this macho world demands. There's something of Shakespeare's
emotionally stunted warrior, Coriolanus, in Bobby. When he meets a local girl, Chloe, he
suddenly glimpses an alternative to the world he has inhabited since birth. The tragedy
is that he lacks the emotional skills to seize this chance.
I

Whitwham's writing is as sharp as a one-two combination, short punchy sf ntences that

capture effectively the brooding atmosphere of the East End, the threat (f violence at
every turn and the savagery of fighting. "Then [he] cracked the bridge of his nose wide
open. Skin split. Blood spat. Connor stumbled about headless."
But the book is tender, too, a change ofpace that deepens the emotional resinance ofthe
characters. Bobby is uncharacteristically unsure of himself when he frst takes Chloe on
a date: "She had a grip on him, a spell that held him in awkward -o-.n$ he couldn't
get out of." This is a promising debut, and it will be interesting to see how Whitwham
handles subject matter in subsequent novels that is more distant from her ow experlence

71
Review

Martin Hoyle on television drama The Bridge

This is a review published in the Ff Weekend magazine of the television d ama The Bridge by
the TV radio and film critic, Martin Hoyle

Pick of the Weekend: The Bri e

By Martin Hoyle

aturday is complete again: Scandinavian noir is back. the

S civilised machinations of Danish politics in Borgm, plunge
into the dark world of terrorism, mass killing and poisonous
underlying humane, order$ Nordic society.
The second season of The Bndge (BBC 4 9pm) resumes months
after the story ofthe first ended, with an opening less butjust
as eerie when an apparently unmanned coaster crashes into the und
Bridge. The five drugged youngsters found chained on b trigger
more joint Danish-Swedish police cooperation. Hoorah for chalk
and cheese combination of frowsy, easy-going Martin (Kim
and the unsmiling, briskly robotic Aspergerish Saga (Soflra
Things have changed, of course. Martin is still recovering the
murder of his son by last season's mass killer who, safely
imprisoned, haunts him to the point of obsession.
Saga's antiseptic, angular, pre-eminently logical psyche is by
her efforts at normal relationships. She has learnt to detect w people
are making jokes and laughs heartily if unconvincingly, when
Martin gently points out that this is unnecessary. 'I their
attempts to be amusing,' she explains earnestly...
Saturday's brace of episodes is rich with subplots, vivid s
characters and a reminder that even mass terorism can be tn
the skewed world picture of one unbalanced human. There
a common theme: connection, the failure to connect, the fear of
abandonment and isolation, and the Nordic thriller's
juxtaposition of high principles and violent action, and
murderousness. The dark is all-pervasive.

72
Unit 3 - Crafting Language
Exer€ise 1

Iexl A Online orticle

fexl B lnterview

lext C Article from The Telegroph newspoper

fext D Article Irom The Guardion newspoper

Section A

Using the material in the source texts, write a short speech that explains what home of the
future might be like.

You must use the information in the source texts to create your speech.

You may include additional material drawn from your own knowledge and expe te nce.

choose your own audience, purpose and context and complete the grid below.

Genre Audience Pu rpose Co ntext

I

Speech

Write a commentary on your new text. ln your commentary you should:

Analyze and evaluate the language choices you have made.

Show how you have i.e. shaped the source material to meet the new g re, a udience, and
p u rpose.
Comment on how contextual factors have influence your language choi es
 .)
Topic: Homes of the Future

The following texts Goncern the ways in which people might live in the future.

Text A

This onllne article by Yolanda Lu explains flve thlngs you might expect to $ee ln a
home of the future. tt was publlshed on the webslte lnc. ln 2014.

1 . Tell your home what to do anytime, anywhere.

Want to take a shower when you get home? You'll be able to program your smirt water
heater to start heating up while you're still at work. You might even preheat yo{r oven
while you're on your way home. Moral of the story is, you won't need to be honle to turn
on your devices. Of course, you will still need to buy those smart home devicesl

2. Excuse me, my house is calling.

lsthe door locked? Did I turn off the lights? Did I shut off the gas stove? Right nbw,
everyone has had a moment like that. But in the house of the future, your home will
check in with you. You will know immediately when your smoke detector rings or your
door was left open. Better yet, if the door suddenly opens after it was securely closed,
you might even forestall a break in. Talk about a security system.

3. Customize your home according to your life.

We all have our routines. Get up, jog, shower, make coffee. Any number of these
steps might require technology. ln your home of the future, all of your devices can be
programed to work in unison - making your a.m. routine less taxing. When you turn on
the lights in the morning, you might also like to open the blinds, and probably open the
garage door as well. Or you can time it all. lf you wake up at 6 a.m. while it's still dark, the
lights might flip on and then flip off automatically after the sun rises.

4.Talking to your home won't be weird.

Talking to yourself will take on a whole new meaning. ln connected homes, youlll be
able to speak to your oven or light bulbs and not sound crazy. For its part, Winld sees big
brands' endorsement of smart homes as an opportunity to bring awareness to the world
of connected homes. And who knows, in the future Siri* may do more than givo you
directions in a British accent.

5. Dangers will lurk (but that! always true).

All technology can to some degree pose dangers. One concern that comes naturally
with an app that controls everything in your smart home is: what if it gets hacked? Now
the hackers could unlockyour door, open your garage, cause such a mess at yoqr home
simply by taking control of your phone. And, don't forget that information like ypur water
usage is now also in a "cloud*" system. Wink says that the only data that the conlpany
gets is user! email address and the password they create to log in to the app. Plps, all
communications between devices are strictly encrypted. Well, let's assume it w{rks
for now.

Glossary
I
* Wink an application (app) which will allow users to interact with their homeslusing
-
their mobile devices I
* Sid voice recognition software
-
* c/oud online storage of information
- I
I

74
Text B

This text is taken from an interview with Dr. Chris Brauer. He is a researchdr and
lecturer on the future uses of technology in the home. The intcrview took tlace
in 2O15.

What do smart home technologies m€an to us today? ]

You can now have a thermostat in your home that is linked to the internet, or a
carbon monoxide indicator which texts your neighbour if theret a problem. Thfy
are designed to make your relationship with energy easier. But these technolo{ies
can't change behaviour on their own. Saving energy requires a shift in our cultrlrral
consciousness. Just as gening people to stop smoking requires action from tht top
down and from the bottom up, so too does the notion of reducing energy use. lt! a
society-wide commitment.

Home technology is often talked of as part of the 'internet of things'. Whaf does
that mean?
Sensors are now ubiquitous, embedded in everyday objects, and connected on the
internet. A fridge that scans sell-by dates. for example. is connected to the net and as
much a part ofyour home as your laptop. I
I
And when we move around the world, we can communicate with these devices remotely
- we will always be linked to our home, in other words.
Doing a bit of crystal ball gazing, what will the fact that computer processlng power
doubles every 18 months mean for us?

Iexpect the smart home will soon demonstrate intelligence - not just do things in a
smart way - but learn and adapt to the needs of those living there.

Do you have a smart meter*? ls it useful?

I dq and it is. But l'm looking forward to the next layer, which are the apps and services
that run on top of the smart meter data.This will have a much bigger impact on
our behaviour.

Finally, where does wearable technology, such as a smart watch, fit into al of this?

It's a really important component. Wearable tech takes information from people, their
biometrics*, and their moods. ln our research we simulated wearable tech anticipating a
film choice for you as you were heading home from work, based on how you were feeling
during the journey. People found that very useful. There are truly powerful possibilities
between human data and the data from the home.

Glossary
x smart metet - a technological device that monitors energy use in the househpld
* biomettics biological
- data I
I
I

-7F
 Text C

This text is taken from an article in Ihe Telegroph newspaper about'

homes'. lt was first published in 2O14.

We may grumble when we put out the bins, but we all love recycling. Those epty wine
bottles that are going to be reincarnated as full ones. The old Christmas cards
at will be
pulped then come back as newspapers.They make us feel as if we are doing o r bit for
the planet.

So a property made from recycled materials, whether wholly or partly, already as

an inbuilt feelgood factor. Perhaps the window frames have been constructed from
recycled wood. Or the funky, metallic light fittings started life in a car factory. is the
I
kind ofthing that savvy* estate agents would emphasise, and prospective pu ers
note with approval.

Recycling could also mean a huge financial saving. With property prices ro g, there
is naturally a premium on low-cost house-building solutions. lnsulating mate I for the
loft does not need to be top-of-the-range. Kitchen cupboards do not need to made
from finest imported Scandinavian timber. There are possible shortcuts at just bout
every stage of the building process.

For those who have caught the recycling bug, there is no limit to how far the terprising
homeowner can go. Consider the strange, inspirational story of Bruce Campbel tn
Portland, Oregon. A retired electrical engineer, Campbell, 64, made himself a odland
home out ofa Boeing 727 that would otherwise have ended up as scrap metal He
paid 5220,000 (f.128,350) for the plane, then converted it into a habitable resid nce by
installing a makeshift shower, futon, microwave and other necessities.

"My goal in life is to change humanity's behaviour in this little areai says Cam ell. He
plans to build an even bigger and better aeroplane home in Japan, where he ds half
the year, using a 747 ratherthan a727;lhe ultimate upgrade.

Glossary

'sawy - knowledgeable and shrewd

76
 fllr:' :5;, + -',

Text D

This is an edited version of an article which appeared in The Guardian neuispaper

in 2015, written by Bobbie Johnson. lt discusses the findings of a survey apout the
possible use of robots in homes of the future. l

Will household robots ever change our lives?

It has been the same promise over decades of invention - the prospect of houfeholds
inhabited by people, staffed by robots and run by technology. For years researthers and
engineers have been working to bring us the futuristic homes, but in reality th{ dream
has remained firmly in the realm of science fiction films.

An ICM* poll commissioned by the Guardian showed that 55% of people woulfl be
prepared to use robotics in the home, and a majority would appreciate extra frEe time
which new technologies might bring. More than four out of every five respondpnts -
82Vo - said they would use any advances which increased their free time at horhe to relax
more, while 23% would use the extra time to work.

Most people would like to use robots to help with the thankless grind of domestic tasks
such as cleaning or ironing. More than half of respondents said they would use robots
for household chores, with almost six in l0 women responding positively. While just
15olo said they would be happy to use robots to drive their cart the most surprising
result, perhapl was that l3yo of people surveyed said they envisage using robots
for childminding.

On a basic level, ordinary tasks like vacuuming and cleaning are very slowly beFoming
the domain of home robotics.The Roomba vacuum cleaner. an intelligent autornated
machine which was first launched in 2OO2, has now sold more than 2 million uririts
around the world.

But in some parts ofthe world, such ideas are already being used to enhance peoplet
everyday lives, not just their leisure time. ln South Korea the electronics company LG is
establishing a division which designs digital apartments using its HomeNet nelworking
to create hi-tech households.Task such as answering the door, managing power
consumption and opening the curtains can be automated, as well as the management of
appliances like washing machines, air conditioners and dishwashers. And these services
can not only be accessed from inside the home, but also via the internet - or even a
mobile phone.

Bit by bit the future is arriving; even if we don't realise it.

Glossary
* ICM a market research company
-

77
Unit 3

Exercise 2

lert A Online orticle

Texl B Stotisticol informotion

Texl C Newspoper orticle

Texl D Online orticle

Section A

Using the material in the source texts, write an article which explain the story of
website about the history of popular music.

You M!! use the information in the source texts to create your article.

You may include additional material drawn from your own knowledge and experi

Choose your own audience, purpose and context and complete the grid below.

Genre Audience Purpose Con

Website article

Section B

Write a commentary on your new text. ln your commentary you should:

Analyze and evaluate the language choices you have made.

Show how you have i.e. shaped the source material to meet the new gen
purpose.
Comment on how contextualfactors have influenced your language cho

78
 Topic: The Beatles

The foltowing texts all deal with the British music Aroup The Beatles who tormed in
1 960 and disbanded in 1970.

Text A

This ls an extract taken from the allmusic.com website. lt explalns the ban{'s orlglns.

More than any other top group, The Beatles'success was very much a case of tfte whole
being greater than the sum of its parts. Their phenomenal cohesion was due iri large
degree to most of the group having known each other and played together in Liverpool
for about five years before they began to have hit records. Guitarist and teenagie
rebel John Lennon got hooked on rock & roll in the mid-'50s, and formed a Uaria, tne
Quarrymen, at his high school. Around mid-I957, the Quarrymen were joined by another
guitarist, Paul McCartney, nearly two years Lennon's junior. A bit later they werb loined by
another guitarist, George Harrison, a friend of McCartney.The Quarrymen woufd change
line-ups constantly in the late'50s, eventually reducing to the core trio of guitatists,
who'd proven themselves to be the best musicians and most personally compqtible
individuals within the band.

The Quarrymen changed their name to the Silver Beatles in 1960, quickly dropping the
'Silver" to become just The Beatles. Lennon's art college friend Stuart Sutcliffe joined on
bass, but finding a permanent drummer was a vexing problem until Pete Best joined in
the summer of 1960. He successfully auditioned for the combo just before they left for a
several-month stint in Hamburg, Germany.

Hamburg wasThe Beatles'baptism by fire. Playing gruelling sessions for hours on end,
the group was forced to expand its repertoire, tighten up and invest its show with
enough manic energy to keep the rowdy crowds satisfied. When they returned to
Liverpool at the end of 1960, the band - formerly also-rans on the explodang Liverpudlian
"beat" scene - were suddenly the most exciting act on the local circuit. They consolidated
their following in '1961 with constant gigging in the Merseyside area, most often at the
legendary Cavern Club, the incubator ofthe Merseybeat sound.

They also returned for engagements in Hamburg during 1961, although Sutcliffe dropped
out of the band that year to concentrate on his art school studies. Mccartney took over
on bass, Harrison settled in as lead guitarist, and Lennon had rhythm guitar; everyone
sang. ln mid-1 961, The Beatles (minus Sutcliffe) made their first recordings in Germany.

\ 79
 Text B

This text provides details on The Beatles'total album sales up 2014.

Source: RIAA, Apple Records, EMI

I
Research Date: 2.I 9.201 4

Letl not kid ourselves, The Beatles were the band on the p period.

lf you disagree just let the stats below do the talki

Over 2 billion albums soldl Come onl How many have sold 2 of anything
let alone recorded music?

Their recording studio may as well have been a ey printing mint.

Total Albums Sold 2,303,500,000

Total Albums Sold on iTunes 585,000
Total Singles Sold on iTunes 2.8 Million
I Sales By Available Markets
United States 209.1 Million
Canada 13.6 Million
United Kingdom 7.5 Million
I
I
Germany 7.3 Million

I
France 3.1 Million
Australia 2.8 Million
japan '1.9 Million
'I
Argentina .6 Million
Brazil 600,000
Sweden 584,000
Austria 570,000
Switzerland 450,000

Total weeks on chart 1,278 weeks

Total number ones 15

'l
Total weeks at number one 75 weeks

Album with longest time spent at number one Please Me"

30 weeks
released in 1963)

Glossary
*Billboard information about
- an American music magazine which e U.S.
music charts
80
Text C

This 2Ol 4 text, taken from the newspaper USA Today, rcpotls what five B$tles
experts thought was th€ band's best album. I

Sgt. Pepper's Lonely Hearts Club Band, lauded for its sonic sophistication. sweepifrg
diversity and experimentalism, stands out in The Beatles'catalogue as their mopt historic
and celebrated album. But is it their finest? After being ranked first among The Beatles
discs and at or near the top of best album lists for decades, it has been losing (round
to Revolver,long gunning for that position.

Sgt. Pepper placed first in a 2O03 Rotting Stone poll to determine the SOO greateit albums
of all time. Revolver was No.3, RubberSoulNo.5 and The Beatles (more familiarlil known
tofansas TheWhite Album) No. 10. ln a201 1 Rolling Stone reader poll rankingT]he Beatles
albums, Revolver prevailed by two votes over Abbey Road.The Beatles ranked ttfird,
with 5gt Pepper fourth.

In the 1994 book All Time Top 1000 Albums, Sgt. Pepperwas No. 1 and Reyolyer was No. 5.
By the 2000 edition, Reyolyer held the top spot.

And on the fan site BestEverAlbums.com. Reyolyer is the top Beatles album and third
among all albums, while 59t Pepperis third and fifth, respectively. Sgt. Pepper ldads
the Rock and Roll Hall of Fame's Definitive 200 albums lisl. Revolver crowns Q magazine's
list of 100 greatest British albums ever.
,RUBBER
SOUg

Martin Lewis, Beatles scholar who worked on The Beotles Anthologyl

" Revolver has a metallic, hard edge to iti says Lewis, who prefers 1965's Rubber 5oul.
" Rubber Soul has a heart and softness that! very evocative.
"sonically,Sgt Pepper islheir best. There is a crispness and richness andTechniiolor glow
that comes offthat album. ltl a rich feast. But the songs are not as deeply felt and
personal as songs on Rubber Soul.

'Rubber Soulis this great transition to a more sophisticated Beatles. There's warmth,
emotion and a level of maturity beyond their years in songs like ln My Life. Rubber Soul is
their last quintessential English album. ltl very Edwardian."
,REVOLVER'

Bill King, edilor of Beatlefan magazine says:

1966's Revolver'represents the group at its musical peak". He calls it "a stylistically
diverse collection of top-notch songs with sophisticated, thoughtful lyrics imaqinatively
arran ged, recorded and performed."

The album "marked the band s transition from teen idols to musical legends," hg says. lt
saw John Lennon master psychedelia with she Sdid, 5h e Said and Tomorrow Nevpr Knows,
but it was Paul McCartney who "moved to the fore as the grouy's dominant sorigwriter"
with such classics as Eleanor Rigby and Here,There and Everywhere.
And "while Pepper gets the credit, it was Revolver that sent a message lo The Beftles'
contemporaries that it wasn't necessary to stick to a hit-making formula. You c{uld take
chances and still sell recordsl

81
)
,SGT.
PEPPER' I
Matt Hurwitz, Beatles historian, endorses 1967's Sgt. Pepperfor its sublime stud
ingenuity and music that is 'timply magical."

"They were always pushing the boundaries of current pop-music recording c he says.
"Every new release was awaited with excitement: What would The Beatles sou like
this time?

"Sgt. Pepper was perhaps the most highly anticipated release by any group in t e 1 960s.
They had stopped touring and were now solely focused on recording craft. The idea of
a rock album with a theme - something taken for granted today - was a cultur I shock.
They changed the way pop-music recordings were made forever, mainly by ask ng,'What
if we...?'The result was a masterpiece and an experience one never tires ofl'

'THE BEATLES' (aka'The Whit€ Album')

David Holmes, founder of the fan site Beatles Number 9 says that 1968's The ite
4/6um represents the band's highest achievement.

"Each Beatle had a chance to be himself, whereas I look at 5gt. Peppet and,lo a ightly
lesser degree, Abbey Rood as mostly McCartney-influencedi he says.

"They shined brighter as a band, while maintaining a solo effect. lt just jells ni y, like I
their earlier work, with just the right edginessJ'

EBBEY ROAD'

David Bedford, founder of the new Beatles Social Network says the band pea wath
1969's Abbey Road.

"The band that was falling apart went into the studio for the last time and an
incredible album that displays the song-writing skills of John, Paul and George Harrison)
on equal terms," Bedford says. "Harrison contributed some ofthe best Beatles s n9s
ever recorded, with Somethinq a nd Here Comes the Sun. They seemed to be in rfect
harmony, yet this was the last time they would come together to make a reco

"lt always makes me think: Maybe, just maybe, they could have continued rele tng
albums together, even if they were recording mainly on their own' But it was ir last,
and what a way to sign off."

oz
 !

.i

Text D

This is an extract from the website ultim ateclassicrock.com, published in 15. lt

explains how The Beatles'<areer ended.

The tale of the breakup of The Beatles is a long and, well, winding road. They h begun
to implode for a while. When manager Brian Epstein passed away in 1967, the rst cracks
were showing. By the time of the recording of the 1 968 double-record set'The Beatles'
(aka'The White Album') things had gotten worse. The Beatles were working I and less
like a band, with each member focusing on their own compositions in the stu o and
treating the others like sidemen.

Flash forward to early-I969 and recording sessions for what would eventually ome I
the 'Let lt Be'album. Captured forever thanks to a documentary creW the film ' It Be,'
released a month after their breakup, shows tensions running high and resent ent
building. Even though they would somehow carry on and record the much m e
harmonious Abbey Roadi the end was in sight.

After repeated clashes with new business manager Allen Klein, Paul McCartn was
looking for it to end, perhaps sooner than the others. ln late-1969, unbeknown tto
all but a few close associates, he began work on a solo album in his home stud A
week before the album! April 17,1970 release, the promotional material for t albu m
contained a Q&A sheet that, in essence, said that he was leaving the group.

