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GLENCOE
Grammar and Composition

Grade 7
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Acknowledgments continued on page 830.
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ii
PROGRAM CONSULTANTS
Mark Lester is Professor of English at Eastern Washington University. He formerly served
as Chair of the Department of English as a Second Language, University of Hawaii. He is the
author of Grammar in the Classroom (Macmillan, 1990) and of numerous other professional
books and articles.
Sharon O’Neal is Assistant Professor at the College of Education, Southwest Texas State
University, where she teaches courses in reading instruction. She formerly served as Director
of Reading and Language Arts of the Texas Education Agency and has authored, and
contributed to, numerous articles and books on reading instruction and teacher education.
Jacqueline Jones Royster is Associate Professor of English at The Ohio State University.
She is also on the faculty at the Bread Loaf School of English at Middlebury College in
Middlebury, Vermont. In addition to the teaching of writing, Dr. Royster’s professional
interests include the rhetorical history of African American women and the social and
cultural implications of literate practices.
Jeffrey Wilhelm, a former English and reading teacher, is currently an assistant professor
at the University of Maine, where he teaches courses in middle and secondary level literacy.
Author of several books and articles on the teaching of reading and the use of technology,
he also works with local schools as part of the Adolescent Literacy Project.
Denny Wolfe, a former high school English teacher and department chair, is Professor of
English Education, Director of the Tidewater Virginia Writing Project, and Director of the
Center for Urban Education at Old Dominion University in Norfolk, Virginia. Author of more
than seventy-five articles and books on teaching English, Dr. Wolfe is a frequent consultant
to schools and colleges on the teaching of English language arts.
iii
Advisors
Philip M. Anderson Beverly Ann Chin Charleen Silva Delfino Ronne Hartfield
Associate Professor of Professor of English and District English Coordinator Executive Director of
Secondary Education and Co-Director, English East Side Union High School Museum Education
Youth Services, and Teaching Program District Art Institute of Chicago
Director, English University of Montana San Jose, California
Education Program Director, Writing Project
Queens College, San Jose University
City University of New York
Educational Reviewers
Toni Elaine Allison Marie Hammerle Diana McNeil Evelyn Niles
Meridian Middle School Oak Creek Elementary Pillans Middle School Boys and Girls High School
Meridian, Idaho School Mobile, Alabama Brooklyn, New York
Cornville, Arizona
Janice Brown Linda Miller Kathleen Oldfield
Houston ISD Randy Hanson Lake Travis Middle School Main Street School
Houston, Texas Maplewood Middle School Austin, Texas Waterloo, New York
Menasha, Wisconsin
Amy Burton Nadine Mouser Janet E. Ring
Sterling Middle School Geraldine Jackson St. Thomas More School Dundee School District 300
Fairfax, Virginia Mountain Gap Middle School Houston, Texas Carpentersville, Illinois
Huntsville, Alabama
Mary-Ann Evans-Patrick Roslyn Newman
University of Wisconsin, Jeanne Kruger Woodland Middle School
Oshkosh Blair Middle School East Meadow, New York
Oshkosh, Wisconsin Norfolk, Virginia
Student Advisory Board

The Student Advisory Board was formed in an effort to ensure student involvement in the development of
Writer’s Choice. The editors wish to thank members of the board for their enthusiasm and dedication to the
project. The editors also wish to thank the many student writers whose models appear in this book.
iv
BOOK OVERVIEW
Part 1 Composition
Unit 1 Personal Writing. . . . . . . 2 Unit 5 Expository Writing . . . . . 194
Unit 2 The Writing Process . . . . . 40 Unit 6 Persuasive Writing . . . . 256
Facing the Blank Page . . . . 97 Unit 7 Troubleshooter . . . . . . 304
Unit 3 Descriptive Writing. . . . . 108 Business and Technical Writing . . . . 328
Unit 4 Narrative Writing . . . . . 150
Part 2 Grammar, Usage, and Mechanics

Unit 8 Subjects, Predicates, and Unit 15 Verbals . . . . . . . . . 520
Sentences . . . . . . . . 356 Unit 16 Subject-Verb Agreement . . . 534
Unit 9 Nouns . . . . . . . . . 378 Unit 17 Glossary of Special
Unit 10 Verbs . . . . . . . . . 398 Usage Problems . . . . . . 552
Unit 11 Pronouns . . . . . . . . 428 Unit 18 Diagraming Sentences . . . 562
Unit 12 Adjectives and Adverbs . . . 450 Unit 19 Capitalization . . . . . . 572
Unit 13 Prepositions, Conjunctions, and Unit 20 Punctuation . . . . . . . 588
Interjections . . . . . . . 478 Unit 21 Grammar Through
Unit 14 Clauses and Complex Sentences 500 Sentence Combining . . . . 618
Part 3 Resources and Skills

Unit 22 Library and Reference Unit 25 Taking Tests . . . . . . . 705
Resources . . . . . . . . 630 Unit 26 Listening and Speaking . . . 742
Unit 23 Vocabulary and Spelling . . . 653 Unit 27 Viewing and Representing . . 764
Unit 24 Study Skills . . . . . . . 684 Unit 28 Electronic Resources . . . . 781
Writing and Language Glossary . . . 797 Index . . . . . . . . . . . . . 817

Spanish Glossary. . . . . . . . . 806 Acknowledgments . . . . . . . . 830
v
CONTENTS
Part 1 Composition
UNIT
1 Personal Writing
Writing in the Real World . . . . . . . . . . . . . 4
“Come Dance by the Ocean”
Song by Ella Jenkins
Instruction and Practice 1.1 Writing About What’s Important to You . . . . . . . . 8
Write a Letter; Cross-Curricular Activity; Listening
and Speaking; Grammar Link
1.2 Collecting Information . . . . . . . . . . . . . . . . . . . 12
Write a Learning Log; Viewing and Representing;
Using Computers; Grammar Link
1.3 Writing to Celebrate . . . . . . . . . . . . . . . . . . . . . 16
Write an Invitation; Listening and Speaking;
Spelling Hints; Grammar Link
1.4 Writing About Yourself . . . . . . . . . . . . . . . . . . . 20
Write About an Experience; Viewing and Representing;
Cross-Curricular Activity; Grammar Link
Writing About Literature 1.5 Responding to a Character . . . . . . . . . . . . . . . . 24
Write a Letter; Listening and Speaking; Using Computers;
Grammar Link
Writing Process in Action Personal Writing Project . . . . . . . . . . . . . . . . . . . . . 28
Write about a special day in your life.
• Prewriting • Drafting • Revising
• Editing/Proofreading • Publishing/Presenting
Literature Model from The Diary of Latoya Hunter by Latoya Hunter . . . . 32
vi
Linking Writing and Literature Exploring Latoya Hunter’s diary entries . . . . . . . . . . . . . . . 38
UNIT 1 Review Reflecting on the Unit
Adding to Your Portfolio
Writing Across the Curriculum . . . . . . . . . . . . . . . . . . . . 39
UNIT
2 The Writing Process

Writing in the Real World . . . . . . . . . . . . 42
from “Smart, Cool and on the Air”
Newspaper Feature by Maisha Maurant
Instruction and Practice 2.1 Using the Writing Process . . . . . . . . . . . . . . . . . 46
Write a Paragraph; Listening and Speaking;
2.2 Prewriting: Finding and Exploring a Topic . . . . . 50
Collect Topic Ideas; Listening and Speaking; Viewing
and Representing; Grammar Link
2.3 Prewriting: Determining Purpose
and Audience . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Identify Purpose and Audience; Listening and
Speaking; Using Computers; Grammar Link
2.4 Prewriting: Ordering Ideas . . . . . . . . . . . . . . . . 58
Make a Plan for Your Writing; Viewing and Representing;
2.5 Drafting: Getting It in Writing . . . . . . . . . . . . . . 62
Write a Draft; Viewing and Representing;
2.6 Revising: Evaluating a Draft . . . . . . . . . . . . . . . 66
Evaluate a Draft; Cross-Curricular Activity;
2.7 Revising: Making Paragraphs Effective . . . . . . . 70
Revise for Effective Paragraph; Using Computers;
Listening and Speaking; Grammar Link
vii
2.8 Revising: Creating Sentence Variety . . . . . . . . . 74
Vary Sentence Lengths; Cross-Curricular Activity;
Viewing and Representing; Grammar Link
2.9 Editing/Proofreading: Making
Final Adjustments . . . . . . . . . . . . . . . . . . . . . . 78
Edit Your Writing; Listening and Speaking;
2.10 Publishing/Presenting: Sharing Your Writing . . 82
Present Your Writing; Using Computers; Viewing and
Representing; Grammar Link
Writing Process in Action Writing Process Project . . . . . . . . . . . . . . . . . . . . . . 86
Write a brief profile of a courageous person.
Literature Model from The Clay Marble by Minfong Ho . . . . . . . . . . . . . . 90
Linking Writing and Literature Analyzing Minfong Ho’s approach to storytelling . . . . . . . . . 95

Writing Across the Curriculum . . . . . . . . . . . . . . . . . . . . 96
Facing the Blank Page . . . . . . . . . . . . . . . . 97

Writing for TIME • Prewriting • Drafting • Revising
viii
UNIT
3 Descriptive Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Writing in the Real World . . . . . . . . . . . 110
from Song of the Gargoyle
Fantasy by Zilpha Keatley Snyder
Instruction and Practice 3.1 Writing to Show, Not Tell . . . . . . . . . . . . . . . . . 114
Write a Description of an Object; Listening and Speaking;
3.2 Combining Observation and Imagination . . . . 118
Write About an Imaginary Place; Viewing and
Representing; Using Computers; Grammar Link
3.3 Choosing Details to Create a Mood . . . . . . . . . . 122
Write a Descriptive Paragraph; Using Computers;
3.4 Organizing Details in a Description . . . . . . . . . 126
Write a Painting Description; Viewing and Representing;
3.5 Describing a Person . . . . . . . . . . . . . . . . . . . . 130
Write a Character Description; Viewing and
Representing; Using Computers; Grammar Link
Writing About Literature 3.6 Relating a Poem to Your Experience . . . . . . . . . 134
Write a Poem; Listening and Speaking;
Writing Process in Action Descriptive Writing Project . . . . . . . . . . . . . . . . . . 138
Write an article describing a place—real or imagined.
Literature Model from The Gathering by Virginia Hamilton . . . . . . . . . . . 142
Linking Writing and Literature Examining Virginia Hamilton’s descriptive techniques . . . . . 148
Writing Across the Curriculum . . . . . . . . . . . . . . . . . . . 149
ix
UNIT
4 Narrative Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