I
I

Sources taken/adapted from:

www.allmusic.com
www.usatoday.com
www.ultimateclassicrock.com

Every effort has been made to contact copyright holders to obtain theil permission for the use copyright
material. Pearson Education Ltd. will, if notified, be happy to rectify any elrors or omissions a include any
such rectifications in future editions.
83
 UNIT 4
INVESTIGATING LANG AGE
 a

TOPIC 1: Global Eng ISh

- lndian English and Dir ction

- Australian English
 -t-
Topic: Global English
Subtopi(: lndian English
Text A

This is a trcnscript of on interview between the Bollywood actor, Shah Rukh Kha
oan Barkha
Dutt, on lndian television journalist wi th the New Delhi based NDTV. Shah Rukh Kho acted in
the lndion science fiction film, Ra One.

(.) micropause /_ / key phonemic transcription // overlap

*The English Phonemic
Reference Sheet has been included to help you understand key
p h o ne m i c t to n s c ri pti on s.

BD - Barkha Dutt
SRK - Shah Rukh Khan

BD: Shah Rukh you have been talking as er Ra Ones release approaches and how ndia
needs its own superheroes (.) but looking back at our childhood er we /vi:/ are ro shlv
the same generation (.) we grew up with in lndia mostly (.) if I remember (.) Diam
Comics you know

SRK: Lotpot (.) yeh

BD: yeh (.) my superhero at that time (.) the closest /kb:slsr/ who came to supe ro
when we were /v::r/ kids other than Superman and Batman /b^tm^n/ was Pha m

SRK: Yeah (.) but /b^d/ we thought Phantom was /vr:z/ lndian because it used to me
in er Hindi

BD: lalways thought Phantom isl/

SRK: //l also thought till I got to know its not actually
some er Lee Stan Lee Stan or someone (.) its not actually an lndian property but it It like
because Bengalijungle (.) and hero//

BD: //and the beat ofthe drum

SRX: the beat of the drum so you felt like it er but even (.) actually the only lndian
superhero closest was I think a comic called Bahadur by Mr Surti (.) I think er you ow he
had made a gun out of his cycle and stuff like that and then of course the mythol ical
ones er I think er like for example this gentleman in America (.) hes a big director a he
sent me a script once he said before Spiderman before Superman there was Hanu an
and I thought that /dat/ was really cool

BD: and we forget that Hanuman was kind of original superhero

SRK: you know he has got all the makings ofa superhero and we havent used any fit
(.)and whenever /venevr:/ we have used it I think er the younger generation and When
I say younger I even mean myself and we arejust a little now er not wanting /vontlh/ to
see it in that same old bottle (.) in the mythological sense (.) I mean we enjoy it so ybu
have to (.) bottle /bDdl/ it new

BD: you gotta make them trendy

84
-t-
SRK: you gotta make them trendy and cool and still keep some kind of a mythol ical
background /bekgroun/ like we have in Raven that Raven is the bad guy and wi ut
having to explain anyone called Raven /ro:vnl is not really going to be a good g

BD: what I want to ask you that is why is it that even though we grew up with
characters there are so many of them in our mythology /mltologi:/ why is it that at/
we dont have a DC equivalent of er Superman and lronman and Batman

SRK: its very simple because (.) since seventies from when I watched em lll tell yo from
the seventies eighties nineties and maybe now (.) our regular heroes are superhe es (.)
you know we never had to

BD: especially if you believe Hindi cinema

sRK: I mean yeah (.) if you believe Hindi cinema (.) they don't need to wear tights

BD: they don't even need a tail like Hanuman to fly

SRK: nothing just fly they beat up twenty people (.) and like even now if
(.) they see
the regular er Hindifilms with action the hero now jumps up and stops in the air so
(

actually when I was shooting (.) | (.) it a couple of shots and I am like (.) you know i seems
like a regular shot

Glossary
Lotpot -
Hindi comic magazine
Ston Lee -
President of Marvel Comics
Phontom - Ametican superhero
Honuman - lndian god
DC - Detective Comics, global comic book distributor
Diamond comics - distributor of comic books
Rdven - a mythical Hindi demon featured in Ra One

(Source: o http://www.ndtv.com/india-news/i-am-srk-full-trans 3402)

85

I
I

Iopic: Global English

Subtopic: lndian English
English Language arrived in South Asia as a result of colonisation and has coex sted
in the lndian subcontinent alongside thousands of local languages. For most the
population it is a second language. lt was initially taught by Christian missiona ies. After
lndependence, it was intended that English would be phased out but a repla ent
language could not be agreed upon. English therefore remains an Associate L uage'
alongside Hindi, the'Official Language of the Union of lndia, and at the heart lndian
society, particularly within the media, higher education and government.

Your investigation should focus on the way English is used in lndia.

You should research:

. the historical development of lndian English
. relevant language frameworks of lndian English
. the influence ofsocial and cultural changes on lndian English.

Suggested research resources

Books:
Crystal, D. (1 997) English as a Global Longuoge
Holmes, J. (2O13) An lntroduction to Sociolinguistics, 2nd Edition
Jenkins, -1. (2oo9) World Englishes - a resource book for students
Kirkpatrick, A. (2007) World Englishes.
Mesthrie, R. (201 0) Varieties of English, Volumes 2 and 3
Barton D. and Hamilton, M. (l 998) Local Literacies: Reading and Writing in One munity
Beal, J. (2008) A Hondbook ofVorieties of English
Hughes, A., Trudgill, P. and Watt, D. (2012) English Accents and Dialects: An lntrod ction to
Social ond Regional Varieties of English in the British lsles, sth edition

Websites:
A collection of transcripts and recordings from different areas of lndian English:
www.dialectsarchive.com/l ndia

Newspaper articles:
www.huffingtonpost.com/digant-raj-kapoor/are-indian-attitudes-towa-b-5544783. tml

Specific data could be taken from transcripts of lndian speakers of English,

representations in the media and everyday conversations.

General revision sites:

www.u niversalteacher.org.uk
www.engl ishlangsfx.blogspot.com
www.englishandmedia.co.uk/e-magazine

Ub

I
 Topic Global English
Subtopic: Australian English

Text A

The speaker is a white young woman of 20, currently studying at university. She hd5 always
lived in Robina, o suburb of Brisbane, a city in the state of Queensland, Australia. I

(.) micropause /- / key phonemic transcription

[ ] paralinguistic feature (2) longer pause (number of
seconds indicated)
I

* The English Phonemic Reference Sheet has been included to help you understandlthe key
phonemic transcriptions.

So I come from a suburb of Brisbane (.) Robina (.) um ah (.) its a not bad place tJ grow
up (.) its a large town (.) well city but it feels like a town compared to places /plorsaz/
like Sydney and Melbourne (.) um (.) people my age generally (.) like (.) so lm 20 (.) um (.)
people my age still have their same friends they grew up from in high school /sku:l/ (.)
um we go to the same places (l ) theres a load /laud/of places to go out at Brisdane but
(.) um once you do know people in Brizzy you tend to find that every time you go you
can see the same people (.) um I got loads /laudz/of rellies as my familys quite large (.)
we have blg famlty dinners and we go out into town and lsee mates /morts/ (.) its like (.)
it feels like a really small community atmosphere (2) whatre the best things (.) the best
things about Brizy (.) I spose (.) the beaches (.) surfing /s::frnl and the coffee shops (.)
thats pretty much all we do when weve time at weekend (.) it gets very /veri:/ hot in the
day so we go down most arvos to drink swim surf (.) just living in bathers /bor6oz/ and
thongs ( l ) theres heaps of amazing lomerzrnl places to eat (.) lm a real health fanatic (.) |
live on smoothies and salad my fav dish is avo /o:vau/ salad (.) Iocal markets are great to
buy fresh stuff (.) there loads of fish stalls selling fresh salmon and prawns (.) if youre
a back packer you wont have trouble eatin (1) shopping is ace and theres loads Qf
neat boutiques near beach (.) theyre kinda pricey but quality (2) I work part time in
Robina in a coffee shop called Steam and Bean (.) lm also at uni studln for a degree
in history /hrst::ri:/ (.) its funny cos I dont like coffee flaughsl a friend whos over from
UK says the coffee is better than there (.) she loves the Mugaccino and flat white (1)
specially when I make it Uaughsl (2) what do lwant to do when lfinish uni (.) um (.)
tough one (.) surf fiaughs] I will probs go and travel id like to see England and visit my
friends (.) ones in London so that would be cool I

I
Glossary

rellies - relatives/family

bathers - swimming costumes

thongs - flip flops
arvos - afternoons
avo - avocado
I

87

I
 .FAFI!,r,I - al-:l -l r - -- -
! rJrtv z: Lnltq Lang age
Development
- Writing Frames and dir ction
- Child Directed Spe ch
 -t-
Topic Child Language Development
Subtopic: Writing frames

Texts Bl ond 82 ore writing fuames used regulorly within a science lesson. The fromes o
stondord formot with which the childten are fomilior but olso ollow for odditionol q stions
and comments from the teacher-

Text Bl

Text Bl was completed by a 7 year old giwith teacher supervision.The frame builds
previous learning and is designed to predict an outcome of an experiment.The tosk sto
create a fruit drink (o smoothie).

Uppor-**
"Ulf6
- .1"-Xf-4-,*- Dote: lz. 0 lrl
LO: To desi on a smoothie

Smoothie nome: 1,6-g, efita.d*h,i L I

5 ,p4tILh O
Our qroup: fnqredients:
.tyb\"V Fruit:
.\"c * ),4 . tfi'Lofl"q.c- ,
.S'o-"8 t t*P4'Lt'
.MwlzA-I Fnuit juice:
. L a'"A,,e"t . ,p't IL a,a, pg,L e
.O,A*t !-L
Whot will it look like? What will if toste ike? I

iu;l+ w- ,r't.n L l

Whot will the texture be How lonq do vou think it

l\e? will* Lt
toke? 41,
*'ktN.;*k ra tt.) /d. , L. o,yi+ ti
A.r^8, L-g1"r-
,gb {;.',i Ad ,t u"dIL1 , \^,re4,^L
^ firni t, d.tBl
a
n-t- il''"rh-1 ,r*
Glossary
LO - Learning Objective

88
-t-
Text 82

Tert 82 is the writing frome used by the same student after the expetiment.

Dote: 13, ol ,ll

Our Smoothie Results

Whot we did
IL I

6
kh p {l\, L n. * [nifpfo,, \
)r,. r.,

\rr, ta ,o'*[ o ). * k. ,. ttl. i lV ,a,$,il-

,c p,

ft took W "rvl,il'.'-'tt'4
Whot it looked like Whot it tosted like
]lt t ,r,tk,. ) fr T r t.alt
-
r' lrlr ,,t,r,o -\r,l!L ! Li 4e)
4. *
How it could be improved '*L.
WrlL

I o r( rrtt l, -), ,{,, ..{L tLt I

I
,t1 L'n,

ia' it1' ,b-tt-

I L-Lfr-,\-
ccn rgc '1LJ
faELLL,:S,'
f ccl n s ii qqo s'U t m Pro ve i41 en t

89

_l
 Topic: Child Language Development
Subtopic: Writing frames

Writing frames can help to develop children's skills in writing by structuring t tr

responses and helping them to select and reflect on what they have written. F meworks
enable many pupils to achieve some success at writing, a vital ingredient in im roving
self-esteem and motivation. Within primary schools in England the use of writi g frames
to assist with narrative or'story writing' prepares pupils for the variety of writin forms
they will need in later stages of their education.

Your investigation should focus on the features of writing frames and their imppct on
children's language and literacy development.
I

You should research:

.
I

the theories and stages underpinning language development, acquisition qnd

pragmatic development
. relevant language frameworks i

. social and cultural effects on language and pragmatic development.

I

Suggested research resources

I

Books:
Crystal, D. (1989) Listen to YourChild I

Crystal, D. (2003) The Combridge Encyclopedia of the English Longuage

Crystal, D. (2O1O) The Cambridge Encyclopedia of Language
Gillen, J. (2O04\ The Language of Children (lntertext series)
O'Grady, W. (2005) How Children Leorn Language
Armstrong, M. (2006) Children Writing Stories
Goodman, Y.M. and Martens, P. (eds) (2007) Critical lssues in Early Literocy: Researqh and
Pedagogy
Kress, G. (1996) Before Writing: Rethinking the Poths to Literacy
Marsh, J. (ed.) (2005) Populor Culture, New Media and DigitalLiterocy in Early Childhood
Pinker, S. (1995) The Language lnstinct

Specific data could be taken from a variety of writing frames used within pre-school and
primary education.
I

General revision sites:

www.universalteacher.org.uk l

www.en glishlangsfx.blogspot.com
www.englishandmedia.co.uk/e-magazine

qn
 Topic: Child Language Development
Subtopic: Child directed speech

Text B

This is a trunscript of a conversation between Maddy (aged 3 years 1 month) and

\er
childminder, Jan. lt was recorded in Jan's home. Maddy and Jan are reading a boofi with
pictures. ]

J=Jan nll = Maddy

(.) micropause (2) longer pause (number of /_ / key phonemic
seconds indicated) translation
[ ] paralinguistic features Words read from the book are ll ll overlaps
in bold

J: all right (.) shall we read your book now Maddy

M: ok
J: whats the picture Maddz (2) is it a house (2)
M: yeah house (.) look (.) look it me house /hous/
J: my house Maddy (.) it look like your house its got a blue front door (.) what dlru .un
you see
M: that /det/ up top chimney /trmi:/ [points at the picture]
J: is it a chimney
M: yeah chimney /trmi:/ with /wrv/ grey smoke /mauk/ there there
J: yeah there is smoke coming out of the chimney well done (1) Here is Harryt housg
how many windows can you see? (.) how many windows are there Maddy
M: four with /wrv/ curtains /ks:tanzl
J: thats rightthere are curtains at the window pretty blue curtains (l) what colour
curtains have you got Maddy (1)
M: yellow /lelou/ I got curtains /ks:tanz/ in bedroom
J: yeah (.) yes (.) yellow with flowers on (.) shall we turn over the page (.) you tum over the
page Maddy [Maddy turns the page] oh I like this page why do I like this page Maddz
M: cos it you car
J: yes the picture look like my car [laughs] its a pretty colour
M: your car pink (.) | like pink (.) my dress pink like Barbie lstands and twirls round holding
dressl you like dress
J: I love your dress Maddy (.) you look like a princess (1) lets read the words under the
picture (J Here is Catyt car, what colour is Caty's llcar?ll
M: llpinkll
J: this is easy for you (.) you know all the answers do you want to read anothqr book
(.)
M: no (.) me want this book
l: ok [turns the page] Here is Fred3 farm, what animals can you see?
M: cows (.) horses (.) pigs (.) sheeps (.) dogs
J: well done (.) there are lots of animals (.) which is your favourite
M: I like horses /hr:srzl cos /kozl I pat em
J: you mean stroke them (.) can you say stroke them I

M: stroke /stauk/
J: good try (.) strrroke can you say that
I
M: stroke /stauk/ stroke /strauk/ em
J: well done (.) stroke the horse (1) lets turn to the next page
M: I do it [turns the pageJ
J: ok (2) Here is Lucyt lighthouse.
el)
 TOPIC 3: Language ^
c:
raj
M.|
Power
- Language of Financial lns itution
and direction
- Language of Chariti S
 -t-
Topic: Language and Power
Subtopic: Language of financial institutions
' Text Cl

, TextsCl ond C2 are pages from a bank's website prcviding detoils and conditions of its
student bank occount.

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-t-
Text C2

Key product information

Your benefits

I nterest-f ree overdraft

We'll offer you an automatic overdraft of at least f500 free of overdraft interest at ccount
opening. Maximum overdraft available is f3,000 free of overdraft interest, subj to
status and account conduct. Plus, we won't charge you any overdraft setup fees.

Representative example (assumed overdraft f3,000):0% EAR variable

Please note, applicants for overdrafts must be l8 or over.

lf you try to make a withdrawal at any HSBC cash machine that would take you your
overdraft limit, you'll get an on-screen alert to let you know how much money yo have
available to withdraw.

You can also sign up to receive text alerts when your account balance drops bel a
certain amount. To set up a text alert, call us on 03457 404 4o4. Lines are open 8 to
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For first year students, the first fl,000 in your Student Bank Account, will earn i est at
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Gross: The rate before the deduction of tax applicable to interest on savings'
(Source: o HSBC Bank 2015)

93

_t_
 Topic: Language and Power
Subtopi<: Language of financial institutions

Communication between financial companies and customers via leaflets, the i net or
face-to-face is important in helping customers choose the product and servi available
to them.The language offinance has often been too technical and complic and
finance firms have been accused of using too much small print, large amounts jargon
and complicated technical language which many customers cannot be ex to
understand.

Your investigation should focus on the language used by financial institutions n

promoting their business and persuading customers to choose their products nd
services and accept their terms and conditions.

You should research:

. the theories underpinning language and power, particularly within the lan uage of
financial institutions
. relevant language frameworks
. social and cultural effects on language.

Suggested research resources

Books:
Coultas, A. (2OO3\ Longuoge ond Social Contexts
Crystal, D. (20031The Cambridge Encyclopedia of the English Longuage
Crystal, D. (2010\ The Cambridge Encyclopedio of Language
LaBelle, S. Henriksen, B. Eppler, E. (201 1 ) Language, Society ond Power: An lntrod ction
Fairclough, N. (2014) Language and Power, ird edition
Mooney, A. and Evans, B. (2015) Languoge, Society and Power: An lntroduction,4 edition

News articles:
http://www.telegraph.co.uUfinance/newsbysector/banksandfina nce/116992 top-
using-jargon-regulator-tells-banks.html

Specific data could be collected from print, television and online sources.

General revision sites:

www.universalteacher.org.u k
wwwenglishlangsfx.blogspot.com
www.engl ishandmedia.co.uk/e-magazine

94

t_
 Topic: Language and Power
Subtopic Language of charities
Text C I

20 II
ZAflIftA
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t, of children die before their 5th birthday

of adults living with HIV/AlDs

A invested by Oxfam in a campaign

T to reform Zambia's health care system got a...

rise in government spending on

health care, leading to a...

ttt
\
increase in the Zambian
health budget

,*
extra health workers

for millions of people

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 Text C3

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97 )
TOPIC 4: Language nd
Technology
- Language of Public Add ess
Systems and Directio
- Laneuage
trv of Online Ga tng
 Topic: Language and Technology
Subtopic3 Language of public address systems

Dating back to around 1910, public address systems have allowed people to i part
information to a large public, for example to make announcements in air and il
terminals or at sports stadiums. The language of these announcements is de dent on
function and context. The nature ofthese systems has evolved along with the echnology
used to deliver them. The lanquage and mode of delivery used by the speaker 5
important in ensuring the message is conveyed effectively for each particular tuatio n.

Your investigation should focus on the impact public address systems have ha on
communication and language choices.

You should research:

the theories underpinning language and technology, particularly public ad reSs
systems
. relevant language frameworks
. social and cultural effects on language.

Suggested research resources

Books:
Crystal, D. (2OO3) The Cambridge Encyclopedia of the English Language
Crystal, D. (2O1O) The Cambridge Encyclopedia of Language
Crystal, D. (2013) The Language Revolution
Shortis, T. (2OO1) The Languoge of lO (lntettext series)

Specific data could be taken from recordings of various public address systems uch as:
schools, shopping centres, train/underground stations, airports, public events a d
concerts or online sources.

General revision sites:

www.universalteacher.org.uk
www.engl ishlan gsfx.blogspot.com
www.engl ishandmedia.co.ukJe-magazine

98 )

I
 -t-
,,'..,'!llil.Tlin:"l,"iJilTllli:11,,,"-.
Text D

The following ore scripted and pre-rccorded onnouncements made on train journeys
ot
railway ond underground stotions.
'l
. Please stand well away from the edge of platform 2. The approaching train is ot
scheduled to stop at this station and will pass at speed.

2. This is a security announcement. please do not leave luggage unattended an ere

on the station . Any unattended luggage will be removed without warning an may I
be destroyed.

3. ln the interests of safety, please stand back from the edge ofthe platform unti your
train comes to a complete stop.

4. The next train to arrive at platform 10 is the 1O:03 Abellio Greater Anglia servi to
Norwich calling at: Colchester, Manningtree, lpswich, Diss and Norwich.

5. Mind the gap, between the train and the platform. Mind the gap.

6. Customers are advised that closed-circuit television and remote video monito ng rs
in use at this station for your personal safety and security.

7. We are sorry to announce that the 1 0:25 service to Stansted Airport is delayed
approximately 15 minutes due to a passenger incident. Please listen for furthe
announcements. We are very sorry for the delay this may cause to your journ

8. Here is a special announcement. A replacement bus service is in operation

between this station and Stratford. Further information is available from the ton
information boards.