from “User Friendly”
Short Story by T. Ernesto Bethancourt
Instruction and Practice 4.1 Telling a Good Story . . . . . . . . . . . . . . . . . . . . 156
Write a Children’s Story; Listening and Speaking;
Viewing and Representing; Grammar Link
4.2 Exploring Story Ideas . . . . . . . . . . . . . . . . . . . 160
Write a Narrative Message; Listening and Speaking;
4.3 Using Time Order in a Story . . . . . . . . . . . . . . . 164
Write a Personal Narrative; Viewing and Representing;
4.4 Writing Dialogue to Develop Characters . . . . . . 168
Write a Dialogue; Listening and Speaking;
4.5 Drafting a Story . . . . . . . . . . . . . . . . . . . . . . . 172
Write a Tall Tale; Listening and Speaking; Viewing
4.6 Evaluating a Story Opening . . . . . . . . . . . . . . . 176
Write a Story Opening; Cross-Curricular Activity;
Writing About Literature 4.7 Responding to a Story . . . . . . . . . . . . . . . . . . . 180
Write a Response; Cross-Curricular Activity;
Writing Process in Action Narrative Writing Project . . . . . . . . . . . . . . . . . . . . 184
Write a story focusing on a special person.
Literature Model “A Huge Black Umbrella” by Majorie Agosin . . . . . . . . 188
Linking Writing and Literature Exploring Marjorie Agosin’s narrative techniques . . . . . . . . 192
x
UNIT
5 Expository Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Wolf-eel
Signs and Labels by Judy Rand
Instruction and Practice 5.1 Giving Information and Explanations . . . . . . . 200
Write Procedures; Listening and Speaking;
5.2 Organizing Informative Writing . . . . . . . . . . . . 204
Write an Explanation; Using Computers; Viewing
5.3 Writing About Similarities and Differences . . . 208
Write a Comparison-Contrast Letter; Cross-Curricular
Activity; Listening and Speaking; Grammar Link
5.4 Explaining How Something Works . . . . . . . . . . 212
Write an Explanation; Listening and Speaking; Using
Computers; Grammar Link
5.5 Identifying Cause and Effect . . . . . . . . . . . . . . 216
Write a Cause-and-Effect Letter; Cross-Curricular
Activity; Listening and Speaking; Grammar Link
5.6 Reports: Narrowing a Topic . . . . . . . . . . . . . . . 220
Choose and Narrow a Topic; Listening and Speaking;
5.7 Reports: Turning to Helpful Sources. . . . . . . . . 224
Begin Your Research; Using Computers; Listening and
Speaking; Grammar Link
5.8 Reports: Conducting an Interview . . . . . . . . . . 228
Conduct an Interview; Using Computers;
xi
5.9 Reports: Organizing and Drafting . . . . . . . . . 232
Outline and Draft; Journal Writing Activity;
5.10 Reports: Revising and Presenting . . . . . . . . . . 236
Revise, Edit, and Share Your Report; Listening and
Speaking; Viewing and Representing; Grammar Link
Writing About Literature 5.11 Comparing Two People . . . . . . . . . . . . . . . . . 240
Write a Comparison-and-Contrast; Listening and
Speaking; Cross-Curricular Activity; Grammar Link
Writing Process in Action Expository Writing Project. . . . . . . . . . . . . . . . . . . 244
Write a brochure about your community.
Literature Model from Living Treasure by Laurence Pringle . . . . . . . . . . . 248
Linking Writing and Literature Analyzing Laurence Pringle’s expository writing . . . . . . . . . 254
UNIT
6 Persuasive Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Carson Delivers a Wake-up Call
Persuasive Speech by Dr. Benjamin S. Carson
Instruction and Practice 6.1 Using Persuasive Writing . . . . . . . . . . . . . . . . 262

Create a Poster; Cross-Curricular Activity; Viewing
6.2 Forming an Opinion . . . . . . . . . . . . . . . . . . . 266
Write a Paragraph; Listening and Speaking;
xii
6.3 Gathering Evidence . . . . . . . . . . . . . . . . . . . . . 270
Write a Proposal; Listening and Speaking;
6.4 Developing an Argument . . . . . . . . . . . . . . . . . 274
Write an Editorial; Listening and Speaking;
6.5 Polishing an Argument . . . . . . . . . . . . . . . . . . 278
Create a Leaflet; Using Computers; Viewing and
6.6 Writing Publicity . . . . . . . . . . . . . . . . . . . . . . . 282
Write an Advertisement; Cross-Curricular Activity;
6.7 Writing a Letter of Complaint . . . . . . . . . . . . . 286
Write a Complaint Letter; Using Computers;
Writing About Literature 6.8 Writing a Movie Review . . . . . . . . . . . . . . . . . . 290
Write a Review; Speaking and Listening; Viewing and
Writing Process in Action Persuasive Writing Project . . . . . . . . . . . . . . . . . . . 294
Write a persuasive piece about America’s way of life.
Kathy Jakobsen, Circus Parade, 1979

xiii
Literature Model “The Liberry” by Bel Kaufman . . . . . . . . . . . . . . . . . . 298
Linking Writing and Literature Examining Bel Kaufman’s persuasive techniques . . . . . . . . 302
UNIT
7 Troubleshooter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304
Problems and Solutions 7.1 Sentence Fragment . . . . . . . . . . . . . . . . . . . . . 306
7.2 Run-on Sentence . . . . . . . . . . . . . . . . . . . . . . . 308
7.3 Lack of Subject-Verb Agreement . . . . . . . . . . . 310
7.4 Incorrect Verb Tense or Form . . . . . . . . . . . . . 314
7.5 Incorrect Use of Pronouns . . . . . . . . . . . . . . . . 316
7.6 Incorrect Use of Adjectives . . . . . . . . . . . . . . . 318
7.7 Incorrect Use of Commas . . . . . . . . . . . . . . . . 320
7.8 Incorrect Use of Apostrophes . . . . . . . . . . . . . 322
7.9 Incorrect Capitalization . . . . . . . . . . . . . . . . . 325
Business and Technical Writing . . . . . . . . . . . . . 328