9. This station is Stratford. Change here for the Central Line, the Docklands Light ilway
and National Rail Services.

10. Welcome aboard the 14:57 Abellio Greater Anglia train to London Liverpool S
My name is Matthew and I am your senior conductor for thisjourney.The train
will be calling at lpswich, Manningtree, Colchester and then direct to London
Liverpool Street. Please can all passengers ensure that luggage is safely stored the
overhead compartments or luggage racks throughout the journey. There is fir class
accommodation at the front of this train, please ensure you have a valid ticket
travel in this class. Our quiet carriage is carriage B. For the comfort of others, uld
customers please refrain from using any mobile or music devices whilst travelli gin
this carriage. We have a buffet service in coach H today, serving hot and cold d nks
and light snacks. On behalf of the driver and the crew I would like to thank you
travelling with Abellio Greater Anglia and we hope you have a pleasant journ

99
 Topic Language and Technology
Subtopic: Language of online gaming
Text D

The transcript is from a live

multi-player online racing game.The speakers A and B vlhose
identities and oges are unknown are both young males.They are playing in the somtp room

A = player g
1
= player 2 capital lettfrs = shouting
(.) micropause (2) longer pause (number of [ ] paralinguistic features
seconds indicated)
Clipping GAME = computerised voice of
game narrator

GAME: here we go (.) complete the laps to win I

A: ok lets go
B: too much rev (.) ive spun ive spun
A: sick start fiaughter] use turbo to catch up
I

I
B: ok (.) wow that really work (.) thank
A: hope you like my tail lights thats all youll see from me from now on (.) lap I down
B: funny (.) NOT [aughter] (.) using turbo again
GAME: mjssile launcher applied ]

A: wicked thats more like it (J look at me go ive blasted Mater out of the way i
B: help (.) stuck in a bush I

A: fiaughteri thats why im Lightning (.) can speed backwards I

GAME: WARNING high level weapon in play

A: whoops icant stop spinning out
]

B: try slidin into the bend then accelerate (.) or press x to jump
A: cheers (l ) sliding worked (.) oops hit the barrier I

B: fiaughter] yes now ive got enough to customise (.) im pittin on the next lap
GAME: here is a GPS compass just follow the compass
B: i love the graphics (.) like being in London (.) just smashed through Buck Palhce
A: cool (.) can you drive through water
B: dont know give it a go I

A: im jumping off a bridge (.) NOOO (1) no you cant it just restarts
B: 3 laps down still number 1
GAME: WARNING high level weapon in play
B: you cant keep blastin everyone out the way
A: you can smash statues for extra bonus I

B: iry going backwards or on two wheels and then use turbo it helps smash larf ORosts
(.) the question marks add up your score
GAME:WARNING high level weapons in play I

A: NOOO (.) ive been zapped by someone (2) im last (.) rubbish (.) the driver in lhe blue
car keeps taking me out im fed up with them (.) oh come on (.) someones ramm{d me off
the road now ,

B: fiaughter] tough (.) ill take them out for you (.) try using the oil slick that will pet em
A: ok
GAME: oil slick acquired
A: hope it works ill use turbo and see if i can catch up (.) im two laps behind I

I B: ill try to block so you can turbo ahead

time
]

A: cheers i can cut through the park to save

time ]

B: mind the train track (.) if Eurostar hits you it loses ]

I

100
 GAME: WARNING high level weapons in play
A: ok (.) someones using weapons again (.) this is getting stupid why cant just race
B: only 3 laps to go (.) up to 2'd place the red is still first
A: you shouldnt have pitted to upgrade weapons
B: thought itd help
A: watch out for the zap they are targeting you
B: a bad loser (.) can we just play us two
A: ok next game
B: 1 lap left
A: go for it ill block other cars or use weapons to cover you I

B; cheers

Glossary

Mater - character from the game

Lightning - chatacter from the game

I
I

I 101
t
I
BASIC ACADEMIC S ILLS
o Note Taking
o ParaFhrasing
o Summarizing
 I

Note Taking-A Key Skill lor Academic Success

An ar erarc slrrrlt'rrt itr an Entlislr-s|caking acaclt'rrri. ('lrvironnrL-nt rr[i-\ sPcncl to 1.1 hoLrls a u.eek listen-
ing to class lectures and discussirxrs. In most academic classes. professors deli er informatiorr to stlrdents
in the form of lectures. And, although many classes today norv use a more llaborative or small-group
learning process, they include lectures on a regular basis. Consequerltly note king is an essential skill,
because i1 is probably the most uscful tool students have for softing, organizi , and rermembering what
is presented in lectures.
While goocl note-taking skills will help students succecd acadernically, no sirrgl note-taking rlethod works
fot. every lectut.c or for every sttrdcnt. So it is important for students to discover e style of note taking that
',vorks best-for the particular situation and for the student's individual learni style.
One of the most important skills for good note taking is good listening. Here some general strategies
for good listcning:
I:ocus on tlre content, rrol the delir,err': l)() n()1 lre ciistract.'tl lrv t]rc I cturr-rls l)rcsentation stl le;
focrrs on the flow of thc m;rterial
Avoitl distractions: L)o n()t bc distractc'cl lrt'the person lrqxt l() you c hing or shuffling papcrs
Sit in the kont of the room or- in a location rvhere you can see and hear ell. and lvhere distractions
are limited.

.) . Anticipate rvhat you will hear: \bu can think faster than thc lc-ctttrer an spcak. Begin to antici-
patc what the professol is going to sav as a wav to stay focuscd
. Stay active by asking Ineltal questiotrs: l'ltis is callecl ;tctivc listcrrin Ask qrrestions to yourselI
as vorr listen. For example: What key point is the profcssol nraking? w does this fit t'ith rvhat
the professor said in previous lectures? Hr:rv does this fit with the readi g assignmcnl? Horv is this
lectur e organized?
Signal Words and Phrases
Good speakcrs often use signal rvords to help thc listener follow thc informa on presented. Tcr improve
Iistening ancl develop good note-taking skills. sttrclents need to listcn for and u erctand signal u'ords ancl
phrascs. 'l hcv slrould also lrc rc:rdt lo lake n()tcs on the ke1- inlirrtrtati<tn t at comes afler the signal
words. "For example" is a very common signal phrase that speakers tlse to in duct' an example. Olhet
corrrrnon signals include:
o "There are three reasons why..."
. "First ... Second... Third ..."
o "What I want to talk about is ..."
,.) . "And most important, ..."
o "A major development ..."
. "Why it was so imponant ..."

Please note: While note taking is an important academic skill and *"rri il"vu" r*
the integrated task in the next generation TOEFL test, nob-taking bkill are not
tested and are not requlred to do well in the test.

102
Jhe instructor mav signal supporting details '",.,ith phrases such as
. "On thr otht-r'hanrl ..."
. "Last tiu.rc ..."
o "On thc conlran' ..."
o 'For-cxamplc, ..."
o ".lust like ..."
r "Sinrilarl]; ..."
o "ln c:<ttrttasl, ..."
. ",\lso,..."
o "So ..."
o 'Ancl irr fact,..."
. "IiLrrt]rcr, ..."
o "A ter-nr lbr ..."
r "F'urthcrmorr'...."
o "As au c:xarnPle, ..." i I

. "For iDstanc(', ...

. "But..."

The instluctor may signal conclusion or summary with

o "Therefore, ..."
. "In conclusion, ..."
. "In other u'ords, ..."
o "As a result, ..."

o "Finally, ..."
o "In summary, ..."
r "From this we see that..."

The speaker nray signal imporlant information very directly with

. "Now this is impor1ant ..."
/^1
o "The thing about ..."
. "Remember that ..."
. "The important idea is that ..."

103
Note-Taking Methods
Tltere are many methods for taking good notes. l'he best style depcnd,. on ![re rvpe of lecturc or listen-
ir.rg actir.it1,, as well as the personal preference of the student. Below are cles!
lriptions of four note-taking
nrethods. It is imponant to nole that none o[ these methods wil] work in LrlI types of academic listening
sitttations. Students may even need to combine tr,vo or more methods during t[] same lecture to effectively
fe
rccord the esscntial information.

Method #1 The Key Word Method

Description a Write down single words or phrases, focusing on tr )chnical terms,

names, and numbers.

Advantages a Can help you remember other parts of the lecture ind can evoke
r

images and associations with other words.

Disadvantages a Maybe difficult to remember enough of the content related to the

key words when reviewing.

When to use o When the students has beginning level listening sk ills
r When the speaker talks quickly.
o When you are quite familiar with the material.
o When you prefer to take more time after the lectun ! to write out a
longer summary for review.

Method #2 The Charting Method

Description . Determine the steps or categories to be covered ir r the lecture.

o Prepare note-taking paper in advanced by creatinl I a table. Do
this by drawing columns or rows and labeling appl opriale column
or row headings based on the categories or steps that will be
covered in the lecture.
. As you listen to the leclure record important inforfi ration (words,
phrases, main ideas, etc.) in the appropriate step )r category.
r

Advantages . Reduce the amount of writing necessary.

o Makes it easy to review facts and compare categc nes

Disadvantages o Dfficuh to learn how to use.

o Difficult to locate the appropriate cdegories.

When to use r When the lecture presents information in steps or [ategories.

r When you want to reduce the amount of time sperft ediling and
reviewing your notes. I

104
 Method *}3 The Outlining Method

Description . Listen to the lecture or discussion, and then rei )ord major
points, organizing this information in a logical F attern, from the
broadest, most inclusive details to supplementi lry details,
based on a system of space indention.
o Place major points farthest to the left.
o lndent each more specific point to the right. lnc ention can be
as simple as or as complex as labeling the indr rntions with
Roman numerals or decimals-
o See below for an example of an outline.

Advantages o ls a well-organized system if done correctly.

o Record content as well as relationships betwe( rn ideas.
. Reduces editing and is easy to review by tumir rg major points
into questions.

Disadvantages r Requires more thought in class for accurate or Janization of

ideas.
r Cannot be used if the lec{ure is too fast.

When to use . When the lecture is organized in an outline fort nat.

o When there is enough time in the leciure for lis teners to think
about what is being said and to make organiza lion decisions
as they are needed.
r When the student's note-taking skills are highl) developed

Sample Template of the Outllning Method

Maior Point
Supporring detail
Supporting detail
Subsidiary detail
Subsidiary detail
o
N4ajor Point
Supporting detail
Subsidiary dctail
Subsidiary detail
Supporting detail
Supporting detail
Subsidiary detail
Subsidiary detail
More detail
More detail

105
Method The Cornell Method
u
Descriptio o Use a loose leaf, three-ring binder with large sheets ol paper. Avoid
n using a very small notepad.
. Draw a line down the left side of the notebook paper lr raving a large
(six-inch) area on the right in which to make notes.
o During class, take down information in the six-inch are a. lf the
instructor moves to a new poinl before you are finisher I writing, skip a
few lines.
. After class, complete phrases and sentences as much as possible.
For every significant bit of information, write a word cu e ( or summary
word) in the left margin.
o To review, cover your notes with a card, leaving the ct es exposed.
. Say the cue out loud; then say as much as you can ab out the material
undemeath the card without looking at it.
r When you have said as much as you can remember, r nove the card
and see if what you said matches what is written.
o lf you can say it, you can learn it.

Advantage . ls an organized and systematic method for recording € nd reviewing

s notes.
o Provides an easy format for highlighting and clarifying major concepts
and ideas.
. Is simple and efficient.
r Saves time and efiort.

Disadvant r None
ages

When to o the student had mastered the other methods of rote taking.
\y'y'hen
use . ln any lec{ure situation.

'106
 Note-Taking Activity- Overview

ACTIVITY Listening for Signal Words

TITLE

TARGET . lntegrated listening, writing, and speaking.

SKILL . Listening for details.
. Listening for basic comprehension.
r Connecting, synthesizing, and/or summarizing inf rrmation.

LEVEL I ntermediate-advanced

LEARNING o Take notes on major points and important details.

OBJECTIVE . Use these notes to organize information before w irting or
speaking.

MATERIALS a A two- to five-minute listening passage. Suggeste d sources

include any of the Web sites of authentic speech )r any
r

intermediate to advanced ESUEFL texbook on lir itening skills.

Before class divide the selected passage into thre e appropriate
sections based on content.
a Copies of the note-taking skills information on pa( tes 102-106

TIME t hour

.3

107
 Note-Taking Activity - Description
Activity Title: Listening for Signal Words
Target Skills:
. lntegrated Iistening, writing, and speaking
. Listening for details
. Listening for basic comprehension
r Connecting, synthesizing, and/or summarizing information
Learning Obiective:
o Recognize the organization of the information presented
. Take notes on major points and important details
o Use these notes to organize information before writing or speaking

lnstructor Directions
Part One
) i. Distribute copies of the information on note-taking skills (pages 207 2ll).
2. Intt'oduce the irnportance of nole-taking skills.
-3. Brielly revieu, thc fir,e note-taking methods rvith the class.
,1. Revieu,the signal rvords and phrases. Elicit [r<rm the students any addition examplei oI signal words
and phrases and write them on the board.
Part Two
l. Before beginning the activitl,, develop some prelistcning questions for thc I slening passagr'. Ask open-
ended questions starting wilh "Wh1r", "When", etc.
2. Plrv thc selected listening passage.
3. Ask the students to lister for any signal words or plrrases and to write them oryn rvhen thcy hear thern.
(Have several prc-selected examples available. Divide each selection into th or nore sections.) Remind
them tlrat these worlds and phrases r,r.ill signal important information they ould take notes on
4. Have the students pair up with paftners and compare the signal rvords th heard.
5. Have all the pairs share their signal words. As tl.re signal words are given, ritc them on tlrc hoard
Part Three
l. Allorv each student to choose either the outlining or key word note-taking rcthoil
2. Play the listcning passagc again and have thc sttlderts use thcir assigncd n te-taking mcthocls to take
notes on it. Rcmind them to listen for thc signal rvords and tlren take not s on the info|mation that
fol]or,vs those u,ords. Have them uritc "Section l " at the top of pa-ee bcfo they begin to take notes.
Thcn stop the lectrlre after the first section, and have the students write " ection 2" on the next line,
arrcl continue plaving the lccturr-. Stop after thc second sectiorr and have t c students writc "Section
1" on the next liucr, ancl contirrrrc playing thc lecttu'c. In thc ord, stud€:rlls Il har.e tlrcir rrotr's divided
inlo three sections. (This is because the students will summarize each secti latcr in tlrc sunrnarizing
activitv on page 2-j0.)
-3. P:ril each stuclenl rvith a parlnel tr ho r.las assi-ened a different nt-rte-taking m thocl. Har-e tltcn r corrpare
the infor-mation in their notes and dccide which method had bettcr rcsttlts The partncrs shrruld also
discrrss ruhich of the trvo methods thev personallv prefer aud explain wht'.

108
History Lecture-
Transcript with Some Signal Words and Phrases Highlighted in Bol face
This historr, lecture is Listening Set 3 frora the next generation TOEFL practice t
Okay, uh, so last time we were talking about the expansion of the railroad in the ineteenth century-why
it was so important in the development of the southwestern United States. Uh, talked about a couple
of things: The railroad brought about land speculation, and development of lands r timber and farming
and - well, and this is what I want to talk about today-the railroads brought rists. They traveled
by train, viewing the landscape, and uh, came to get a taste of what the "Wild t" was like. In the past
100 years, a whole tourism industry has grown up around this idea. And uh, iust li e... ranching, or gold
mining, it helped to integrate the Southwest into the economy of the rest of the ntry...uh, tourism
helped integrate the "culture" or life in the Southwest into ...well, well kind of into he minds of the rest of
the country. And Iarge-scale tourism couldn't have happened without the expansi n of the railroad.

[End of section one]

So, the railroad brought tourists, and tourists brought some changes that lthink a really interesting. Uh,
the thing about tourism that you should know first, and this has been determine by sociologists...soci-
ologists say that tourists look for the familia( Most tourists don't go someplace I ing for new things
They go looking for things they already know something about. Tourists will have me sense of the cul-
ture of a place-maybe based on a stereotype or a generalization - but, but that's hat they expect to (aj
see. And places that-deal with tourism, create things knowing this-they create hat tourists are looking
for. Take the Grand Canyon Railway. Any of you been on it? Well, this is a train th t takes tourists to the
Grand Canyon, and while you're on the train, you see fake shootouts and gunfig NoW the railroad run-
ning to the Grand Canyon was never actually robbed. But tourists have this idea t at this was what things
were like in the Wild West-you know, gunfights and train robberies. And the touri railway wants to
make them happy. There's a great term for this-it's called staged authenticity.

[End of section two]

ln other words, people go to the Grand Canyon to see this fantastic natural land pe, but they also
want to get a sense of what it was like there during the real Wild West. Well, the lway knows this, so
they try to re-create some of that cultural history. And, oh, and we also see this at the Grand Canyon with
the creation of Hopi House. Have any of you visited Hopi House?.
Student B
Were the Hopi better adists? I mean, did they make better things?

Professor
Not really. The way I understand it, the people at the Harvey Company were ve good at making
n
money, and they figured that the Hopi people and the Hopi crafts would sell bette to the tourists- So they
built Hopi House, and hired the Hopi people to work there and, uh, one of lhose p ple, uh, a famous
Hopi potte( was hired by the Harvey Company and she worked to rebuild, or or ki d of restructure. the
Hopi pottery. lt's not sure whether this was her own doing or whether she was i ructed to do this but
archaeologists working at ancient sites in the Southwest uncovered pottery and e staned copying the
same style.

And, well, there's some debale about thay...whether it was her idea or whether s e was told to do ;t

Either way, before you know it Hopi pottery was changing. It's, it's another case f the contradictions of
staged authenticity- certainly the Hopi pottery you buy there is real. I mean, it d s represent the pottery
of the Southwest. But the Hopi people are not the traditional inhabitants of the C yon, and their art gets
affected by the tourist market-the the Harvey Company basically changed histo to make money.

[End of section threel

109
 Note-fbking Activity- Description
Activity Title: Listening for Signal Words
Target Skills:
. lntegrated listening, writing, and speaking
. Listening for details
. Listening to develop basic comprehension
. Connecting, synthesizing. and,/or summarizing information
Learning Ob,ective:
. Recognize the organization of the information presented
. Take notes on major points and important details
. Use these notes to organize information before writing or speaking

Student Directions
Part One
') l. Rcad the informatiotr on note taking skilJs provided by your instrlctor. Li Ii n to x)lll instr-rrcloI talk
about this topic and participate in a class discussion.
2. Revier.v the signal words and phrases providcd. Tell your instntctor abou ollrcr- txlrr-n;rlcs ol sigrral
r^,,ords and phrases you have heard.

Part Two
l I-isten to the listening passage your instmctor plays fol. the class.
2, Listen for anv signal worcls or phrases, and s,r-ite thern dorvn tvhen yotr he r them.
3. Working rvith a paftner, compare the signal rvords each ofyou heard. Shar thc rvords you hearcl rvith
] our instlxctor:
Part Three
I . Norv you rvill liStcn to the lecture again. Choose either the urtlinirrg or kcy rd method ol note taking
Think atrout your method before listening to the lecture.
2. Norv listen to the leclure- Rcmenbcr to listen for thc signal worcls to help tou ant icipatc iml)()rtant
inlonnation and to be prepared lo take notes on that information. )bu instructor u ill plav the
-.) Iecturc in three sections. You will writc "Section 1," "Section 2," and "Secti n -j" rvhen thc instnrctor
indicates vou should do so.

-3. Pair up u,ith another student rvho was assigned a different note-taking rne ocl than vours. Conrpare
notcs, and discuss rvhich method got better results. Also, discuss rvhich of he trvo methods yolr per-
sonally prefer aud explain whr,.

110
Paraphrasing
A paraphrase is a restatement of rvhat someone else has u,ritten or said, usi one'.s orvn u,orcls. A pat'a-
phrase is a more cletailed t€statement than a summarl, rvhich focuses c,oncis y on the major points of
written or spoken source material.
Paraphrasir.rg skills are used very frequently in academic settings. For cxample, tudcnts must olien para-
phrase information fi-om articles when writing papers. Or, during classroom di sions, they mrrst restate
orally u,hat they have heard in lectu'e or read in textbook.
Students nrust be able to paraphrase quickly and fr-equently, so it is important students to practice this
skill rvhenever possible. As students practicc their paraphrasing skills, they wil probably find that their
overall comprehension skills will improve.
I1 is important thal studer)ts develop a broad vocabularl and bc ablc to use a wi range of sentence struc-
turcs to effectively paraplrrasc a lert. They rnust qtrickly find other rvords th have the same or vcry
similar meaning (synonyms) to restate thc infonnation pr-or,idcd in thc origi al source matcrial. They
must also restate the information using completely different sentence struct s than those rrsed in the
(n-iginal text.
Herc is an example o[ a short reading passage and its paraphrased version:

Original Text:
Of the more than 1,000 bicycling deaihs each yea( three-fourths are caus by head injuries
(
l
Half of those killed are school-age children. One study concluded thai weari g a bike helmet
can reduce the risk of head injury by 85 percent. ln an accident, a bike hel absorbs the
shock and cushions the head. (53 words)

Paraphrased Text;
The use of a helmet is the key to reducing bicycling fatallties, which are due o head injuries
7l%. of the time. By cushioning the head, a helmet can reduce accidental in ry by as much
as 85%, saving hundreds of lives annually, half of whom are school children (48 words)

This example is quoted from the Online Writing Lab of Purdue University:
http://owl.english.purdue.edu/handouts/research/r_paraphr.html

In tlris exarnple, the worcl "deaths" in the original lext is restated as "fatalities" in hc paraplrlascd tcxt. ln
addit-ion, the phrase "each year" is rephrased as "annually"; "three-fourths" is tatcd as "7-5oz'o": and the
phrase "are caused bv" is paraphrased as "are due to."
Effective paraphrasing also requires students to bc able to change u'orcl forms easily: For example, in
the above examplc, "reduce" changes to "reclucing" ancl "cushions" changes to "
students must be able to simplify words, such as rephrasing "bike helmet" "helm
hionir.rg." In addition,
t" and "school-age chil-
o
dren" as "school children."
florvcver', it is cr-itical that students underctand it is not cnough just to switch voca ularl and changc u'ord
forms. The sentence stmcturcs of a paraphrase must also be con.rpletely rlifferen from those usecl in the
()l'i€linal tert as shown in the cxample above.

Onc of the rcasons paraplrrasing is such an impoftant skill is that universitics i English-speaking envi
ronrnents are conccrncd about plagiarisrn, r,vhich is the unackrorr4edged use o[ other personi words
or ideas. Many cultures might not be so concerncd about this issue, but some cul es. such as thc North
Amcrican culturc, considcr not documenting one's sources to lle stealing. Some u Vcrsjlics afe so scri()uS
about this issue that they even use softrvare that helps detcct whether a piecc of ting has becn plagia-
rized. Students rvho are charged rvith plagiarisn can experience severe conseque ces, such as expulsion
frorn the univercitv

111
 Paraphrasing Methods
'l'hc first stcp in paraphrasing or summarizing is alr.r,aYs to r ead the text se tirnes so it is ftrll1 rrnder-
sloo<1. Thcrr. students can use one of thesc methocls:

l. Write thc paraphrase or summary withnut looking at the original te ; this will nrean the mind
has a chance to process the information and put it in completely di t rvords. Studcnts should
check the paraphrased version rvith the odginal text to make sure it i factually accrrratc and that
thcy have used different r,,,ords and sentence stmcturcs.
2. Reread the text, taking abbreviated notes this tinie (for exanple, using e key-wold metlrod o[ note
taking described on page 209). Students can leave the notes for a day r so, and tlren use them to
write thc paraphrase or summary
3.'l'hink about horv to explain thc irrfonnation lcl s{)r)leonc rr,ho is co letcly unfanriliar'',vi1h the
sul.rjcct (e.g., fricnd, mother, sister), and tlren rvr-i 1t tltc paraphrase or s mmarl using tlrost' sirlpli-
fied words.

Successful Paraphrasing
Thc paragriqrhs or) pages 217 and 218 provide :rn exanrple of parapll-ases; tw are not successlirl and one
is succt'ssftrl. They are quoted fiom the Mrriting Center Web sitc at the Uni ol \\'isconsin - \l:rclison at
'l rr""rrv.rvisc.edu/rwiting/Handbook/OuotingSources.html, and printed here rvith ISS]QII

Example:
The student wanted to include some material that compares how experts and nonexperts are
used in several professions, drawing from a paper on the concept of prof onal "expeds."

Original Published Source:

Critical care nurses function in a hierarchy of roles. ln this open heart su ry unit, the nurse
manager hires and fires the nursing personnel. The nurse manager does t directly care
for patients but follows the progress of unusual or long-term patients. Qn ch shift a nurs.l
assumes the role of resource nurse. This person oversees the hour-by-ho r functioning of
tl']e unit as a whole, such as considering expected admissions and disch es of patients,
ascenaining that beds are available for patients in the operating room, an covering sick
calls, Resource nurses also take a patient assignment. They are the most xperienced of all
the slatf nurses. The nurse clinician has a separate job description and p des for quality
of care by orienting new staff, developing unit policies, and providing dire suPPort where
needed, such as assisting in emergency situations. The clinical nurse s alist in this unit
is mostly involved with formal teaching in orienting new staff. The nurse ager, nurse
t\ clinician, and clinical nurse specialist are the designated experts. They do not take patient
assignments. The resource nurse is seen as both a caregiver and a resou to other caregiv-
ers Staff nurses have a hierarchy of seniority. . . . Staff nurses are ned to patients to
provide all their nursing care. (Chase, 1995, p. 156)

Re fc rerrcc:

Chase, S. K. (1995). The social context of critical care clinical judgment. H atl and Lung, 24.
154-162.

112
Word-f or-word plagiarism
This paragrapl.r would be considered plagiarisrn becausc the rvords u,ere taken [r'om e odginal text and not
acknorvledged. The bolded words rvere taken (plagiarized) h-om the original publis source u.ithotrt quo^
tation marks. In addition, the original source was not acknor,r,ledged. Thereforc, this consiclered plagiarisnr
Critical care nurses have a hierarchy of roles. The nurse manager hires a d fires nurses.
S/he does not directly care for patients but does follow unusual or long- cases. on
each shift a resource nurse attends to the lunctioning of the unit as a who , such as
making sure beds are available in the operating room, and also has a patie t assignment.
The nurse clinician orients new staff, develops policies, and provides supp where
needed. The clinical nurse specialist also orients new staff, mostly by teaching
The nurse manager, nurse clinician, and clinical nurse specialist, as the d signated
experts, do not take patient assignments. The resource nurse is not only a regiver but
a resource to the other caregivers. Within the staff nurses there is also a hie hy of
seniority. Their job is to give assigned patients all their nursing care.

Another unsuccessful paraphrase

This is an attempt nt a paraphrase, but th.: student stilI took a nurrber of phr:rses ( Ided) from thc origi-
nal soutce rvithotrt signaling that they are quoted. Nlost of thesc phrases could b easilv re-rvortlcd, but
the student might r.vant to keep a quote like "hierarchy of senioritv" in the paraphra e to acknou,ledge tlrat
these are Chases words directly.
c)
Chase (1995) describes how nurses in a critical care unit function in a hierarc that places
designated experts at the top and the least senior staff nurses at the bottom. expeds
- the nurse manager, nurse clinician, and cljnical nurse specialist - are not i lved directly
in patient care. The staff nurses, ir'r contrast, are assigned to patients and pr vide all their
nursing care. Within the staff nurses is a hierarchy of seniority in which the ost senior can
become resource nurses: they are assigned a patient but also serve as a reso rce lo other
caregivers. The experts have administrative and teaching tasks such as selec ng and ori-
enting new staff, developing unit policies, and giving hands-on support wh re needed.

A successful paraphrase
In this paraplla.se, the student tres his or hel orun rvor-cls, and apprcpriatcly achxxvled a plrrase that is clirt:ct-
ly quotccl fuom Chase ("hierarchv of senioritv") and cites the page nurnher r,,,herc these rds can be founcl
ln her study of the roles of nurses in a critical care unit, Chase (1995) also foun a hierarchy
lhat distinguished the roles of experts and others. Just as the educational ex described
above do not directly teach students, the experts in this unit do not directly att nd to
patients. That is the role of the staff nurses, who, like teachers, have their own 'hierarchy of
C
seniority" (p. 156). The roles of the experts include employing unit nurses and verseeing the
care of special patients (nurse manager), teaching and otherwise integrating n personnel
into the unit (clinical nurse specialist and nurse clinician). and policy-making (n rse clinician)
ln an intermediate position in the hierarchy is the resource nurse, a staff nurse ith more
experience than the others, who assumes direct care of patients as the other s aff nurses do.
but also takes on tasks to ensure the smooth operation of the entire facility.

Citing Paraphrased Sources

II'en if students usc their own words to paraphrase sorneone else'.s u,ords or ideas, t ey must acknou'ledge
the original sourcc. I-isted belorv are sonre helpful tips about citing paraphrasccl so
Students should begin a paraphrase or sunnrary \\,ith a statenrent that giv crcclit to the original
source for example, "According to Roger Ebert, ..."
put iDto their e\\'It w rtls ,rl tlo l)o1 \\'irtIt 1o
1f there arc sorne uniqtre rvords or phrases thc,v cannot
change, stuclents must put them in quotation nrarks for exanrple, "Stephar.rie Zaclt:u el< belicr,t's the
Irovie is a travcsty for the follorving reasons,..."
113
Quoting Sources
According to the Writing Cente| at the University of Wisconsin, in general, st dents should avoid quoting
sor.rrccs directly rrnlcss it is really necessary They should quote from a sou to show that an authority
supporls a point, to provide a position or argumcllt to comment on, or to provi e a passage',vhose nreaning
rvould be changed iI it were paraphrased or summarized. When quoting cli y is called for, hcre is some
advice' studenls should follorv:
. Nlention the quoted person's name at the beginnir.rg, in the middle, or t the end of the quote, ancl
include the complete reference in the refercnce list of the paper.
. Put quotation marks " " around the quoted text if there are ferver th 40 rvords. For quotations
rvith more than 40 r.vords, omit the quotation marks and start the quot ion on a ncrv linc, indented
five spaces frorn the left margin.
. Use an ellipses ( . . . ) to indicate that some words have been omittecl thin a quotation, and use
brackcts [ ] (not parenthesis) to add their-own comments or corrcctio
I:.xample of a sho quotation:
According to Stephanie Zacharek (1997), "There's nothing wrong with usi g real-life tragedy
as a background for a made-up story. But the story has to serve the , not the other way
around."

Example of a Iong quotation:

ln her '1997 review of the movie Iitanlc, Slephanie Zacharek stated the fo lowing

There's nothing wrong with using real-life tragedy as a background for a ade-up story
But the story has to serve the event, not the other way around. lt's obvio , though,ithat
Cameron wasn't thinking in those terms. lTtanlc puts two lovers (Kate Wi slet and Leonardo
Dicaprio) al center stage and sketches in all the other details sloppily.

llcfercnce:
Zacharek, S. (1997). James Cameron's Iitanic New Disaster Movie Dese es a Watery Grave
Salon Web site www.salon.com/envmovies/l997 /12/cov 1 Ttitanic.html

Citing Unknown Sources

I[ stttdents
are citing a sourcc'tha1 has no author; no datc, and no page numlx (as r.r,ith the next genera-
tiolr TOEFL test), they should use the first ferv rvorcls from the title and ahbr ate n.d. (for 'ho date")
Exarnple of a quotation:
The author of the dance article states, "There was virtually no way to p ice the art of
dance, either as a dancer or a choreographer outside the large ballet co anies" (n.d.)

Example of a paraphrase:
Dancers could only practice dance as an art by working independently f ballet companies
as a dancer or choreographer

For tttore informalion about paraphrasing, plagiarism, and citing sour-ces, visi the Writing Ccnter at the
Univclsity of Wisconsin al uryrv.u'isc.edu/u,riting/Handbook/Documentation.ht l.

114
 Paraphrasing Activity- Overview

ACTIVITY TITLE Confucius Article - Paraphrasing

TARGET SKILL Reading for basic comprehension

LEVEL lntermediate

LEARNING a Recognize and create accurate paraphri ses of

OBJECTIVE informalion in a text.

IUATERIAL a Confucius article from Mosaic 1 Reading , 4th edition, by

Brenda Wegmann and Miki Knezevic, Cl rapter 7:
"Remarkable lndividuals," pages 109-1 1 ). Published by
McGraw-Hill. Reprinted with permission.
a Copies of the paraphrasing information ( ,n the pages
111-114.

TIME Part One: 15 minutes

Part Two: 30 minutes
Part Three: '15 minutes
Part Four: 15 minutes

115
 Paraphrasing Activity- Description
Activity Title: Confucius Article - Paraphrasing
Target Skill: Reading for basic comprehension
Learning Objective:
o Recognize anrl create accurate paraphrases of information in a text

lnstructor Directions
Part One
Identifuing ancl usilrg synonyms arc essential components of el'fective parap sir:g. 'I his acti\.ity focuses
on tincling strnonyns fol rvords that appcar in the passage oll p:rges 224-225. (Stuclcnts slrould first trl, to
ans\ver without r-rsing their dictionaries.)
1. Have the students refer to the Confucius article and look at the underli ed rvorcls in the lines listed
belor.r,, r,vhich came from the sccond pamgraph of the articlc.
)
l Ilave the sluclents pair up rrith pattltcrs. Each pair shoulcl spcnd the next
to fincl svnonvms for the underlined rvortls.
-5 minutes working together

l Have students share and discuss their synonyrns with the class. Among t qucstions thel should ask
themseh,es is, Which slnonyms are best, and rvhy?
a. I-ine I I lConfucius] rvas reared in po\,ertv
b. Line l3 []lc becamel a leamed man
c. Lile 14 ... he soon rcgiCrcd that position
cl. Linc l5 ,.. r"vhich u,as compilecl b-v

e. l-ine 1-5 [His] disciplcs

l For lo\\,eFlevc-l students, pror.ide thc answcrs in the box belo',r,in rand or rlr'r. Slrrclcnts can tltt'Ir
match the underlined u,ord with the svnolvm.

i quit i ll j.'; ' ed Lrcated iaidtid put t6gether

Part Two
Provide the students with a copy of the infornation of paraphrasing (pa s 216 2l 9) ancl discuss the
-:) importance of this skill and the consequences o[ plagiarisrn.
IIave the studcnts read the follou'ing paraphrase of second paragraph thc Corltrcitrs arlicle. Ask
them to netice the use of sl,nonyrrs (bolded) in the paraphrased text.
Original texl:
There was llttle in his childhood background to predict the remarkable p e that Confucius eventually
achieved. He was born in a small principality in northeaslern China. was a red ll a nd h a d no
rmal ed uqalian. Through diligent study, however, he educated himself and ecame a [ga.rl]e_QL man. For a
while he held a mingl government pes!, but he soon tcgignerl that position d spent most of his li{e as an
instructor. Eventually his teachings were gathered together into a book, the /ects, which was compiled
by his ISC les (88 words)
I

Paraphrased texl:
Confucius achieved great status and prestige in his life. He was raised i a poor family in
northeastern China and did not go to school. He became an educated an by disciplined
self-study. After quitting a low-level iob in government, he became a t er. Hrs followers
put together his most impodant teachings in a book called the Analects (58 words)

116
J. Har-c students discuss the paraphrase in pairs. Ask them to look at the underli u,ords in the original
text and find the synonymous words or phrases in the paraphrased text. Th havt' thenr cliscrrss the
follorving questions.
a. How could they paraphrase the text differently?
b. Does the paraphrase contain different words and dlfferent sentence struc s than thosc rrsed irr
the original text?
c. Was any important information left out?
d. Did the paraphrased text change the author's meaning in any rvay?
Part Three
Have the students review the trvo original sentences fuom the Confucius article belorv. Then have each
student partner with another student and, while working in pairs, decide rvhich f the three paraphrase
options is best and explain wliy. Finally, discuss the best paraphrases with the enti class
1, Original text:
At the time of his death, Confucius was a respected, but not yet greatly influential, i ctor and philosopher.
Gradually, though, his ideas became widely accepted throughout China.

Choosc the best paraphlase:

t')
a. Confucius rvas an influential teacher and philosopher- .,vhose idcas rvere clclv acceptctl in Chinlr
rvhcn he died.
b. Confucius was a respected teacher and philosopher when he diecl, but it as after his death that,
over time, his ideas were accepted throrrghout China.
c. Confucius was a very influential and respected teachcr.
Original text:
Confucius did not claim to be an innovator, but always said that he was merely u ing a return to the moral
standards of former times. ln fact, however, the reforms which he urged represe d a change from - and
a great improvement over-the governmental practices of earlier days.
Choose' the best paraphrase;

a. Colrlucius saicl his iclcas rveren't neu,but rverc .r leturn t() oldel nroral sta I Iorvevcr', lris ideas
wcre new and rvere much better than the przrctices of earlier- gover-nments.
b. Confucius had many new ideas and wanted to change the governrne pr:rctices rvilh thesc
refonns.
c. Confucius didnt have new ideas, but u,anted to reform the government
governments.
th old ideas h-om past
a

117
 Part Four
Now ask the students to work itr Pairs to creatc their own paraphrases of c follor.ving pnrtions of the
Confucius article.
l. Paraphr-ase one sentence.
Original text from line 30:
At the time of his death, Confucius was a respected, but not yet greatly influe ial, instructor and philosopher.
(1 I words)

2. Paraplrrase three sentences, conrbining tlrenl into one or t\\,() sentcnccs.

Original text from line 22:
Confucius believed that respect and obedience are owed by children to t ir parents, by wives to their
husbands, and by subjects to their rulers. But he was never a defender of tyranny. On the contrary, the
starting point of his political outlook is that the state exists for the benefil of the people. not the rulers.
.1. Clhoose anv otller paragraph fr'orn the Confltrcius article ancl paraphrase. i

r)

118
Paraphrasing Activity- Description
Activity Title: Conf ucius Adicle- Paraphrasing
Target Skill: Reading for basic comprehension
Learning Obiective:
o Recognize and create accurate paraphrases of written sources

Confucius, 551 B.C.E.-479 B.C.E.

Michael H. Hart
Mosaic 1 Reading, 4th edition, by Brenda Wegmann and Miki Knezevic, Chapt r 7: "Remarkable
lndividuals," pages 109-1 10. Published by McGraw Hill. Reprinted with permis

No other philosopher in the world has had more enduring

influence than Confucius. For over two thousand years his
concept of government, and his ideas about personal conduct
and morality, permeated Chinese life and culture. Even today, his 6 '**trr.''.l
o
5 thoughts remain inf luential.

There was little in his childhood background to predict the

remarkable prestige that Confucius eventually achieved. He
was born in a small principality in northeastern China, was
reared in poverty, and had no formal education. Through
10 diligent study, however, he educated himself and became a
learned man. For a while he held a minor government post,
but he soon resigned that position and spent most of his life
as an instructor. Eventually, his most important teachings were
gathered together into a book, the Analects, which was
15 compiled by his disciples. C
The two cornerstones of his system of personal conduct were Jen and li. J n might be defined as
"benevolent concern for one's fellow men." Li is a term less easily translated: combines the notions
o{ etiquette, good manners, and due concern for vidue rather than wealth (an in his personal life he
seems to have acted on that principle). ln addition, he was the first major ilosopher lo state the
20 Golden Rule, which he phrased as "Do not do unto others that which you wpu ld not have tlrem do
Lrnto you."

Conlucius believed that respect and obedience are owed by children to t eir parents, by wives
to their husbands, and by subjects to their rulers. But he was never a defe der of tyranny. On the
contrary, the starting point of his political outlook is that the state exists for the b nefit of the people, not

25 the rulers. Another of his key political ideas is that a leader should govern prin rily by moral example,
rather than by force
119
 Confucius did not claim to be an innovator. but always said that he was erely urging a return to the
moral standards of former times. ln fact, however. the reforms which he rged represented a change
from-and a great improvement over-the governmental practices of earlie days.

30 At the time of his death, Confucius was a respected, but not yet greatly influ ntial, instructor and philoso-

pher. Gradually. though, his ideas became widely accepted throughout Chi a. Then, in the third century

8.C., Shih Huang Ti united all of China under his rule, and decided to ref rm the country entirely and
rnake a complete break with the past. Shih HLrang Ti therelore decided to su press Confucian teachings,

and he ordered the burning of all copies of Confucius' works. (He also ord red the destrlrction of most

35 other philosophical works.)

Most Confucian books were indeed destroyed; bllt some copies survived th holocaust, and a few years
later, after the dynasty {ounded by the "First Emperor" had fallen, Confu ianism re-emerged. Under

the next dynasty, the Han, Confucianism became the official state philos hy. a position it maintained
-) throughout most of the next two millennia.

40 lndeed, for much of that period, the civil service examinations in hina were based primar-
ily on knowledge of Confucian classics. Since those examinations w the main route by which
commoners could enter the administration and achieve political power, the overning class of the larg-
est nation on Earth was largely composed of n]en who had carefully studied he works of Confucius and

absorbed his principles.