Instruction and Practice Business Letters . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Summaries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Forms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Interviews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Proposals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345
Multimedia Presentations . . . . . . . . . . . . . . . . . . . 349
xiv
Part 2 Grammar, Usage,
and Mechanics
UNIT
8 Subjects, Predicates, and Sentences. . . . . . . . . . . . . . . . 356

Instruction and Practice 8.1 Kinds of Sentences . . . . . . . . . . . . . . . . . . . . . 357
8.2 Sentences and Sentence Fragments . . . . . . . . . 359
8.3 Subjects and Predicates . . . . . . . . . . . . . . . . . . 361
8.4 Identifying the Subject . . . . . . . . . . . . . . . . . . 363
8.5 Compound Subjects and Predicates . . . . . . . . . 365
8.6 Simple and Compound Sentences . . . . . . . . . . 367
Grammar Review Subjects, Predicates, and Sentences . . . . . . . . . . . . 369
Literature Model from Water Sky by Jean Craighead George
Writing Application Sentence Types in Writing; Techniques with Sentence Types;

Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
UNIT
9 Nouns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Instruction and Practice 9.1 Kinds of Nouns . . . . . . . . . . . . . . . . . . . . . . . . 379
9.2 Compound Nouns . . . . . . . . . . . . . . . . . . . . . . 381
9.3 Possessive Nouns . . . . . . . . . . . . . . . . . . . . . . 383
9.4 Distinguishing Plurals, Possessives, and
Contractions . . . . . . . . . . . . . . . . . . . . . . . . . . 385
9.5 Collective Nouns . . . . . . . . . . . . . . . . . . . . . . . 387
9.6 Appositives . . . . . . . . . . . . . . . . . . . . . . . . . . . 389
Grammar Review Nouns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
xv
Literature Model from Earth Shine by Anne Morrow Lindbergh
Writing Application Nouns in Writing; Techniques with Nouns; Practice . . . . . . . 397
UNIT
10 Verbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398
Instruction and Practice 10.1 Action Verbs . . . . . . . . . . . . . . . . . . . . . . . . 399
10.2 Transitive and Intransitive Verbs . . . . . . . . . 401
10.3 Verbs with Indirect Objects . . . . . . . . . . . . . 403
10.4 Linking Verbs and Predicate Words. . . . . . . . 405
10.5 Present, Past, and Future Tenses . . . . . . . . . . 407
10.6 Main Verbs and Helping Verbs . . . . . . . . . . . 409
10.7 Progressive Forms . . . . . . . . . . . . . . . . . . . . 411
10.8 Perfect Tenses . . . . . . . . . . . . . . . . . . . . . . . 413
10.9 Irregular Verbs . . . . . . . . . . . . . . . . . . . . . . 415
10.10 More Irregular Verbs . . . . . . . . . . . . . . . . . . 417
Grammar Review Verbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Literature Model from Dandelion Wine by Ray Bradbury
Writing Application Verbs in Writing; Techniques with Verbs; Practice . . . . . . . . 427
UNIT
11 Pronouns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428
Instruction and Practice 11.1 Personal Pronouns . . . . . . . . . . . . . . . . . . . . 429
11.2 Pronouns and Antecedents . . . . . . . . . . . . . . 431
11.3 Using Pronouns Correctly . . . . . . . . . . . . . . 433
11.4 Possessive Pronouns . . . . . . . . . . . . . . . . . . 435
11.5 Indefinite Pronouns . . . . . . . . . . . . . . . . . . . 437
11.6 Reflexive and Intensive Pronouns . . . . . . . . . 439
11.7 Interrogative Pronouns . . . . . . . . . . . . . . . . 441
xvi
Grammar Review Pronouns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443
Literature Model from “Phaethon” by Edith Hamilton
Writing Application Pronouns in Writing; Techniques with Pronouns; Practice . . . 449
UNIT
12 Adjectives and Adverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Instruction and Practice 12.1 Adjectives . . . . . . . . . . . . . . . . . . . . . . . . . . 451
12.2 Articles and Proper Adjectives . . . . . . . . . . . 453
12.3 Comparative and Superlative Adjectives . . . . 455
12.4 More Comparative and
Superlative Adjectives . . . . . . . . . . . . . . . . . 457
12.5 Demonstratives . . . . . . . . . . . . . . . . . . . . . . 459
12.6 Adverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461
12.7 Intensifiers . . . . . . . . . . . . . . . . . . . . . . . . . 463
12.8 Comparative and Superlative Adverbs . . . . . . 465
12.9 Using Adverbs and Adjectives . . . . . . . . . . . . 467
12.10 Avoiding Double Negatives . . . . . . . . . . . . . . 469
Grammar Review Adjectives and Adverbs . . . . . . . . . . . . . . . . . . . . . 471
Literature Model from Mummies, Tombs, and Treasure by Lila Perl
Writing Application Adjectives in Writing; Techniques with Adjectives; Practice . . 477
UNIT
13 Prepositions, Conjunctions, and Interjections . . . . . 478