45 This enormous influence persisted until the nineteenth century. when the impact of the West
created revolutionary changes in China. Then, in the twentieth cent ry, the Communist party
seized power in China. lt was their belief that, in order both to modern e China and to eliminate
economic in.iustice, it was necessary to make radical changes in society. the ideas of Confucius
were highly conservative, the communists made a major effort to eradicate is influence. the first such
50 effort since Shih Huang Ti, twenty-two centuries earlier.
-)

Word Count - 660

120
Paraphrasing Activity- Description
Activity Title: Confucius Article- Paraphrasing
Target Skill: Reading for basic comprehension
Learning Obiective:
r Recognize and creale accurate paraphrases of written sources

Student Directions
Part One
t. Refcr to the Confucius :rrticle and look at the undcrlined q.ords in the following ines. s,hich conre frorl
the second paragraph of the articlc.
2. Fincl a partrler, and think of a synonym for each u,,ord (without trsing your.dic onarn if -vorr crn )- You
have -5 minutes to complete this parl of the activit\':
a. Linc II [Confucius] rvas r-eared in pover.t-v
b. Linc l3 [He became] a learned nran
)
c. Line l4 ... he soon resigned that pos ition
d. Line l5 ... lvhich was compiled by...
t'. Liirrr 1.i IIIis] disci lc'
Part Two
Rcad the information on paraphrasing providccl bv your instrlctor: With the e tirc class, discrrss rvhy
paraplrrasing is so irnpoftant.
',
Read the follo'"ving paraphrase of the second paragraph the Conftrcirrs article. Notice the use of svn
onyms (bolded) in the paraphrased text.
Original text:
There was little in his childhood background to predict the remarkable prestige t Confucius eventually
achieved. He was born in a small principality in northeastern China, was and had DQ
fornral education. Through diligent study, however, he educated himself and bec me a learned nran. For
a while he held a na]nel government pest, but he soon resigned that position and pent most of his life as
an instructor. Eventually his most impodant teachings were gathered together i a book, the Analects, -)
which was compiled by his disciplqs. (88 words)

Paraphrase:
Confucius achieved great status and prestige in his life. He rvas raised in a poo family in northeastern
China and did not go to school. He became an educated man by disciplined se -study. After quitting a
low-level iob in government, he became a teacher. His followers put together hi most important teach-
ings in a book called the Analects. (58 words)
With a partner, look at the underlined u,ords in the original tcxt and find the ronymotls rvrrlds or
phrases in the paraphrased text. Then, discuss the following qtreslions:
a. Docs the paraphrase use completely different words and sentence strrctrues t1)tn t hosc'rrsL rl itr thc
original text?
Horv could you paraplrrase the text differentlr-?
b. Was any important information left out?
c. Did the paraphrasecl text changc the arrthorls mcaning ln any r,',ny?

121
 Part Three
Look at trvo of the original senterrces fi-om the Confu us aIlicle. With lorrr er-. dcciclc rvhictr of the
llrree parapll-ase options is best and explain lbrtr instmctor- r,.,ill ask v to share -vour icleas rvith the
"r,hy
entire class during a class discussion
1. Original text:
At the time of his death, Confucius was a respected, but not yet greatiy rnfl ential. instructor and philoso-
pher. Gradually, though, his ideas became widely epted throughout Chin
Choose thc best paraphrasc beiou,:
a. Conlucius rvas an influcntial tcach.:r and phi)cr opirer rvhose icleas rv rer rvicle.l)' acccptc.l in China
t{ren he died
b. ConfucitLs l'as a r-cspccLt:cl teachcr antl lthiloso her- \\'h!'r lrc clicLl. Ir it rvas afler lris cleirth that,
over time, his ideas u,cle acccptecl throughout hinr
r--. Ccuflcius was a very influential and respected te acher
2. Original text:
Confucius did not claim to be an innovator, bLrt always said that he was me y urging a return to the moral
standards of former times. ln fac1, howeve( the reforms which he urged rep ented a change from and
) a great improvement over-the governmental practices of earlier days.

Chcro5q the best palaphrase belon:

a. Confircius said his ideas rveren't rle\\,but \\,ere a retlrrn to olclcl rncrral s ancl:rrds. Hotvc'r'cr. his ideas
\\rcle ne\\r and rvere much bettcr than thc practices of earlier g{)\,errrnr tS
b. Conlucius had many new ideas and rvanted to chanee the go ment practic.-s rYith these
rcforms.
c. (lorrfucius dirir't li:rvc ncr,idcas, but lanted to lelolnr 1hr: gor, t s'ith olcl itlc:rs from past
g0vet llTIenf s.

122
Part Four
'vVork r.r,ith your paftner to create sortre paraphrases of the following porlions footn lhe Confrrcirrs a rtic]e.
Paraphrase one sentence.
Original text from line 30;
At the time of his death, Confucius was a respected, but not yet greatly influenti , instructor
and philosopher-
\trul paraphrase:

Parapltt'irsc threc sentcnces, and contbine them into one or tw() scntcnccs.
Original text from line 22:
Confucius believed that respect and obedience are owed by children to their rents, by wives to their
husbands, and by subjects to their rulers. But he was never a defender of tyra On the contrary, the
starting point of his political outlook is that the state exists for the benefit o{ the eople, not the rulers
Ycrtrr paraphrase:

Choosc any other paragraph from the Confucius arlicle and paraphrase it
Your paraphrase:

tz3
Summarizing
A srrrr.rrnan' is a concist' clescripti,rtt t,l'the ntajot points of sortr'thin.q vou ha reacl or listencd to. A sum-
marl unlike paraphrasing, should Irot focus on details and exanrples or pres nt a point-br.point account
of thr- source mater-ial. Rather, it c,nh focuses on lhe major points of the sotr nraterial
A par-:rphrasc mal bc as long as the original lexl. but an elfcctivc sunrmary s ottlcl bc Ilorr' ('( nrcise-and
sigrrificantll shorlcr - than the original source material.
A sunrnrarl should
o anslr.er the question, What is the author or speaker rr-ally saying?
. eonve] tlre spcakers or autlrori original inlcnt nrcanirrg
1nd
o lcad like a cohcrent, unil'ied paragraplr
Sluclctrts can usc thcir notes on tlrc rnajor points and importiull tk tai]s ol- a I Itn t or of r-,.'aclinq matcrial,
sul,h as a textbook or article, rvlren creating a sunlmary. The outiine ancl not oI a lecture ab()ut extrasen-
i(r\ l)('l(r'i)ti.rr. lrt'1r,,,v, ilittstlalr'llris rrrrtlininll nrclltocl ol rtolc trrliirrg. (This a ch is;rlso rlcscribed on
prrlt 2l0 )

Ir.\tras('tl\()t \ l)cICaPti( )tl

clcIirrition: nrcatrs ol fcrcej\inl] rvilhout trs.'ol sr.rrsc ol{an:,
three kirrrls
tt lt pathr': senclirr;l nressart.s
cllilvor ancc: [)r'((asting thc llltlrrc
psrrhokincsis: l)clit'iving r'r'crrls cxtcrnal lo ituation
_ crul l rn1 slltus
Ir )( ufrcrnt t-esc:lt !'lr to su|llr )r1 or f(-ftt1a
lcrr psrchololisl: sav inrlx,'sil,l,'
rlool. olren t() lut ur C strrcl!
IIi rc is ir rvritterr srrrrrrrlu-t'trasc<l ,,rr thc infolrnlrtion in thc orrllirrr'.
I:,\tlilse-nsor-\'pcrception isa rrr.-ansof pcrccivingl'itlr,rrrt lr.irr: s(n\( ,, gans. Therc arc tlrree kinds
t,l t'rtrasc-nsorl perceptiorr: telcpathr. cllirrrlani:e, and psrclrokinesis. door is <4rcn to further
study becausc there is no current lesearch to suppon ()r'r€futc extr ensorl, percr:pt ion and feu,
psvchologists say it is impossible,

124
 Summarizing

ACT!VITY TITLE Writing a Concise Sumrnary

TARGET SKILL . lntegrated reading, listening, speaking. and writing

ing for
lnformatf on

LEVEL I ntermediate-advanced

LEARNTNG OBJE9TIVE
prose

MATERIALS tn clude any

e
e the

TIME t hour

125
 Summarizing Activity- Description
Activity Title: Writing a Concise SLtnrmat}
Target Skills:
. lnteqrated reading, listening, speakrng. artd writing
. Listening for basic conrprehension
r Connecting, synthesizing, and/or summarizrng ln ation
Learning Objective:
. Use notes to summarize major points and important details of a lecture
. Express information from sources accurately in organized, coherent prose

lnstructor Directions
Pad One
1 . fland out page 229, and discuss thc impoftance of sunrrnalizing skills.

f . Discuss horv otrtlining can help brrild a good sumnran'.

Part Two
l. Ask the strrclents to conrparc their notes fi-onr the note takiug activitv \vith ar tur'r's. Ilalt llr. rr rli-sctiss
rvhat the major points and inponant details of the listening passage wer-e
2. Ask the students to use their- notes to \vritc a summary of the first section f the listcning passagc
-1. Havc the students work with parlners to compare their sumnrar-ics.
4. IIave the students revise theit sunrmaries if thev rvish.
Part Three
Repeat thc steps described in Part TWo for each of the rrexl two set:tions o thc Icr lttt r-

Part Four
l . I lave t]rc slllder)ts takr the tlrrr'c scclion surnulal ies and t onrbinc llrr. rn irr olrc \\,r'itten sumnlary
l. I conbined sunrn)arics at lcast once. Irr caclr
Iave thc strrclents rc\,isc thcir ision, the student s should
trJ,to streamline the summar1,, reducing lvords rvhere possible rvhile s keeping the mai()r points
ir)tact.
\

126
Summarizing Activity- Description
Activity Title: Writing a Concise Summary
Target Skills:
. lntegrated reading, listening, speaking, and writing
. Listening for basic comprehension
r Connecting, synthesizing, and/or summarizing lnformation
Learning Obiective:
o Use notes to summarize major points and important details of a lecture
o Express information from sources accurately in organized, coherent prose

Student Directions
Part One
I . Rcad thc handout on the importance of summarizing skills.

f. Discuss horv outlining can help build a good surnmara.

Part Two
I. Compare your notes from the note-taking activity with a partner. Discuss rv t thc maior poitrts and
important details of the listening passage were.
2. Usc your notes to &,r-ite a summary of the fir-st scction of the listening passar

3. Comparc your summarJ to your parlner's sumntary

4. Rer,ise vour summarv if you rvish.
Part Three
Repeat the steps describcd in Part TWo for each o[ the next two sectic,ns ol t lecture.
Part Four
L Tnlic the thr-ee section sulrnlaries and combine thenr into one \\,ritten sunlir] ry.
2. Ilcvise your- conbined summaries at least once. ln e:tch revision, try to strcatn ne tlre summat1, r'eclttc-
irrq rvolds u,hele possiblc while still keeping the major points intact.

127
 rdu
Siudent Resource

Graphic Organizers

What's lnside?
What ls it? 'Pegc

Cause and Ef'tcct Graphic C)rgrniz t' I

(lompar:e/Corrtrast Graphic Organiz

Clorrccpt Dr:fln ition N{lp Graphic ()r san iz -)
\
I)rawirrg Conclusions Grapl-ric Organiz l' .1

ldentifu ing Author''s Purpose Graphic Organiz )

Nlain l<lea anrl Supporting Dctails Graphic ()rganiz ()

Makinc Inferences Graphic Organiz 1

Sumn-rerizing Graphic C)rganiz I

.=

128
 Name Date
GNA?HIC ORG,\NI2ER

Cause and Effect

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t?
t<
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t-e

) i-9
l5
le
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lE
l3

t:
l9
t:
lE
la
lq
le
l6
ld

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)

Gr:i;'hic Organ i:,'r:; A

129
 a
Nerme I
Date I

Com pare/Contrast

Different Same Different

I
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'rl
n

;1

(,
o Copyrlohl O Scholastic lnc. All qhls reserved.This page may bs Photocopl€d tu.lse wilh sludenls.
 Name I Ddte
GiAPIIIC OAGANIU ER

Concept Definition Map

What is it?
( W at is it like?

Category
Property

Property

Property
Main Concept

I
What are some I

Property
exanrples ?

,9

lllustration lllustration

!
Illustration ro

l,lew Definition .?

Graphic Argat!-ers 3

'131
( Name Dat
GIAPHIC OREANI:E R

Drawing Conclusions
I

Text Clues What lAlready Know y Conclusion

I l

:!

]
I €
q

2
.9'

a
I
.9

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I

132
 Name Dalte
6RApHlC ORaiNrf!i

ldentifying Author's Purpose

I

lnform Entertain ersuade

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e
.q

9
i

I .9!

!=
_9

o
z
I -9,

(haphic Orytttri:t,s 7

133
 Name Ddte
GRAPIIIC ORGAIIIZER

Main ldea and Supporting De ails

Detail: Detail:
(
)

Main ldea: I

Detail: Detail: I

l;

GraThi. Or3,ni::r:; I

134
 Name Darf l
CRAPHIC ORGANIZER

Summarizing I

lmportant ldea lmportant ldea lmportant ldea lmportant ldea I

)
I

E
I

I
) E

F
I
a

-a

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-9
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Gritphic Orgoti;crs I
135
 Name Da

Story Map 1

Write notes in each sectiotl

Setting: Time: Place:

+
-) Characters: a

a.

.9
v

+ E
o
,E
Problem:
=

a:

O
P lot/Even ts:
)
<+
I
Resolutiorr:

136
 GRAMMAR
o The Sentence
o The Passive and The Caus tive
 1 The sentence
1.1 Sentence word order
I
't..tA The basic word order of an English sentence 1' ueo r.J;

Study: The meaning of an English sentence depends on the word order.

ll 'I We put the subject before the verb and the objecl after the verb:
The cookl burnt I the dinner.

2 Adverbials (How?, Where?, When? usually come after lhe verb or after the object:
He read the note quickly. (Hown I waited at the corner lwhereV ti 1.30. (Whenn

3 The basic word order of a senlence lhat is not a question or a comman is usually:
subiect verb obiect adverbials
How? Wherc? When?
I bought a hat yesterday
The children have gone home.
We ate our meal in silence.

4 We also put the time reference at the beginning: Yesterctay lbought a t.l> 7.241

Write 1: a Flewrite the sentences that don't make sense.

b Mark all the sentences in the exercise S V O to show Subject, Verb,
1 Has set John Bairey a new hi gh-ju mp ecord. (l) !.5h.4. 0w. (.v).b44 (0a rzat fu,ah-t -ttttp
2 The passport examined the passport offjcer....
3 These biscuits don't like the dogs.
4 The shop assistant is wrapping the parcel.......
5 Have seen the visitors the new buildings.........
6 My lather didn t wash lhe dishes.
7 The pipe is going to fix the p|umber.................
I Will the goalkeeper catch the ball?
9 Has the meal enioyed the guest? ....................
10 Can l play John the 9ame. ...............
Write 2: a Arrange these words in the right order. Use a capital letter to begin eac sentence
b Mark each rewritten sentence S V O M P T to show:
Subject, Verb, Objecl, Manner (How7, Place (wheren,.r'me lwhenn
1 till 11 o clock this morning I slept I lhe children (il"1b&.c!!t/*r/t (D 144. ! l. p. 4q*.tfu ..wnu
2 the papers I into lhe bin I he threw..................
3 ldon t speak lwell lEng|sh........
4 hides I Mrs Jones I her money I under the bed
5 carefully lthis suitcase I you didn't pack.........
6 on this shelf I I left | this morning lsome money.....
7 from the bank I a loan I you'll haye to get ..............,
I the phone I in the middle of the night lwoke me up
I in the park I you shouldn t walk I at night................
l0 your food I you should eat I slowly ............... . ........
I 1 my term begins in October...
12 your aiticle I I I quickly I last night in bed I read

137
 1.1 B The forms o, a sentence [> LEG 1.2]

StudY: A sentence can take any one ol four forms:

-a statemenl: The shops close/don't close al 7 lonight
-a queslion: Do the shops close at 7 lonight?
- a command: Shut the door./Don't shut the door.
I
- an exclamation: What a slow train lhis is!

2 When we write a sentence. we must begin with a capital letter and end a full stop (.). a
question mark (?), or an exclamation mark (l).
ll there are quotation marks ('...') or ("...") around spoken words in a sente , we put other
punctuation marks'inside' lhem :
'l'm tired, she said. (Nol''l'm tircd', she said') I> 15.iA,BI

Write: a Arrange these groups of words in the right order. Add (.), (?) or (!).
b Describe each sentence as a statement, question, command or exclamatio S,O.CorE
1 the coffee I don't spitt ......?-AtX.rt4,l.L tl&..Atr@.
2 today's papers I have you seen.....
lc
()
I

3 to meet you I how nice............... ()

4 my umbrella I where did you pu1.............................. ()
5 arrived lthe train I fifteen minutes late ()
6 on time I the plane I won l arrive........... ()
7 this eleclricity bill , I can t pay ()
8 lor me lplease lopen the door................................. ()
9 the nearest hotel lwhere's I he asked......................
10 the bill { can t pay I I I he cried

1.1C Context
Write: Read this story and arrange the words in each sentence in the right order.
Add capital letters and (,), (.), (!) or (?) in the right places.

A OUIET SOHT OF PLACEI

1 my car I I parked I in the centre of the village {,p A14.ny..Cf..ttt conur{ ef tho daaaz
2 near a bus stop I an old man I I saw....................
3 'beautiful village iwhat a' I I exclaimed ..............
4 live here I how many people'
5 'seventeen people Ithere are' lthe old man said
6 here Ihave you lived I how long .....
7 'all my life I I have lived here .
8 'isn't it lit's a quiet sort ol p|ace .......................
I here la quiet life lwe |ive..................
10 a cinema I we don't have I or a theatre ..........
11 our school I five years ago I was closed
12 only one shop lwe have .................
'13 calls a bus once aday
I I
14 here I in 55 B.C. lcame lthe Flomans .........
15 since then I has happened I nothing' ................

138
 1.2 The simple sentence: verbs with and witho t objects
1.24 What is a complete sentence? [> LEG 1.2]

Study: 1 When we speak, we otten say things like Ail flghll Good! Want any 2
These are 'complete units oi meaning', but they are not real sentence

2 A simple sentence is a complete unit of meaning which contains a s bjecl and a verb
followed, if necessary, by other words which make up the meaning. S
Made in Germany is correct English but it is not a sentence because t doesn t have a subiect
My cat was made in Germany.is a compleie sentence with a subject nd verb
We can't say e,g. '/s tired. because we oeed a subject [> 4.1A,4.3A]i is tired.

3 The subject may be 'hidden': Open the doot. rcally means You open e dool. [> 9.108]

Write: Put a tick (/) beside real sentences.

1 Made in Germany. _ 1'1 Sit down please
2 This car was made in Germany. / 12 You can'l park he
'13 Don't interrupt.
3 To write a letter. _ _
4 Standing in the rain. _ 14 lunderstand.
5 I want to write a letter. _ 15 She doesn'l like
6 ls tall. _ '16 Under the water.
7 Do you like? _ 17 Ate. _
8 The train has arrived. _ 18 A bottle of ink.
9 Have finished my work. _ 19 He's a doctor. _
10 You should lislen. 20 Whal happened?

1.28 Verbs with and without objects [> LEG 1.4, 1.e, 1.10. 1.12, p 1l

Study: 1 We always have to use an object,after some verbs: e.g. beal, contain enjoy, hil, need
E We call these transitive verbs. We have to say;
Arsenal beat Liverpool But we can'l say 'Arsenal beaL'

2 Some verbs never take an objecl: e.g. ache, arrive, come, faint. go, down. sleep, snow.
We call lhese inlransilive verbs. We have to say:
We arrived at / ,. Bul we can't say 'We ar ved the station at 1 l.'
3 Some verbs can be used transilively or intransitively: e.g. begn. , hut1, open, ng. win
We can say: Arsenalwon the match. (transilive) or Arsenalwon. (inl ansitive)
I
Write: Put an object (a pronoun or a noun) after these verbs only where possib

1 The box contains ....p 14/4 .. 10 The door opened

2 The train has arrived ........... . 11 This is a game no ne can wrn
3 The phone rang. The concerl bega at 7.30
4 Someone is ringing ............. . 13 I began ...............
5 You need........... .. 14 It's snowing ........
6 We sat down . 15 Quick! She's faint
7 Oon't hit............. .. 16 Did you enjoy ..... 2
8 Did you beat .......... .. ............ ?17 i,/y head aches ...
9 Who opened ...... ? 18 My foot hurts ......

139
 1.2C Sentences with linking verbs like 'be' and 'seem' 1, Lec r.e

StudY: 1 Verbs like be J> 10.1-31 and seern[> 10.4] are'linking verbs'. They cannot have an object
E The word we use afler be, etc. tells us something about the subject. ln gram r. we call this a
complement because it 'completes' the sentence by telling us about the subj ct.
ln He is ill. She seems tired. etc. the words i and tircdlell usaboutheands

2 A complement may be:

- an adiectivei
- a noun:
- an adjective + noun:
- a pronoun:
- an adverb o, place or time:
- a prepositional phrase;
Frank is clevet.
Frank is an archibct.
Frank is a clevet architect.
This book is mine.
The meeting is here. The neeting is at 2.30.
Alice is like her tathet.

Write: a Complete these sentences using a different complement for each sentence
b Say whether you have used a noun, an adjective, an adjective + noun, etc.
'1 My neighbour is very t44,(s,4'4.91,e)
2 My neighbour is .......
3 This apple tastes......
4 The children are.......
5 The meeting is .....,...
6 Whose is this? lt s ....
7 John 1ooks................
8 That music sounds...
9 Your mother seems .
10 lwant to be .............. when I leave school

1.2D Context
Write: Flead this story and arrange the words in each sentence in ihe right order.
Add capital letters and (,), (.), (!) or (?) in the right places [> ,.18].

SO PLEASE DON'T COMPLAINI

'r the tocat school I attends I my son Tin ....ML*lt..TAf..?.nk/fu.t!4.
2 to his school lmy wife and lwent lyesterday...
3 we lto his teachers lspoke ......
4 Tim's school report lwe co|1ected................
5 very good I wasn't I Tim s reporl ..................
6 in every subject lwere I his marks I low ......
7 was waiting anxiously for us I outside I Tim.
8 'my report I how was' I eagerly I he asked...
9 'very good I it wasn t l I said.............. .........
10 'you I harder I must try.................
11 seems lthat boy Ogilvy lvery clever ...........
12 good marks I he got I in all subjects'............
'13 'clever parents Ogilvy I has l Tim said ......

140
 1.3 The simple sentence: direct and indirect o lects
1.3A Subiect + verb + indirect object + direct object: 'S ow me that photo'
[> LEG 1 .13]

Study: 1 We can use two objects aftet vetbs like give and buy.
E lnstead of: Give the book lo me, we can say: Give me the book.
lnstead of: Buy the book fot me, we can say: Buy me the book.

2 Some verbs combine wilh TO: bring, give, lend, pay. post. sell. sen show. tell. wrile
Bring that book to me. - Bring me that book.
3 Other verbs combine with FOFI: buv. choose. cook. cut. do. fetch. fi d. get. make. order
Please order a meal lor me. - Please ordet me a meal.

4 We can pul it and them aller the verb: Give it to me. Buy lhem lor e. Do il lor me
Wilh e.g. give and buy. we can say: Give me it. Buy me them. lgut 'Do ne il1
We say: Give it to John. Buy them lor John. \Not'Give John it" John theml

Write: You want people lo do things for you. Write suitable polite requests usi it. lhem ot one [> 4.38]
1 Where are my shoes? (tind) Please ..furL. 4r4fl.fuf .W,./.?.k*C. mr tlom
2 John needs a new coat. (buy) P1ease....................
3 lcanrl reach that cup. (pass) Please ........
4 Ann wants to see our flat. (show) Please .

5 I can't do the shopping. (do) Please .........

6 ld like a copy of that book. (order) Please

1.38 Verb + obiect + 'to' + noun or pronoun: 'Explain it to me' [, LEc 1.12.1]

Study: 1 There are some verbs like explan which do not behave in exactly t e same way as g/ve
E For example, we cao say. Give the book to me, or Explain the s lion to me
Give me the bcok. (bul aol 'Explain m the situation.l
2 We cannot use an indirect object (me) immedialely atler explain can only have
verb + object + 'to': He explained the siluation to me.
He conlessed his crime to the courl
3 Other verbs like explain and conless ate. admil, announce, , demonslrate, describe.
entrust, introduce, mention, propose, prove, rcpeaL tepod, say. sl.

Write: Complete these sentences giving the right order ot the words in brack
1 You must declare (the Customs/this c ameral ....t1!14.!441!.!.4?-!9. Cu,ttumz
2 Aren't you going lo introduce (me/your friend)?...
3 You can say (me'what you like) ................... ..
4 Who suggested (this ideayou)?
5 He confessed (his crime/the police)... .... . ... . ,.
6 I have never admitted (anyone/this)
7 Can you describe (me/this man)?.......
I Please don't mention (this,/anyone) ...........................
I I'm going to report (this/the headmaste0..............
10 Idon't want you to repeat (what ltold you/anyone)

141
 1.3C The lwo meanings of 'for' 1' Leo r.rs.s1

StudY: 1 We can use fot allet all verbs which have two objects [> 1.3A].
E! 2 When we use ,or after verbs normally followed by to (give, post, read, sell. s le4 etc.) it can
mean 'instead of': I ll post it for you. (= to save you the trouble)

3 When we use loratter verbs normally followed by for lbuy. choose, do, tind, eep, order. elc.)
the meaning depends on the context. lt can mean for someone's benelit':
Mother cooked a lovely meal lor me. (- for my benefit. for me to enjoy)
It can mean 'on someone s behalf/instead of':
l'llcook lhe dinner foryou. (on your behalt'instead of you - to save you the t uble)

Write: Tick (/) to show whether For means 'instead of you/me or 'for yourlmy benefit
'instead ofl r your/my benetit'
1 Ive cooked a meal for you and I hope you enjoy it. t/
2 Let me cook the dinner for you this evening. - Thanksl
3 I've rnade this cake for you. Do you like it?
4 lll post this letter for you, shall l?
5 l've bought this especially for you.
6 I've got some change. Let me pay the bill foryou.
7 As you're busy, let me book a room lor you.
8I've saved some of this pudding for you.
9I can't choose a tie myself. Please choose one for me.
10 My father has bought a wonderful present lor me.

1.3D Context
Write: Put a tick (/) where you think you can change the word order
A CURE FOR HYSTEFIIA
When lwas a girl, my parents sent me to a very strict school. They had to buy expensive unilom
for me' I and pay school lees lor me2_. Our headmistress, Miss Prim, never miled. She explained
the school rules to us 3_ and expected us to obey them. 'l will never sal an to you atwice,'
she used to say. We had to wrile a lefter to our parenrs s_ once a week and s w it to Miss Prim6
before we sent it. I can still remember some of the school rules. We were not al lo lend anything
to anyonei _. We were not allowed to give each olher help a_ with homework We had lo repod
unusual situations to the headmistresse_. One morning, during assembly, a gi falnted. The next
morning. two more fainted. This continued to happen for several mornings. M hyster;a had set inl
But Miss Prim put an end to il. She announced a new rule lo us lc-. 'No girl wi I faint in Collegel
And after that, no one did!

aa
a t
aa aJ'
a
la
aa a.a a
ra
a

No g|llw lltaint ln Cotlege

142
 1.4 The compound sentence
1.44 The form of a compound sentence [> LEG 1.17-20]

Study: 1 When we join two or more simple sentences [> 1.2A], we make a com nd sentence
Tom phoned. He lelt a message. - Tom phoned and left a message.

2 The name we give to loining words'is coniunctions.

These are the conjunctions we use lo make compound sentences:
and, and then, bul, lor, nor, or. so, yet:
either ... or; neither ... nor ...; not only ... but ... (also/as well/too).

3 We can use conjunclions to show, lor example:

-addition (and): He washed the car and polished il.
-continuation (and then): He washed the cat anct lhen polished it.
-contrast (but, yeo She sold her house. but/yet (she) can t lp regretting it.
-choice (04: You can park your cat on the drive or on he road.
-result (so): He couldn l lind his pen, so he wrote in cil
-reason (fo4: We rarely stay in hotels, fot we can t a n

4 We do not usually put a comma in trcnl ot and, but we otten use one i fronl of other
conjunclions: He washed the car and polished it. (no comma before
Compare: He washed the car, but didn't polish it. (comma before bua
5 We keep tothe basic word orderin a compound sentence [> 1.1A, 1.2
subiect verb obiecl con,unclion subject verb compl nt
Jimmy fell off his bike, but (he) was unhud
6 When the subject is the same in all parts of the sentence, we do not u ually repeat it
same subiect: Tom phoned. He lelt a message. - Tom phoned and lelt a message
diflerent sublects: Tom phoned. Frank answered. - Tom phoned Frank answered.
7 We usually repeal the subject after so: He couldn t lind his pen, so wrote in pencil.
8 We always have to repeat the subjecl alle( for. Foris more usual in th written language and we
cannot use it to begin a sentence lcompare > 1.9A]:
We rarely stay at hotels, lot we can t aftord it.
I
Write 1: Compound sentences with the same subiect
Join these simple sentences to make compound sentences. Use the in brackets
1 ltook the shoes back to the shoo. lcomDlained about th em. (and
LML thz slto% "ba.l e 44 41.4n q4 anol/t .du/rtL
2 Your mother phoned this morning. She didn t leave a message. (bul)

3 lcan leave now. I can stay for another hour. (l can either ... or)

4 Jim built his own house. He designed it himself. (Jim not only ... but as well)

5 I don't know what happened to him. I don t care. (l neither ... nor)

6 i/y new assistant can type very well. He hasn t much experience wit computers. (but)

143
Write 2: Compound sentences with dillerent subiects and with 'so/tor'
Join these simple sentences to make compound sentences. Use the words in ackets

1 The taxi stoooed at the station. Two men oot out ol it. (and)
. . Thp-k&. a. Ia,psA..c*..4p lffik q?4. @. .zw.L..ge.M
2 You can give me some advice. Your colleague can. (Either you ... or)

3 We got ready to get on the train. lt didn't slop. (but)

4 No one was in when we called. We left a rnessage. (so)

5 We didn't want to get home late after the film. We went straight back. (so)

6 The old lady was nervous. She wasn t used to strangers calling late at nig

7 lve always wanted lo live in the country. N,ly parents prefer to live in town

I The letter has been lost. The postman has delivered it to lhe wrong addre

9 For a moment the top of the mounlain was visible. A cloud covered it. (and

10 Jane was a successful career woman. Her moiher wanted her to be a hou$ewite. (yel)

1.48 Context
Write: Put a circle round the correct words in brackets.

(NOT SO) MERHY.GO-BOUNDT

The customers at the funlair were leavinO (@Uut1 tne tights were going out. he last two people on
dodgem cars paid ('?and/so) lett. The big wheel stopped (3for/and) the merry-g -round stopped ("as
well/not only). The stalls closed down (sso/and) the stall-owners went home 2 a.m. four
nightwatchmen walked round the tunfair. (6buvso) there was no one lo be see 'l'm fed up walking
round,'one of them said. ('Tyevand) what can we do? 'We can (3or/either) p cards ('geither/o0 sit
and talk.'They were bored, ('!so/for) there was nothing to do on this quiet naght. 'We can have a
ride on the merry-go-roundl'one of them cried. 'That'll be tunl Three ol them mped on merry-go-
round horses (rryevand) the iourth staded the motor. Then he jumped on loo fand/but) round they
went. They were having the time of their lives, (r3but/so) suddenly realized th e was no one to stop
the machine. They weren t rescued till morning (14and/but) by then they felt sick indeedl

i(

\
(,
oo
o o
0
(
They ,elt very sick indeedl

144
 1.5 The complex sentence: noun clauses
1.54 lntroduction to complex sentences [> LEG r .21]

Study: We can join lwo or more simple senlences to make complex senten
E The alarm was raised. The lire was discovered.
The alarm was raised as soon as lhe lirc was discovercd.
The alarm was raised when the lire was discovered.
The alarm was raised aftet the lire was discovered.

2 We can use many dilferent kinds of 'joining words' (or coniunctions) make complex
sentences: after. as soon as, when, since. that, if, so that, whether. l> 1.5,101
3 ln a complex sentence lhere is one'main idea and one or more subo inate rdeas
We can take the main idea (or clause) out of the sentence so that it s nds on its own
The alarm was ralsed is a main clause: it can stand on its own. ... as n as the lire was
discovered cannol stand on ils own. lt is subordinate to the main cia e

Write: Underline the main clauses in these sentences.

1 YSU_SAn le1l_rnC_al1_ebs4lhCjhaher I've seen it myself
2 When you've finished cleaning the car, you can help me with the dish
3 You didn't tell me lhal you were going to invite so many guests.
4 lwalk to work every morning so that lcan get some exercise.
5 Since no one answered my call, lleft a message on the answer-pho

1.5B Noun clauses derived from statements [, LEG 1.22-23. 10-16, Apps 45-461

Study: 1 A noun clause does the work of a noun. lt answers the questions ? or What?:
He told ne about his success. ltold me about what?: h/b success is 'noun phrase'.
He told me that he had succeeded. \... what1: that he had succee is a noun clause

2 We introduce noun clause statements with thalafter:

- some adjectives: lt's obvious that he's going lo be late.
- some nouns: lt's a pity that he's going to be late.
- some verbs: I know that he's going to be late.

3 We oiten use noun clauses after'reporting verbs' like say. te (ne), , know [> 15.2-3]. We
can otten omit lhat
lnstead of: lknow that he's going to be late, we can say: lknow he going to be late
-
Write: Complete these sentences with noun clauses.
1 He feels angry. lt's not surprisins .ft4gA.h!,-.t9.t/4.A.49.ry
2 She has resigned lrom herjob. lt's a shame
3 You don't trust me. lts annoyrng
4 You are feeling betler. Im glad.........
5 She s upset. l m sorry ................
6 He didn't get the contract. He told me ......,.........................-..
7 lt's a fair price. He be1ieves............
8 You re leavrng. He has guessed
9 She s been a fool. She agrees.

145
 1.5C Noun clauses derived from questions [> LEG 1.24]

Study: Yes/No questions

1 Has he signed the contract? is a di(ect Yes/No question. I> 13.11
2 We can introduce a Yes/No question as a noun clause allet if ot whether e use 'reporting
verbs' like ask, tell me, want to know l> 15.4A)l
Tell me il he has signed the conlract. (Tel me what?: if he has signed th contracl.
Ask him whether he has signed it- (Ask him whatV: whether he has sign it.

Ouestion-word questions
1 When did you sign the conlract? is a queslion-word question. [> 13.5,8]
2 We can introduce this as a noun clause after Tell me, I want to know. elc. e word order
changes back to subject + verb and we don t use a question mark [> 15.48]
Tell me when you signed the contracl. (Nol'Te ne when did you signl

Write: Complete these sentences wilh noun clauses.

1 Has he passed his exam? lwant ro know {/llh.*W.!l*.ll*l p hh exa,n
2 Can you type? You didn l say............
3 Will he arrive tomorrow? I wonder
4 Does he like ice-cream? Ask him
5 Was he at home yesterday? I'd like to know
6 Should iphone her? I wonder.................
7 ls she ready? Ask her......................
I When did you meet her? I want to know........
9 How will you manage? Tell me .........................
10 Why has he left? 1wonder................
1 1 Where do you live? Tell me
12 Which one does she want? Ask her
'13 Who's at the door? I wonder ..........
14 What does he want? l'd like to know

1.5D Context
Write: Underline nine noun clauses in this text

N& '/'
YOU OON'T KNOW YOUH OW
I suppose you know you can tu
(fr superman in an emergency. Mrs
that her baby nearly slipped und
lvlrs Weldon weighs only 50 kil
--:I^ the car to save her baby. Dr Mu
,irlrz ,
wrote that he jumped nearly th
grab the lowest branch of a tree
ir/ him in Kenya. Perhaps you wo
such feats. The chances are th
t>, thal we can find great reserves
afraid. lt's well-known that ad
supeMomen or supermen!
STRENGTHI
into superwoman or
am Weldon reported
r the wheels ol a car
but she said she lifted
ay Watson, a zoologist,
metres into the air to
en hyenas chased
er if you can perform
you can. Doctors say
strength when we are
in can turn us into

She lrtled the carl

146
 1.6 The complex sentence: relative pronouns a d clauses
't.6A Relative pronouns and clauses [> LEG r.2s.3B]

Study: lntroduction to relative clauses

E Suppose you want to write a paragraph like lhis:
The house we moved into is absolulely beautilul. The people who li here before us look
very great care of it. The garden. which is quite small, is lovely. lm g d we moved. l don t
think we ll ever regret the decision we made.
if we want to speak or write like this, we have to master relative clau We introduce relative
clauses with these relative pronouns: who. who(m), which, thal and w,

'Who', 'which' and 'that' as subiects ol a relalive clause [> LEG 1.2 311
1 We use who or thatlo referto people. We use them in place of noun s bjects or proncun
subjects (/. /ou. he. etc.) and we cannot omit them.
They do not change when they reier to masculine, feminine, singular p ural
He is lhe man/She is the woman who/that lives here. (Nct 'He /s ,he an who he ...1
They are the men/the women who/that rye here. (Not 'They are the en who they ...)
2 We use which ot that (in place of noun subjects and /l) to refer to anim s and things:
That's the cat which/that lives next door. Thase are the cats which/t. t live next daor
Here s a photo which/that shows my car. Herc are some photos hat show my car

Wrile: Join these sentences using who o( which. (All of them will also join with r.)

1 He's the accountant. He does my accounts. .Ha3..lN*.9444*a-44 dued tna aicoumt4 .

2 She's the nurse. She looked after me. .................

3 They're the poslcards. They arrived yesterday...............
4 They re lhe secretaries. They work in our office.
5 That s the magazine. ll arflved thrs morning. .... .
6 They're the workmen. They repaired our roof..................

1.68 'Who(m)', 'which'and 'that'as objects ol a relative lause 1' LEG r .33-341

Study: 1 We use who(m)o( that 10 refer to people. We use lhem in place ol n n objects or object
E pronouns lme, you, hin, elc.). We often say who inslead ol whom wh n we speak.
They do nol change when they refer to masculine. feminine. singular plural
He's the man/She's the woman who(m)/thal I met. (Not "He s the n that I met him.\
They re the men/women who(m)/that I met. (Nol 'They are the me that I met them.1
However. we usually omil who(m)and fhal We say:
He's the man/She s the woman l met. They're lhe menlfhey're the en I met
2 We use which ot that lin place of noun objects or /t) to refer to animal and things
That's the cat which/that I photographed. Those are the cals I photoglaphed
That s lhe photo which/that I look. Those are the photos wh t took
However, we usually omit which and thal We say:
That's the cat I photogtaphed. Those arc lhe cats I photographed
That's the photo ltook. Those are the pholos ltook.

147
 Write: Join these sentences with who(m), which ot nothing. (All of them will join with that.)

1 He s the accountant. You recommended him to me H u tlLo u9!1...twtr4t14.4d

2 She's the nurse. I saw her at the hospital. ...-........
3 They're the postcards. I sent them from Spain. ....
4 They're the secretaries. Mr Pym employed them.
5 That's the magazine. I got il tor you yesterday. ....
6 They're the workmen. I paid them for the job. ........
7 That s lhe dogl I saw it at lhe dog show last week.
I They re the brrds. l fed them ltris rnornrng. .............

1.6C'Who(m)','which' or'that' as the oblects of prepositi s [> LEG 1.35,36]

Sludy: The position ol prepositions in relative clauses is very important. We can v

1 He is the person to whom lwrote. (Never 'lo whol $ety Iormal)

This is the pan in which lboiled the miik. (very formal)

2 He is the person who(m) I wrote to. This is the pan which I boiled lhe
3 However, we usually preter to omit the relative and say:
He is the percon I wrote to. This is the pan I boiled the milk in. I

Write: Join each pair of sentences in three different ways.

1 He's the man. I sent the money to him. 4 He's the boy. Ibought ls loy for hirn
a Ha.t4+. teq.,.ta. gitpm. {l.ar
fi2,tt4.tral a .
; A itu.r,Rt..rt* l;).1.4t41t .il*. t?let ;4 a
i ;
. .... ........ .......... .
c Hu nlu. ru.qt. L *.nn.fu. ttp?14tl.W-.... c
...............................
2 She's the nurse. lgave the flowers to her. 5 That's the building. I p bvt
4.........................-.. a ...............,..............,
b............................ b ...........-...................
c............................ c ...............................
3 That s the chair. l sat on it 6 They're the shops. I these from them
a a
b b
C c

1.6D Context
Vy'rite: Put in the righl relative pronouns only where necessary

A CHANCE IN A I\,4ILLION
Cissie, the woman '.....!{h4....... works in our flice, wanted to phone Mr
Robinson, but she djalled the wrong number. e number'?.........
she dialled turned out to be the number of a blic call box in the street
A man, 3 was passing at the time heard the phone ringing
and answered it. 'ls that Mr Robinson?'Ciss asked.'Speaking,'the
man answered. lt turned out that the man 4... .............. she was
speaking to was actually called Robinson an had just happened to be
passing the call box when she rangl

jusl happened ro be passing

148
 1.7 The complex sentence: 'whose'; defining/no -defining clauses
1.74 'Whose' + noun in relative clauses [> LEG 1 .32. ].371

Study: 1 We use whose in place of possessive adlectives (my, your, hls. etc.) to r r to people
E lryhose does not change when it refers to masculine, feminine. singular r plural
He's the man/She's the woman whose car was slolen. (Nol 'whose hi. car was slolenl
They're the people whose carc were stolen. (Not 'whose lheir cars we stolenl
2 We sometimes use whose in place of lts to refer to things and animals
That s the house whose windows were broken.l= the windows of whic

3 We can also use !.yhose wilh prepositions:

He's the man lrom whose house the picturcs were stolen (lormal)
He's the man whose house the piclures were stolen from

Write: Join these sentences using whose.