Instruction and Practice 13.1 Prepositions and Prepositional Phrases . . . . 479
13.2 Pronouns as Objects of Prepositions . . . . . . . 481
13.3 Prepositional Phrases as Adjectives
and Adverbs. . . . . . . . . . . . . . . . . . . . . . . . . 483
13.4 Conjunctions . . . . . . . . . . . . . . . . . . . . . . . . 485
xvii
13.5 Interjections . . . . . . . . . . . . . . . . . . . . . . . . . 487
13.6 Finding All the Parts of Speech . . . . . . . . . . . 489
Grammar Review Prepositions, Conjunctions, and Interjections . . . . . 491
Literature Model from “The Magical Horse” by Laurence Yep
Writing Application Prepositions in Writing; Techniques with Prepositions;

Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499
UNIT
14 Clauses and Complex Sentences . . . . . . . . . . . . . . . . . . . 500

Instruction and Practice 14.1 Sentences and Clauses . . . . . . . . . . . . . . . . . . 501
14.2 Complex Sentences . . . . . . . . . . . . . . . . . . . . 503
14.3 Adjective Clauses . . . . . . . . . . . . . . . . . . . . . . 505
14.4 Adverb Clauses . . . . . . . . . . . . . . . . . . . . . . . 507
14.5 Noun Clauses . . . . . . . . . . . . . . . . . . . . . . . . 509
Grammar Review Clauses and Complex Sentences . . . . . . . . . . . . . . . 511
Literature Model from The Pearl by John Steinbeck
Writing Application Sentence Variety in Writing; Techniques in Sentence

Variety; Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
xviii
UNIT
15 Verbals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Instruction and Practice 15.1 Participles and Participial Phrases . . . . . . . . 521
15.2 Gerunds and Gerund Phrases . . . . . . . . . . . . 523
15.3 Infinitives and Infinitive Phrases . . . . . . . . . . 525
Grammar Review Verbals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Literature Model from Amelia Earhart: First Lady of Flight by Peggy Mann
Writing Application Phrases in Writing; Techniques with Phrases; Practice . . . . . 533
UNIT
16 Subject-Verb Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Instruction and Practice 16.1 Making Subjects and Verbs Agree . . . . . . . . . 535
16.2 Problems with Locating the Subject . . . . . . . . 537
16.3 Collective Nouns and Other Special Subjects 539
16.4 Indefinite Pronouns as Subjects . . . . . . . . . . . 541
16.5 Agreement with Compound Subjects . . . . . . . 543
Grammar Review Subject-Verb Agreement . . . . . . . . . . . . . . . . . . . . 545
Literature Model from “Robert Frost: Visit to a Poet” by Octavio Paz
Writing Application Subject-Verb Agreement in Writing; Techniques with

Subject-Verb Agreement; Practice . . . . . . . . . . . . . . . . . . 551
UNIT
17 Glossary of Special Usage Problems . . . . . . . . . . . . . . . 552

Instruction and Practice 17.1 Using Troublesome Words I . . . . . . . . . . . . . . 553
17.2 Using Troublesome Words II . . . . . . . . . . . . . 555
Grammar Review Glossary of Special Usage Problems . . . . . . . . . . . . 557
Literature Model from The Clay Marble by Minfong Ho
Writing Application Usage in Writing; Techniques with Usage; Practice . . . . . . . . 561

xix
UNIT
18 Diagraming Sentences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562

Instruction and Practice 18.1 Diagraming Simple Subjects and Simple
Predicates . . . . . . . . . . . . . . . . . . . . . . . . . . . 563
18.2 Diagraming the Four Kinds of Sentences . . . . 564
18.3 Diagraming Direct and Indirect Objects . . . . . 565
18.4 Diagraming Adjectives and Adverbs . . . . . . . . 566
18.5 Diagraming Predicate Nouns and Predicate
Adjectives . . . . . . . . . . . . . . . . . . . . . . . . . . . 567
18.6 Diagraming Prepositional Phrases . . . . . . . . . 568
18.7 Diagraming Compound Sentence Parts . . . . . 569
18.8 Diagraming Compound Sentences . . . . . . . . . 570
18.9 Diagraming Complex Sentences with
Adjective and Adverb Clauses . . . . . . . . . . . . . 571
UNIT
19 Capitalization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 572
Instruction and Practice 19.1 Capitalizing Sentences, Quotations, and
Letter Parts . . . . . . . . . . . . . . . . . . . . . . . . . 573
19.2 Capitalizing People’s Names and Titles . . . . . 575
19.3 Capitalizing Place Names . . . . . . . . . . . . . . . 577
19.4 Capitalizing Other Proper Nouns
and Adjectives . . . . . . . . . . . . . . . . . . . . . . . 579
Grammar Review Capitalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581
Literature Model from “The Pomegranate Trees” by William Saroyan
Writing Application Capitalization in Writing; Techniques with

Capitalization; Practice . . . . . . . . . . . . . . . . . . . . . . . . 587
xx
UNIT
20 Punctuation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588
Instruction and Practice 20.1 Using the Period and Other End Marks . . . . . 589
20.2 Using Commas I . . . . . . . . . . . . . . . . . . . . . 591
20.3 Using Commas II . . . . . . . . . . . . . . . . . . . . . 593
20.4 Using Commas III . . . . . . . . . . . . . . . . . . . . 595
20.5 Using Semicolons and Colons . . . . . . . . . . . . 597
20.6 Using Quotation Marks and Italics . . . . . . . . 599
20.7 Using Apostrophes . . . . . . . . . . . . . . . . . . . . 601
20.8 Using Hyphens, Dashes, and Parentheses . . . 603
20.9 Using Abbreviations . . . . . . . . . . . . . . . . . . . 605
20.10 Writing Numbers . . . . . . . . . . . . . . . . . . . . . 607
Grammar Review Punctuation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609
Literature Model from “The Third Level” by Jack Finney
Writing Application Quotation Marks in Writing; Techniques with