1 He is the customer. I tost his address. ...1/4.11*.pgeWf .qlt** I Lat
2 She is the novelist. Her book won tirsl prize. ...............
3 They are the children. Their leam won the match.
4 You are the expe(. We want your advice. ....-......... .... .
5 l'm the witness. My evidence led to his arrest.
6 She's the woman. The film was made in her house.

1 .78 Def ining and non-def ining clauses I> LEG r.26. i .2s, 1.31 -3 , 1.34-371

Study: 1 When we write relative clauses with who. which ot whose. we have to ide whether to use
E cornmas round the clauses'or not.
2 ln senlences like:
l've never met anyone who can type as fast as you can.
fhe magazine which arrived this morning is five days late.
the relative clauses tell us which person or thing we mean. They give us sential information
which we cannot omit. We call them detining clauses because they' ne the person or thing
they refer to. We never use commas in such sent€nces.
We never use commas with thar in relative clauses:
l've just had a phone call lrom the people (that) we met during our 'ys.
The wa et (that) you lost has been lound.

3 ln sentences like:
Our new secretary, who can type fastet than anyone I have ever me has completely
reorganized our ollice.
Time Magazine, which is available in every country in the world, is every week
the relative clauses add 'extra informalion. lf we take them out of the nces- we won't
seriously change the meaning. We call these non-delining clauses (th do not'define ) and
we use commas before and atter them.
4 Sometimes we have to decide when the information is 'essential or'ext ' and we may or may
not use commas. We must decide this for ourselves:
He asked lots of questions(,) which were none ol his business(,) and everybody
I I

149
 Write: Add commas to the following sentences where necessary.
1 My husband,who js on a business trip to Rome allthis week sent me this stcard
2 The person who told you that story didn't know what he was talking about
3 Will the driver whose vehicle has the registration nurnber PXB2140 please move it?
4 The author Barbara Branwellwhose latest novel has already sold over a llion copies will be
giving a lecture at the public library tomorro,/v.
5 The person you got that information from is my cousin
6 The play Colvardswhich opens at the Globe soon had a successful seaso on Broadway
7 Cowards is lhe name of the play which ran for over two years.
I The thing that pleases me most is that lll never have to ask for your help aln
9 The manager whom I complained to about the service has refunded part our bill
10 Sally West whose work for the deaf made her famous has been killed in a r accident
11 We found it impossible to cross the river that had flooded after the storrn.
'12 I have just learned that the engine part which I need is no ionger made.

1.7C Sentences with two meanings [> LEG 1.26]

Study: The use or omission of commas round relative clauses can sometimes aff the meaning:
E My wite, who is in Paris, will be returning tomorrcw. Without commas, this uld suggest that I

have another wife who is (or other wives who are) somewhere else!

Write: Say what these sentences mean a) withoul commas; b) with commas
1 The test paper which everyone failed was far too difficult.
.,..'..'..........''.',...'','.
2 L4y brother who is in Canada is an architect.

1.7D Context
Write: Put in relative pronouns where necessary and commas where necessary

THIS CHARI\4ING PFIOPERTY ...

People '.....111W-...... tell the truth about the properties they seliing should be
given prizes for honesty. A house'? is described s 'spacious'will be
found to be too large. Words Iike 'enchanting', 'delightful', ' venient'.'attractive'
are commonly used ail mean'small'. The word 'small'and
'picturesque'a are not so frequently used both m an 'too small'. A
'picturesque house'is one with a bedroom s iS small to put a bed in
and a kitchen 6 .. is too small to boil an egg in. l,4y ize for honesty goes
I

to someone 7... recently described a house 3......... ...... he was seiling in

the tollowing way;'This house e is situated in a rough area of
London is really in need of repair. The house'0 a terrible lounge and
a tiny dining room also has three miserable bedrooms and a hroom'1...................
is fitted with a leaky shower. The central heating 1'?....... . .. .. .... is expensive to run is
unreliable. There is a handkerchief-sized garden is overgrown with
weeds. The neighbours r c.... ........... are generally unfriendl are not likely to
welcome you. This property 1s........ is definitely not re mmended is
ridiculously overpriced at !85,000.'
This charming property

150
 1.8 The complex sentence: time, place, manner
't.8A Adverbial clauses of time, place and manner r 44 i)
[> LEG

Study: lntroduction to adverbial clauses o, time, place and manner

E Suppose you y{ant to write a paragraph like this:
When we visited London, we went to lhe Tower. We saw the spot ? so many tamous
people had lost their heads! We fell as if we had travelled back in to anolher world!
lf we want to speak or write like this. we have to master adverbial claus s of time lanswerino
When?t, ?lace laosuteting Where?) and manner (answering How?

Adverbial clauses o, time (past reference) [, LEG 1.45.]l

To say whea something happened in lhe past, we use 'joining words (or roniunctions) like
when, after, as, as soon as, before, by lhe time (that), ance, since, until/l '. while:
When we visited London, we wenl to the folyer. lcompare > 9.6A]

Write: Join these sentences with the conjunctions in brackets. I

1 I lost a lot ot werght. lwas ill. (when) |

I ,la- . a .l,ot of ax,<.ahr nthttrt I uan lL i

z ip,,""". n"."". i il ir,,"

"'.,"0 "i,p";;iJ;;. ir;;;;i;i;,;;i;;i I

3 She had already opened the letter. She realized it wasn t addressed to h (before)

4 The building had almost burnt down. The fire brigade arrived. (by the tim

5 We realized that something had gone wrong. We saw him run towards u (as soon as)

1 .88 Adverbial clauses of time (f uture reference) [, LEG 1.45

Study When the time clause refers to the future, we normally use the simple nl after after,
as soon as. belore, by the time, directly, immediately, the momenL till, u and when:
The Owens will move to a new llat when their baby is born. lNol 'will bornl

Write: Join these pairs of sentences with the conjunctions in brackets, making ne ary changes
1 l won t know if l have oot into universitv. lwill oet mv exam results. {un til)
. I.ltsfi.. klea. t{. I. tw.*e. Ct. //:tn.44i.a-<n/27.44144:.{..e4t e4ar4 4\e./u/-td
2 I'll give him your message. He will phone. (as soon as)

3 We should visit the Outy Free Shop. Our flight will be called. (before)

o,:ii u. a""J rn"v *iii ir"J" ir," r.ii; ;;;;;; ;;il. 6; il; ;;;;
5 You'll get a surprise. You will open the door. (the moment)

151
 1 .8C Adverbial clauses of place [> LEG i .46]

Study: To say where something happens or happened, we use conjunctions ljke ere, wherevet,
il anywhere and everywhere.. That dog lollows me wherever I go.

Write: Complete the following sentences to say where.

1 This is the exact spot where t4.s..watd2ht.b44e!- ,.
2 You re not allowed to park anywhere
3 Some television programmes are familiar everywhere ........
4 Please sit wherever . . ... . ....
5 Let s put the television set in a place where

1.8D Adverbial clauses ol manner [> LEG r.47]

Study: To say horv something happens or happened. we use these conjunctions:

as Type this again as lshowed you a moment ago.
(in) the way (that), (in) the same way. Type this again in the wa v I showed you
as ir/as though lespecially afier be. seem, etc.): I leel as if/as though l'm fba ng on air.

Write: Complete the fol,owing sentences to say how.

2 lthink this omelefle is exaclly as ....................

3 When ltold her the news she acted as though
4 I thinkyou should write the report in theway..
5 You never do anything the way

1.8E Context
Write: Put in the conjunctions as, as soon as, as if, before, that, the way (thal), when,

CAUGHT BY THE HEELI

[,4r Boxell was just shutting his shoe shop at the nd of the day

' . ghl*... a man in a well-cut suil walked in d asked for an

expensive pair of shoes. There was something t2 .... ihe
man walked that made Mr Boxell suspicious felt 3
.. he had
seen him before somewhere. and then remem red that he had - on
TVI The man was a wanted criminal! The man ed on a few pairs of
shoes a . . . . . . . . . . . . . . . . . . he bought a pair 5..............
. . Mr Boxell strongly
recommended. They're a bit tight,'the man plained. 'They ll stretch,
sir.' Mr Boxell said.6 i,ilr Boxell had xpected, the man
limped into the shop next day to complain abo the shoes.'
he entered the shop, he was surrounded by pol Mr Boxell had
deliberately sold the man a pair of shoes 3......... .. . were a size too
small, knowing he would return them the next

The man limped inlo the shop

152
1 The sentence

1.9 The complex sentence: reason and contrast

1.9A Adverbial clauses of reason [> LEG 1.48]

Study: 1 Adverbial clauses ot reason answer the question Why?We ollen gi reasons by using
E 'joining words' (or coniunctions) like because, as, seeing (that), and s

2 We often begin sentences with as and since. lcompare slnce (lime) > 1.8
As (Since) it's a public holiday, you won't find many shops open.
3 We often use bgcause in the second hall of a sentence:
Jim's trying to find a place of his own because he wants to feel
We can always use because in place of as, smce and for [> 1.4A, Note 8 We cannol always use
as, since and forin place ol because.

Write: Join these sentences with the conjunctions to say why. [,'lore than one ord r is possible
1S ervice i. Ihis hotel oughr to improve. There s a ent. (because)
,t *!t*.!,!?,.!ha. L-i,, c1!9.4!e @ !t444w- a ahntzz of mo,nazzoutt,
2 The Air Traffic Controllers are on strike. We have cancelled our holiday (as)

3 Could you sell yourold computer to me? You have no further usefor't (seeing (that))

4 She's never in when lphone. l'll have to write to her. (since)

5 l've had to have the document translated. I can't read Russian. (since)

1 .98 Contrast (1) I, LEG 1.501

Study: We can introduce contrast with conlunctions llke although, considering (that), though,
E even though. even if. much as. while and whercag.
I

Though l've had more than 20 lessons, Im still not ready to take ny d4ving test.

Write: Join these sentences using the conjunctions in brackets to introduce

More than one order is possible.

1 IT going to buy a computer. l haven t got much money. ( even though)

I m oaha to h*u a, amatter wen thnuz4t I h.s"-enk nur,h monzu
2 I intend to go for a walk this morning. lt's raining. (even if)

3 I'd like to help you. l'm afraid lwon't be able to. (much as)

4 Your design ;s excellent. lt isn't suitable for our purposes. (while)

5 llry hard to play the piano. ldon't seem to improve. (although)

6 Chinese is so difficult. lt's surprising how many people learn it. (cons ing that)

7 The play was wonderful. The film was a commercial failure. (whereas)

153
 1.9 The complex se e: reason and contrast

1 .9C Contrast (2) 1' L-eo r.so1

Study: We can also introduce contrast with

FrJ
- however + adjeclive or adverb: e.g. however small, howevet much.
l I inlend to buy a CD playet however much (ot whateve4 it costs.

- no matter. e.g. no matter how much, no matter where, no matter how (slc slowly)
They ll lind him no matter where he's hiding.

Write: Join these sentences using the conjunctions in brackets. Make any necessary an9es
'I lt s expensive. He's determined to buy il. (however expensive)
. H.qns qp.ttltw.k *, hta..4M.e.kt4l.!.t .. .

2 lwork hard. lstill have to take work home with me. (however hard)

3 You write well. lt doesn't mean you will be published. (however well)

o si" i"" . .""v. ir,"'a"r"g. hr;'1""; o"r,l. r""' rrii", ni* ;ili
5 How much will they pay us? lt will never compensate us. (no matter how m

o rill"'":i ,"n", ;;; ;";r;;;;; i ;""0 i li*"v. ."i"i,",".". i"",,,," how many)

7 lt doesn't matter what he tells you. Don t believe a word he says. (,r,/hateve

1.9D Context
Write: Put in th€ conjunctions as, because, even though, since, though, while.

A SOBT OF HUMANBUBGEB
' ....€t:%,.ql4<g*..... it s difficult to find work these days, Joe
Dobson has just g n up his job. They
were surprised when he announced this at the Job Centre 2.. r a lot ot ellort, they
had found Joe a job at a Hamburger Bar.3 Joe wasn't highly ualitied. this hadn t
been easy. Yet Joe resigned,4. the job was easy and quite ll-paid. 'What did you
have to do for your money?'the young woman at lhe Job Centre asked. 'Stran it
sounds,'Joe said, 'l had to dress up as a hamburger and stand outside the rant.' 'A sort of
humanburger?' she suggested. 'That's right, Joe said. 'l had to stand between e two round halves of
a bun. 6.................. .. ...... . I was "disguised" as the hamburger filling, covered i tomato sauce. The
uniform was wonderful. 7 I looked good enough to eat. The anager was pleased
with me, 8............................. I attracted a lot of customers.' 'So why did you giv up, Joe?'the young
woman asked kindly. 's.............................,'Joe said, his voice breaking slightly 'sludents kept turning
me on my side and rolling me down hilll'

,
,l,il

A sorl o, humanburger

154
 1.10 The complex sentence: purpose, result and mparison
1.10A Adverbial clauses of purpose wilh 'so that' and 'in o der that' [> LEG 1 .s1.2]

Study: We can express purpose with so that and in order that

I spent a year in Germany in order that (so that) I night leam German
Note that it s easier to use the l+iniinitive inslead ol so that and in orde lh at
I spent a year in Germany to leam German.l> 16.2C1

Write: Rewrite these sentences using in order that ot so lhat making any necessa changes

1 I took twentv dnvino lessons to oass mv drivino test tirst time.

I too*,tlira aivrrra ltztotu ttz ordzr dt;l I aht paa rut w.f@{,r4
2 I arrived at the cinema early so as not to miss the beginning ol the film

3 We stood up in order to get a better view of what was happening

4 [,1r Jones bought a second car lor his wite to learn to drive

5 lspoke slowly and clearly because lwanted the audience to understand n'e

1.108 Adverbial clauses of purpose with 'in case' l> LEG 1.s1
Study: /, case means'so as to be on the safe side and refers to the fulure. We use the simple present
E ot should allet in case:
Take an umbrella wtth you. ll mqht ratn. -
Take an umbrclla with you in case it rains. (O( ... in case it should rainl

Write: Join these sentences with in case, making any necessary changes.
I lm ooino to sion the aoreement immediatelv. You mioht chanoe vour m
|a gqt!.$ h.41.fr; qtp 44!?t4?r41p st?s44&4/ q4! h 4+llsP.ltsw..nw
2 Take this key with you. You might not be able to get into the house.

3 We keep a fire extinguisher in the kitchen. There might be a fire

4 Go by train. There might be a lot of traflic on the roads

5 l'm going to take my passport wilh me. I might need it

1.10C Adverbial clauses of result with'so ... (that)'and 'suc ... (that)' [> LEG 1 .52.1]

Study: We can describe results with:

E 1 so + adieclive (lhal) (='35 2lssrjlt ):
We were tired. We went to bed. - We were so tired (that) we went to

2 sucl, + noun (thar) (='asaresuil)

He's a fool. He believes anything. - He's such a tool (that) he betieves nything
 Wlite: Join these sentences with so... lthal and such... (thal.
1 We were late. We missed the lirst act of the olav.
.!!..c-.t*pr.r..tlp-.@k.(!.tqt)..tX.]lt<Zl*d.tl,4'-.fi4&.q.4.: of rlzo pl&/
2 lwas working hard. lforgol what the time was.

3 There was a delay. We missed our connecting flight.

o wJ," n,JJiri",l;l;; w;;;;iili;; ;; ;;; ;i;; i" ;,; .;;;

1 .10D Adverbial clauses ot comparison with 'as ... as' [> LEG 1 .ss

Study: We can make comparisons wilh as ... as, not so (ot as) ... as and than:
We use object pronouns atter as and lhan l> 4.181: He's as tall as me. He s ler than me
Or we use subject + verb: He is as tall as I (am). He s taller than I (am).
We may use do, does ot did lo replace a verb in the simple present or simp past
He plays the piano as well as l(clo). He plays the piano as well as his sister
You clidn't linish the crossword puzzle as quickly as I (clid).

Write: Join or rewrite these sentences using the conjunctions in brackets

1 John works hard. Susan works hard. {as ... as)

2 John is less inteliigent than Susan. (not so ... as)

3 This computer holds less information than that one. (not... as much... as)

4 The film'Superman'1 is enjoyable. 'Superman 2'is enjoyable, too. (as...

1.10E Context
Write: Put in as ... as, but, in case, in order that, so ... that, such ... fhat, when. which

WYSII{YG ,*r., r*rg/ I

ilil1
we create new words all the time. we have to do {his trt M.fulwe
may express new ideas. Perhaps the strangest wdrd 2 . . . . . . . . . . . . . . . . has
. . .

iti,itrtxli come into the English Ianguage recently is wysiwlig . lwas 3 . . . . . . . . . . . . . . . . . . .

puzzled by this word................... I kept ask'ng people whal it meant.
'/s/ayc'
no one knew. Last week lfound it in dictionary. lt is not
/ peculiar I had thoughl. I comes from
r computers. This is what il rneans, s want to know: 'Whal
You See ls What You Get'. This means that what ou see on your
screen is what you get 7 you print. N I discover that
.G ---2 everyone knows this word. The other day I was in my favourite
restaurant and ordered sausages. They were 3..... ............. small
sausages I complained to the wa She just smiled al
me and whispered, 'Wysiwygl'
-L/ =/'Z---a

156
 1 .11 The complex sentencet present participle onstructions
1.11A Joining sentences with present participles ('-ing' l> LEG 1 .56- 1.58.11

Study: The present parliciple is the '-ing'form ol avetb: lind -findingl>

1 We can use the present participle in place of and, so. etc. to join two imple sentences
I found the frcnt doot locked. I went round the back. (two simple se nCeS, 1.2A)
I found the front door locked and went rcund the back.I> 1.4A1
Fincling the front door locked, I went round the back.
2 To make a negative, we put not in front of the -ing form:
Not knowing his phone number, I wasn't able to ring him (= I didn t now...)
3 Note how we can use beingin place of /b or was:
I was shott ol money. I couldn't afford to_.buy it.
Being shorT of money, I couldn't affotd to buy it.

Write: Rewrite these sentences using -lng, making any necessary changes.
1 She oot verv worried and thouoht we had had an accident.
lnz aot ue,,ru uto'm.rd.'thi.ruhi,na ue lul, ltad azn
2 He went to his room and closed the door behind him.

3 I didn't hear what he said and asked him to repeal it

4 You didn't ask me lor permission because you knew I would refuse

5 l'm not a lawyer, so I can't give you the advice you are looking for

1.118 The present participle in place of adverbial clause I> LEG 1.56-601

Study: We often use the present participle atter a'joining word' (or conju on)
F" lnstead of: Since we arrived here, we have made many new [> 1.BA]
We can say: Since arriving here, we have made many new

Write: Rewrite these sentences using a joining wotd + -ing.

1 They broke this window when they tried to get into the house.
Thr, M,e fu<t tt.hdzut *lttn rra44 b o&.......,
'.,, .t.......t... rrtto thz
......
2 Though he refused to eat, he admitted he was very hungry.

3 I damaged lhe car while I was trying to park it

4 While I agree you may be right, I still object to your argument

5 After we looked at the map, we tried to find the right street

6 Don't get inlo any arguments before you check your facts.

157
 1 .1 1C The present participle in place of relative clauses [, LEG .58.61

Study: 1 We can somelimes omit lyho or which + is/are when we use the present gressrve
E;N lnstead oi: The man who is serving at the counter is very helpful.
We can say; The man serving at the counter is very helplul.
lnstead of: The new law applies to vehicles which are carrying heavy
We cao say: The new law applies to vehicles carrying heavy loads.
2 We can sometimes use -lr9 in place ol who ot which + simple present:
lnstead of: This job wil suit students who want lo work during lhe hol, ys
We can say: This jobwill suit students wanting to wotk du ngthehol

Write: Circle the words you can delete and/or change to use -ing
1 The plan which i ing overhead is lravelling nodh
2 The candid ates who are sitting lor this examination are all graduales
3 The woman who is waiting to see you has applied for a job here.
4 What can you do about a dog which is barking all night?
5 Trains which leave lrom this station take an hour to get to London.
6 Customers who complain about the service should see the manager.
7 Passengers who travel on planes shouldn t smoke.
8 There's a pension scheme lor people who work for this company.
9 There's a crime prevention scheme for people who are living in this neigh urhood
10 There's someone who is knocking at the door.