Quotation Marks; Practice . . . . . . . . . . . . . . . . . . . . . . 617
UNIT
21 Grammar Through Sentence Combining . . . . . . . . . . 618

Instruction and Practice 21.1 Prepositional Phrases . . . . . . . . . . . . . . . . . . 619
21.2 Appositives . . . . . . . . . . . . . . . . . . . . . . . . . . 621
21.3 Adjective Clauses . . . . . . . . . . . . . . . . . . . . . . 623
21.4 Adverb Clauses . . . . . . . . . . . . . . . . . . . . . . . 625
Mixed Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
xxi
Part 3 Resources and Skills
UNIT
22 Library and Reference Resources . . . . . . . . . . . . . . . . . 630

Instruction and Practice 22.1 The Arrangement of a Library . . . . . . . . . . . . 631
22.2 The Dewey Decimal System . . . . . . . . . . . . . . 634
22.3 Using a Library Catalog . . . . . . . . . . . . . . . . . 636
22.4 Basic Reference Sources . . . . . . . . . . . . . . . . . 639
22.5 Other Library Resources . . . . . . . . . . . . . . . . 643
22.6 Searching for Periodicals . . . . . . . . . . . . . . . . 645
22.7 The Dictionary and the Thesaurus . . . . . . . . . 647
22.8 Using a Dictionary Entry . . . . . . . . . . . . . . . . 650
UNIT
23 Vocabulary and Spelling . . . . . . . . . . . . . . . . . . . . . . . . . . 653

Instruction and Practice 23.1 Borrowed Words . . . . . . . . . . . . . . . . . . . . . . 654
wordworks L A N G U A G E F A M I L I E S . . . . . . 657
23.2 Using Context Clues . . . . . . . . . . . . . . . . . . . . 658
wordworks P I C T O G R A P H I C W R I T I N G . . . 660
23.3 Roots, Prefixes, and Suffixes . . . . . . . . . . . . . . 661
wordworks C O M P O U N D W O R D S . . . . . . . 665
23.4 Synonyms and Antonyms . . . . . . . . . . . . . . . 666
wordworks S L A N G . . . . . . . . . . . . . . . . . . 668
23.5 Homonyms . . . . . . . . . . . . . . . . . . . . . . . . . . 669
wordworks H O M O P H O N E S . . . . . . . . . . . . 671
23.6 Spelling Rules I . . . . . . . . . . . . . . . . . . . . . . . 672
wordworks ORIGINS OF SILENT
L E T T E R S . . . . . . . . . . . . . . . . . 676
xxii
23.7 Spelling Rules II . . . . . . . . . . . . . . . . . . . . . . 677
23.8 Spelling Problem Words . . . . . . . . . . . . . . . . . 681
UNIT
24 Study Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684

Instruction and Practice 24.1 The Parts of a Book . . . . . . . . . . . . . . . . . . . . 685
24.2 Reading Strategies . . . . . . . . . . . . . . . . . . . . . 687
24.3 Writing Summaries . . . . . . . . . . . . . . . . . . . . 689
24.4 Making a Study Plan . . . . . . . . . . . . . . . . . . . 691
24.5 Using the SQ3R Method . . . . . . . . . . . . . . . . . 694
24.6 Taking Notes and Outlining . . . . . . . . . . . . . . 696
24.7 Understanding Graphic
Information . . . . . . . . . . . . . . . . . . . . . . . . . 699
24.8 Using Memory . . . . . . . . . . . . . . . . . . . . . . . . 703
UNIT
25 Taking Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705

Instruction and Practice 25.1 Test-Taking Strategies . . . . . . . . . . . . . . . . . . 706
25.2 Types of Test Items . . . . . . . . . . . . . . . . . . . . 708
25.3 Standardized Tests . . . . . . . . . . . . . . . . . . . . . 712
25.4 Standardized Test Practice . . . . . . . . . . . . . . . 717
UNIT
26 Listening and Speaking . . . . . . . . . . . . . . . . . . . . . . . . . . . 742

Instruction and Practice 26.1 How to Listen . . . . . . . . . . . . . . . . . . . . . . . . 743
26.2 Interviewing . . . . . . . . . . . . . . . . . . . . . . . . . 748
26.3 Speaking Informally . . . . . . . . . . . . . . . . . . . 752
26.4 Speaking Formally . . . . . . . . . . . . . . . . . . . . 756
26.5 Presenting a Dramatic Interpretation . . . . . . . 762
xxiii
UNIT
27 Viewing and Representing. . . . . . . . . . . . . . . . . . . . . . . . . 764

Instruction and Practice 27.1 Interpreting Visual Messages . . . . . . . . . . . . . 766
27.2 Analyzing Media Messages. . . . . . . . . . . . . . . 771
27.3 Producing Media Messages . . . . . . . . . . . . . . 777
UNIT
28 Electronic Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781

Instruction and Practice 28.1 The Internet . . . . . . . . . . . . . . . . . . . . . . . . . 782
28.2 Using the Internet . . . . . . . . . . . . . . . . . . . . . 783
28.3 Using E-mail . . . . . . . . . . . . . . . . . . . . . . . . . 787
28.4 Selecting and Evaluating Internet Sources . . . 791
28.5 CD-ROMs and Other Electronic Resources . . . 793
Writing and Language Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797