1.11D Context
Write: Use the -ing form ol the verbs in brackets and pul in after, as, when and who

THE CASE OF THE POISONED MUSHROOIV

$ N\N u While (prepare) P4"4/!if?3. a meal for her g

1

rather worried about some unusual mushrooms

ts, Mrs Grant got
ich a kind friend had
\
\
\ ti- sent her from the country. (Feel)'?................... s
a mushroom to her dog. 3 the dog
Mrs Grant decided to cook the mushrooms for h
picious, she gave
it with no ill effects,
r guests. That evening
the guests greatly enjoyed the mushrooms, ( men\1......
on their unusualflavour. They quickly changed ei. minds s

Mrs Grant's daughter, Jill, burst into the dining-r m and announced
lhat the dog was dead. On (hea4 6............. e news, Mrs Grant,
now in a state of shock, phoned Dr Craig, 7 ......... came round
immediately and pumped out the stomachs of a those who had eaten
the mushrooms - a very unpleasant expenence them.3.............
Dr Craig asked if he could see the dog, he was out ol the house
He soon discovered thai lhe dog had been kil by a passing car.
Not (knory) s... anything of her mother suspicions about
the mushrooms. Jill hadn t mentioned this im t lact when
(announce)'o the death of the dog

They quickly changed thsir minds!

158
 1.12 The complex sentence: perfect/past partici le constructions
1.124 'Being' and 'having been' 1, LEG 1.601

Study: We sometimes use belng in place of ls, are, was ot H/ere, though thi is often formal
lnstead of: I was lost. so lhad lo ask someone the way.
We can say: Being lost, lhad to ask someone the way.

2 We sometimes use having been in place ol have been ot had been I, lso formal)
lnstead of: l've been abroad. so lmissed lhe elections.

Write: Rewrite these sentences usiog being ot having been.

1 lar.r out ol work. so lsoend a lol ol mv trme at home.
' 1eir1a ouf of ao?b. I ,uzn"d. o lot
""' t''"' " "of ru,r Amzz
"r""""" a.C'
2 John is a scientist. so he hasn l read a lot of novels.

3 He has been promised a reward. so he hopes he'll get one.

a r *us nua, u nu*.;;;;i:;. .. i;;;i,; ;;; ;;, ; il;;.

5 They had been up all night, so they were in no mood for jokes.

1.128 'lt being' and 'there being' 1, LEG 1 .60l

Study: 1 We sometimes use lf belng in place of lt ls or ll was (formal):

lnstead of: tl was Sunday, so it was hatd to find a garage open.
We can say: lt being Sunday. it was hard to lind a garage open.
2 We sometimes use there being in place ot there is or there was (lo(m r)
lnstead ol: There was so much noise, lcouldn't hear what was tng on.
We can say: There being so much noise, I couldn't hear what was ng on

3 We can use ll belrg and there being afler without (fotmal):

They often dig up the roads without it being necessary. (= it isn t ne sary)
She suddenly began shouting withoul therc being any reason. l= lh re was no reason)

Write: Flewrite these sentences using it beingot there being. making any neces ary changes

1 There were no questions so the meeting ended quickly.

T.ht (. {ts.r.q. rw..Wa,t*o.ru, ftw..na-.fu.ng..adze.
2 He kept helping himself to money and it wasn't noticed. (without it

3 He kept asking awkward queslions and there was no reason for it hout there ...)

.
'i*r' "
n"r,o"l,.;; i;;;";; i;;,.;;;;;i;;;;;; il;,""d;
5 There was no one in, so llett a message.

159
1.12C Agreement between present participle and subiect i, LE 1.611

Study: We have to be very careful to make lhe participle agree with the subject of verbs
trlJ. Turning the corner, I saw a tile lall off the rool. l= I turned ... and I saw ...)
lf we say or \,vrite 'Tuning the corneL the tile lell oll the rcof'. this means' tile was turning
the corner and then fell off the roof'. The sentence is nonsensel

Write: What s wrong with these sentences?

1 Opening the door of the refrigeralor, the smell was badJt.t/1!41?t.il!4 tha,t uaa oatztetn u dnt
2 Changing gear, the bus had difficulty getting up the hill. ....................
3 Burning the rubbish. all my important papers were destroyed.............

1.12D Past participle constructions i> LEG 1.621

Study: 1 The past participle is the third part of a verb [> 9.3A-B]:
play - played - played (regular verbs); build - built - built (.irregular verbs
2 We sometirnes use the past participle instead of the passive:
Viewed hom a distance. it resembled a cloud. (When it was viewed ...)
Although built years ago, it was in good order. (Although it was built ...)
ll accepted for the job. you will be inlormed soon. (lf you are accepted ..
3 We can omit who and which: The syslem used here is very successlul. (

Write: Flewrite these sentences using past participles.

I The paintinq was lost for manv years. ll lurned up al an auclion.

/.in"c foi' ma,rut ua,re. .' to tdt*mw tu,rrud
'"" t "" " uz'' al am
2 Although the meat was cooked for several hours, it was still tough.

3 lf the picture is seen from this angle. it looks rather good

$NJ)..).
4 The vegetables which are sold in this shop are grown without chemicals
J',
5 When the poem is read aloud it is very elfective
:.
i-
ar. Li,:l-i
\
1.'l2E Context
Write: Put in suitable words (and torms where necessary) in the spaces below ,YG . TN\
YAH BOOHI
My cat Blossom is always getting into fights with Ginger, th tomcat next door
' llhQ11 ..1 see Ginger through my window, I shout and wave my arms to
frighten him away. ' out ol lhe window yesterd y, lsaw Ginger near my
tront door. There 3.. no one around, I pulled a h s face. stuck out my
tongue, waved my arms over my head and sta(ed scream g, 'Yah booh!Yah
boohl l lhe front door, lwas delermined to ch Glnger away
lsucceeded admirably. lterrified the postma as well

160
 2 The passive and the cau ative
2.1 General information about form
2.'tA Basic forms ol the passive [> LEG 12.1-3]

Study: 1 ln the aclivevoice. the subject of theverb isthe person orthing hat does the action
E John burnt the dinnet lasl night.
ln the passive voice, the action is done to the subject: Ihe was burnt last nioht

2 We form the passive with a suitable form of be + past participle nty verbs which take an oblect
(transitive verbs [>1.28]) can go into the passive:
The dinner was bumr. (But not 'The plane was arrived.l

3 Basic lense forms are a tense of be + past participle:

presenl: he writes - it is wti
past: he wrote - it was tten
present/past perlecl he has/had written 1 it has/ha been written
4 Basic modal forms are: modal + be/have been + past participle:
will: he will write - il wi be
may: he may wite ---+ it maf wtitten
may have: he may have w tlen it ma! been w tten, elc
5 lnfinilive: to be/to have been + past participle [> 16.1A]:
he is/was to write - it is to be w tten/it was to have been

Write 1: l,4ark with a P those sentences which will qo into the passive
1 Someone will drive you to the airport.!? 6 They informe! me about tl. _
2 Goldfish live in fresh water. _ 7 lslept till 8. L
3 The Egyptians built pyramids. _ 8 lt s rainino. I

4 We walked for miles yesterday. _ o vou musioo{y tne rules.

5 They arrived at T last night. _ 1o He s sneezinb again. -
Write 2: Flewrite these sentences in the passrve.
-
1 They owe a lot of money to the bank.
A lnt of mottt+ t t" oucd, lo .thz ,tan,L
2 They have Noved that there is no life on the moon.
It...... . .

3 You can buyvideos like this one anywhere.

4 Someone has to wtite the history of the European Community e day.

5 Someone may have akeady wriften lhe history of the European ;;;;;i;
6 When we arrived home. we found that someone had broken o of our windows

7 They have soldlheir car to pay their debts

8 They hold afieeting in the vjllage hall onceaweek

161
 2.1B The passive with progressive forms: 'She is being intervi
[> LEG 12.3n.6]

Study: Only the present and past progressive [> 9.28.9.4B] are common in the passi We form the
E passive with the progressive form of be (am/is/arc/was/were beingl + a pasl iple
present progressive: They arc intetviewing her now. - She is being inte now
pasl progressive: They were inteuiewing het here. - She was being terviewed here

Write: Rewrite these sentences beginning with the words provided.

'1 The manager always welcomes new employees.
New employees ......41y s.lqtgltd 4&l,mn4d.!.y..kfu.1?!.q-na.ggi ...... ...
2 They're building a new supermarket near the church.
A new supermarket
3 They fouglrt the battle in 1623.
The batt|e..............
4 Someone was cleaning the windows while lwas lhere.
The windows.........
5 Someone has moved my deskl
My desk .................
6 They are taking the refugees to a camp outside the village.
The refugees.........
7 Someone had signed all the documents betore larrived.
Allthe documents
8 They were questioning us and searching our vehicle at the same time.
We ..................................... and our vehicle .........................
9 They will postour letters when the ship arrives at the next portofcall.
Our letters
10 They are opening the case again because they're not satisfied with the verd
The case ............-..

2.1C Context
Write: Put in the correct forms, active or passive. of the verbs in brackets

HOW THE OTHEH HALF LIVES (?)

Lord Manners was a rich and famous banker. When he (dle) r........ d,qd rec ntly, he (glve)
a magnificent funeral which (adend) 3... by hundred of famous people
The funeral was going to (hold) 4 in Westminster Abbey. Many o ary people (rne)
the streets to watch the procession. The wonderful black and go cafiiage (drav,/)
by six black horses. The mourners (lol/ow) 7 rn sl ce. Lord Manners
3
lgive\ a royal farewell. Two tramps were among the crowd. They lwatchl
s
the procession with amazement. As solemn music (could hea4 1
............ in the
distance, one ol them lturn) 11........ to the olher and (whispe) 12 in admiration.
'Now that's what I call really livingl'

Thal's whal lcallreally living,

162
 2.2 Uses of the passive
2.24 Uses ol the passive I' LEG r 2.1. 12.4.i-31

Study: 1 The passive is not just a different lorm of the aclive. ll has its own u{es and is very common in 1
E English. lt would be hard to think ol the active forms of sentences li
Rome wasn't built in a day. The origin of the universe will nevet be explained
2 We use lhe passive mainly in three ways:
- when we don't want to take responsibility for something:
The matter will be dealt with soon. (We don't know or want to sa who'll deal with it.)
- when we want to focus on a happening, not who or what did it:
Our rcol was damaged in last nighl's storm. (We re concerned a out the roof.)
- when we want to avoid vague subjects' like one, someone. they, tc.:
The lorm has to be srgned (Not 'Someone/One has to sign lhe l
English spoken. (Not .One speaks Englishl Shoes rcpaired. (N | 'One repairs shoesl
TI
Write: Supply suitable active and passive rorms in these sentences using the rbs ln brackets
Some variations in tenses may be possible.

1 lt isn't clear how far the ozone layer (damagel ....,ha.h*n by aerosol sprays
It mav be Dossible to tell whether the hole over the Antarctic (widen) h4t.. and?zt!,4... atter
the aiea linvestisalffi. 4?4.. @.99ru hrgh-ttying ptanes.
2 These days. even the most remote places on earth (visit) ................ by tourists. Package I
(cani'arrange) for almost anywhere, lrom the Himalay to the Amazonian jungle
3 Notices such as (English/Speak) and (Shoes/Repai0 are common
Sometimes they (translate) ........ into different languages f the benefit of tourists.
4 We (constanlly remind) .............. ot the way the world (become smaller wh
events taking place in dilferent parts of lhe globe (flash) on our lelevision screens
5 lf you (involve) in a car accident and someone (hurt) you (have to)
report lhe matter to the police. lf only the vehicles (d e) . drivers
should exchange names and addresses

2.28 The use of 'by' + agent (= 'doer') after a passive [, EG 12.51

Study: 1 We use byonly when we need to say who or what is responsible lor an event:
E The window was broken last night. (We don t know or want to say ho or what did it.)
The window was broken by a slate thal fell oll lhe roof . (We wish give informalion-)

2 We otlen use by + agent with the passive of verbs like build, comp e, damage, design, destrcy,
discover, invent, make and u/rlre lo identify who or what is/was res nsible:
Who designed St Pauls? - lt was designed by Chtistophet
I
Write: Supply passive forms with by + agent where necessary.
'! When Jasper Morgan died his collection of piclures (sell) ..-.1P.q.4. to raise enou gh mo
to pay his taxes. Tremendous interest in the sale (showthe gen ,lu 7,/LL
2 The music that (compose/Beethoven) ............................ towards th end of his life is very diff
from his early music. The music (write) ............................ in extrem ly difticult conditions
3 Many beautiful old buildings in cities (replace/modern ones)........... lf this replacem
(nol control), it isn't very long betore a city loses i character

163
 2.2C The passive with verbs of 'saying' and 'believing': 'lt i said (that) ...'
[> LEG 12.8]

Study: We need to be sure of our facts when we say: e.g. He was a spy in World ar I

lf we are not sure of our facts. we can express caution by saying:

It is said (that) he was a spy in World War ll./He was said to be a spy in World War ll
We can express caution in three ways, with:
'I /t (+ passive + lhaf-clause) wilh e.g. agree, believe. consider. decide, know. saf
It is said (that) there is plenty ol oil otf our own coast.

2 There (+ passive + lobe) wilh e.g. allege, believe, lear. know, repoft, say. uppose. think:
There is said to be plenty of oiloll our own coast.

3 Subject (not ir) (+ passive + tainfinitive) wilh e.g. allege, believe, considet. know, say.
Jane b said to know all there is to know about chimpanzees. I

Write: Begin these sentences with /t, fhere or a name/a noun + passive constructi

1 !.1..te.%a-(*d that prices wlll rise again this month. (expect)

2 that all the passengers had died in the crash. (
to be an expert in financial matters. (suppose)
4 to have committed the crime. (think)
5 that the sea level is rising. (think)
6 to be a lot of coal in the Antarctic. (think)
7 to be honest and reliable. (conside0
I to be thousands of people waiting to renew thei passports. (say)
9 that thousands of new jobs will be created in th computer induslry. (say)
0 to be a fall in house prices, but lhaven't noticed it. (suppose)

2.20 Context
Write: Use the correct tenses and passive forms of the verbs in brackets
FISHY TALES
Mermaids (see) 1,lt. ttQ.k*t1,.,c,12-;1by sailors r centuries. The basis of
all mermaid myths ( supposel 2 ... . .............. .. . .. . . . to be a creature called
( a Manatee: a kind of walrus! Mermaids used ( show)
in funfairs until recently. ll I began in '1817 when a

9.
?<
91
'mermaid lbuyl ^.....-....................... for $6,000
Pacific. She (eventua y seff) 5..........................
y a sailor in the South
to the great circus-
owner Barnum. She (exhlbi4 6......... . in 1842 as 'The Feejee
) t!:
Mermaid'. lt (say) ' . . . . . . . . . . . . . . . . . . . . . . . . . . that she
. . . arned Barnum $1,000 a
weekl The thousands who saw this mermaid ( ust/disappoin0
o, .She (cleve y make) s...... bya
lo^ Japanese fisherman. A monkey's head ldelica sew)
Tl,e job (so skiffully do)
to the tail of a large salm
,:l
( that the join between the and the monkey was
.l..L-----^ . .-" " invisible. Real imaginalion \musurequirc)'2..... .................. to see this
revolting creature as a beautiful mermaid com ing her golden hair!

A beautrlul merrnaid?

164
 2.3 Form and use ol the causative
2.34 Form of the causative: 'have something done' 1, re 12.1O.111

Study: 'I Note the difterence between lhese two sentences:

!had built a house. (past perfect tense = 'l did it myself' [> 9.6A])
lhad a house builL (the causative = 'l arranged for it lo be done [> 1 3Bl)

2 We form the causative with haye + noun or pronoun object + past pa ciple
We use the causative in different tenses and with modals:
lam having a house built. I had a house built. lheve had a house uilt
lwill have a house built. I must have a house buill. lcan't have a se built. eic

Write: Complete these sentences with the correct forms of the verbs in brackets
1 They've just had their living room ...................dtpql*ta decorate)
2 Your car engine sounds dreadful. You ought to have jt .............,........ (look at)
3 Have you had yopr eyes .......................-. recently (test)
4 He's going to have his hair.......... ............... at the ekend. (cut)
5 Can I have this letler...................... . please? (ph ocopy)
6 This letter is so importanl, l'm going 10 have it ........... by a lawyer. (write)

2.38 The causative compared with the active and passiv l> LEG 12.121

Study: 1 We use the aclive to describe jobs we do ourselves or when we k whosdoingajob

E t'm servicing the caL Jack is servicing the car.
2 We use lhe passive to say that a lob is being done for us, but we don know or don t want
to say who is doing it:
The car is being seruiced. (We'te locusing on the car I> 12.2A1)
3 We use the causalive to stress the lact that we are 'causing' someon to do a job ior us:
I'm having the car serviced. I have had my car seruiced. l'm to have my hair cut.
Nol'l'm going lo cut ny hair'which means 'l'm going to cut it myself' lcompare > 16.28]
We otten use lhe causative with verbs thal have to do with services 9.
build, clean, decorate, develop (a lilm), mend, photocopy, prcss, prin repair, seruice.

Write 1: Supply the correct forms ol the verbs in brackets

1 What are you doing? - |
' ,n c.1zpr,t1,1,&a the car. (clean)
2 Where's your car? - lt .. at the moment ll collect it in an hour. (clean)
3 I never tind time to clean the car myself, so I ...... ..............-.............. (clean)
4 Did you decorate the room yourselves? - No, we (decorate)
5 We can t use the living room. lt ............ ... ... at the moment. (decorate)
6 You............-....... They look quite n. (musyrepair your shoes)
7 My shoes........... n expensive jobl (just repair)
It was
I The heel came otf my shoe and 1......................... it myself. (repair)
9 'l'd like this film................. ,' I said.'Certainly,' the assi nt said. (develop and print)
'10 'Can I use the photocopier ..................... this d ment?' I asked. (photocopy)
1 1 Who ................. the children s clothes. in this house? - o do you think? ldo! (mend)
'12 What's happened to my reporl? lt
- at the moment. (photocopy)

'165
Write 2: Today is Wednesday. Look at the notes Maria wrote yesterday and early today en write
a what she had done yesterday; b what she is having done today;
c whal she is going to have done tomorrow.
TuasJS Waar.sJ% (€oJ-5)
b€t sko+ cLe.4ei. e{.s hlrE a
t(D tr6 pLont d o. f i.t- J.ud.op-l tr.o t!.Lh +i
sac.,a- f ur.itu-.r- dcfi*rcd

t a .... 5 ha.h,ad..t*r,lr.aa."*h,th. c/.eaq.*4.q<tter.da// -

b ....S hil. hauaa .hzr..eu.ra. tufzd.. toda4.,
c....Shza..So1,/l,r.lra..*nti.a...taptA.oclz?fl.;;aed,..toztm7t/t..
2a ..... ........
b
c
3a
b
c

2.3C 'Get' in the causative: 'get something done' [> LEG 12.11, 1 .131

Study: We sometimes use get in place of haye rn the causative to say something rs u rgenl
l*? Have that car repairedl (causative) Get that car repairedl (more urgent cau tive)

Write: Use get in place of have in these sentences

'1 r must have I M144 .C* this repod photocopied sent ofl straightaway
2 They re linally hav,ng ............ their central he ng repaired
3 We'll be having .................... the job done by a local bu ilder
4 Why don t you have ............................... that suit cleaned? t's filthy!
5 Have .................. your hair cutl

2.3D Context
Write: Put in causative forms for the verbs in brackets

CONSTANT MAINTENANCEI
B The more you own. the more there is to go wro You invest in a new
hiji system and in no time you have lo lil repai4 4.tiqltld
t-
@ You (a new washing machine instal} 2................
to buy expensive insurance to maintain it. You b
........ and you have
a car and need to (lt
service) 3............................. regularly. You buy a amera and then
spend a fortune (lilms develop and Nintl a........ ................ . lt's not
only things that need constant attention. How o n we have to (our gyes
tli les0 s............. .
chests X-ray) 7
, \our teeth fil\
6............
.............. I But I had to s
............. and lour
le last time I went to
lmy hai cu\
3. ihe window
A bold notice i
announced: 'All our customers promptly execu I' You certainly
wouldn t need to (any jobs do) e . . . . . . ...... .. . . . . ...... after that!
[,
U,
customers prOmplly executedl

'166