Spanish Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 806
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 817
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 830
xxiv
L I T E R AT U R E M O D E L S
Composition Models Skill Models

Each literature selection is an extended example Excerpts from outstanding works of fiction and
of the mode of writing taught in the unit. nonfiction exemplify specific writing skills.
Latoya Hunter, from The Diary of Farley Mowat, Never Cry Wolf 20
Latoya Hunter 32 Katherine Paterson, Jacob Have I Loved 24
Minfong Ho, from The Clay Marble 90 Jean Little, Little by Little 26
Virginia Hamilton, from The Gathering 142 N. Scott Momaday, The Names 70
Marjorie Agosín,“A Huge Black Umbrella” 188 Mary Q. Steele, Journey Outside 114
Laurence Pringle, from Living Treasure 248 Willa Cather, My Ántonia 119
Bel Kaufman,“The Liberry” 298 Susan Cooper, Over Sea, Under Stone 122
Scott O’Dell, Island of the Blue
Dolphins 126
Mildred D. Taylor, Roll of Thunder,
Hear My Cry 128
Amy Tan, The Joy Luck Club 131
Gary Soto,“Ode to la Tortilla” 134
Madeleine L’Engle, A Wind in the Door 157
Gloria Gonzalez, The Glad Man 162
Alvin Schwartz,“A Pot of Beans” 166
Nicholasa Mohr,“Mr. Mendelsohn” 169
Nancy Bond, A String in the Harp 169
Jamake Highwater, The Sun, He Dies 170
Laurence Yep, Dragon of the Lost Sea 172
Isaac Asimov,“Marooned off Vesta” 176
Joan Aiken,“A Leg Full of Rubies” 180
David Macaulay,“Running Shoe,”
How Things Work 200
R. F. Symes, Rocks and Minerals 202
“Mercury,” The World Book
Encyclopedia 206
Lucy Daniel, Edward Paul Ortleb, Alton Biggs,
Merrill Life Science 210
xxv
L I T E R AT U R E M O D E L S
Skill Models continued Language Models
Newsweek, January 8, 1990 216 Each Grammar Review uses excerpts to link
Peter Nye, The Cyclist’s Sourcebook 240 grammar, usage, or mechanics to literature.
The Dolphin Project, Earth Island Institute 262 Jean Craighead George, Water Sky 369
Andy Rooney, Not That You Asked . . . 266 Anne Morrow Lindbergh, Earth Shine 391
Itzhak Perlman,“To Help the Handicapped, Ray Bradbury, Dandelion Wine 419
Talk to Them,” Glamour, March 1987 274
Edith Hamilton,“Phaethon” 443
Ruth L. Hirayama,“Star Wars,” Magill’s Survey
Lila Perl, Mummies, Tombs, and
of Cinema 292
Treasure 471
Laurence Yep,“The Magical Horse” 491
John Steinbeck, The Pearl 511
Peggy Mann, Amelia Earhart: First Lady
of Flight 527
Octavio Paz,“Robert Frost: Visit to a Poet” 545
Minfong Ho, The Clay Marble 557
William Saroyan,“The Pomegranate Trees” 581
Jack Finney,“The Third Level” 609
FINE ART
Fine art—paintings, drawings, photos, and Henri Matisse, The Bowl with Goldfish 61
sculpture—is used to teach as well as to Charles Goeller, Third Avenue 65
stimulate writing ideas. Josef Albers, Latticework 77
Kathy Jakobsen, Circus Parade xiii Pierre Bonnard, The Lesson 92
Roger Winter, Snow Moon xxviii Hung Liu, Tale of Two Women 94
Torquato S. Pessoa, Carousel 23 Martin Charlot, Fruit of the Spirit 118
Pierre Bonnard, The Window 35 Leonardo da Vinci, sketch of an ornithopter 143
Bernice Cross, In the Room 36 Peter Blume, Light of the World 144
Pat Thomas, Picnic in Washington Park 53 Allan Rohan Crite, Last Game at Dusk 179
xxvi
FINE ART
Pierre-Auguste Renoir, The Umbrellas 191 Helen Oji, H.P. 497

Patricia Gonzalez, Heart Forest 249 Paul Sierra, A Place in Time 517
Kathryn Stewart, Hummingbird Vision 251 Yvonne Jacquette, Clouds over Farmland, Forked
Nancy Holt, Sun Tunnels 273 Tree Masses 532
Jacob Lawrence, The Library 300 Pierre Bonnard, Dining Room in the Country 549
Wassily Kandinsky, Variierte Rechteke 354 Artist unknown, China, Tea Cultivation 559
Artist unknown, Kwakiutl whale mask 375 Rudy Fernandez, Hot and Cold: Cold 585
Robert McCall, Challenger’s Last Flight 395 Simon Faibisovich, Boy 616
Gregg Spears, My Back Porch 426 Egon Schiele, Houses with Drying Laundry 628
Artist unknown, Greece, Charioteers 447 Detail from Bayeux Tapestry, William of Normandy’s
Charles Simonds, Untitled 475 Ship Before Pevensey Shore 654
Artist unknown, China, Woman Painting 489
xxvii
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“The heat of the sun had melted the wax from his wings;
the feathers were falling one by one, like snowflakes;
and there was none to help.”
—Josephine Preston Peabody
P A R T 1
Composition
Unit 1 Personal Writing 2
Unit 2 The Writing Process 40
TIME Facing the Blank Page

TIME 97
Unit 3 Descriptive Writing 108
Unit 4 Narrative Writing 150
Unit 5 Expository Writing 194
Unit 6 Persuasive Writing 256
Unit 7 Troubleshooter 304
Business and Technical Writing 328
Roger Winter
Snow Moon
1994
1
“Hold fast to dreams/For when dreams go/
Life is a barren field/Frozen with snow.”
—Langston Hughes
“Dreams”
2
UNIT
Personal
1 Writing
Writing in the Real World: Ella Jenkins 4
Lesson 1.1 Writing About What’s Important

to You 8
Lesson 1.2 Collecting Information 12
Lesson 1.3 Writing to Celebrate 16
Lesson 1.4 Writing About Yourself 20
Lesson 1.5 Writing About Literature:

Responding to a Character 24
Writing Process in Action 28
Literature Model: from The Diary of

Latoya Hunter by Latoya Hunter 32
Unit 1 Review 39
3
Writing in the Real World
n a visit to the Bahamas, singer and songwriter Ella
O Jenkins found a magical scene of dancers, calypso
singers, and children playing. “Amidst all the things that
were happening, the ocean had the loudest roar.” She
Personal Writing
wrote about those ocean sounds in Come Dance by the

Ocean, a record album with a message about planet
Earth. Like other albums Jenkins has produced over the
past thirty-five years, this one celebrates the lands, cul-
tures, and oceans of our world.
Come Dance by the Ocean

by Ella Jenkins
Early this morning when I looked out,

I saw some dolphins playing about.
One chased two, then two chased one.
I’d say that all three had an ocean of fun.
Come on, come dance by the ocean.

Come on, come dance by the sea.
Come on, come dance by the ocean,
Come on, come dance with me.
Songwriter
Ella Jenkins
4 Unit 1 Personal Writing

Writing a Song
Prewriting Drafting Revising/Editing
Personal Writing
Gathering Ideas Setting Down Main Ideas Writing to Celebrate
A Writer’s Process
Prewriting and other lands. By her mid-
Gathering Ideas thirties, Jenkins was carrying her
message to young people through
F or Ella Jenkins, songwriting is a

form of personal writing
because, in her music, she talks
songs. “You have to respect that
other people come from other
places,” she said. “They’re trying
about the things that matter the to learn about you, and you want
most to her. In writing the songs to learn about them.”
for the album Come Dance by As she travels, Jenkins does a
the Ocean, Jenkins expressed her lot of personal writing. She said,
feelings about many things she “I keep notebooks when I travel
loves. She wrote about the called ‘Random Thoughts.’ I use
excitement of air travel, the won- them to jot down notes about
der of nature, and the joy of things that strike me.” When
encountering the world’s amazing Jenkins began creating the album
variety of cultures and lands. Come Dance by the Ocean, she
Jenkins has had a lifetime inter- looked to this collection of per-
est in both music and other cul- sonal notebooks for ideas.
tures. While she was in college, Jenkins encourages every
Cuban musicians taught her to writer to keep a journal or a
play conga drums and maracas. notebook of ideas.
At the same time, she read about “Personal writing should
other cultures and listened to be something you do on a
songs from Africa, India, Egypt, regular basis because that
Writing in the Real World 5

improves your skill and puts you song, “Come Dance by the
in tune with yourself,” she says. Ocean,” was easy. “I was remem-
“Pretty soon you won’t have just bering the music by the ocean, the
letters and words on the page but steel drums,” she said. “I loved
something very warm and alive.” the way they sounded and how
the head of the group invited us
Drafting to come on and enjoy ourselves.
Personal Writing
Setting Down Main Ideas And I thought, ‘come on’ is a

good way of beckoning people.”
When Jenkins started writing
poems for her album, the notes
from “Random Thoughts”
Revising/Editing
helped. For example, they pro- Writing to Celebrate
vided material for the poem “A After writing each song and
Winter Plane Ride.” Jenkins had composing the music, Jenkins
written the notes that inspired revised her drafts. She also set-
this poem on a flight from tled on an opening verse for the
Portland, Oregon, to Chicago, album. With this playful song,
Illinois. “It was so exciting to see she invited listeners to celebrate
the differences between one part all the things we have in com-
of the country and another,” she mon—nature, music, new places,
said. “I could have written a lot and people.
of little things that I was seeing, For her poem “A Winter Plane
but all of a sudden I heard this Ride,” Jenkins used a free and
voice, the pleasant voice of the informal style. In the poem, she
pilot telling us about the sights. describes her flight over snowy
You’d have thought I was in class mountains and colorful canyons.
because I wrote down everything She worked on the poem until
he said,” she recalled. each word was exactly right and
Later these notes helped conveyed her personal message:
Jenkins recall and capture the look around you, listen, and enjoy.
moment. “Things grab you in
life,” she said. “No one experi- I see light blankets of
enced that plane ride as I did. snow
Each person on that plane had a Lying gently upon the
different experience, so no one mountaintops
could write about it as I did.” Now the canyons are
Once Jenkins knew what ideas coming—
and feelings she was going to Rippled ridges wrapped
put in her record album, she then around colors, cleverly
had to figure out the words and shouting
melodies for each song. The title Yet not making a sound.

Examining Writing in the Real World
Analyzing the Media these words were so important

Connection to the song’s message?
4. For what two reasons does
Discuss these questions about
Personal Writing
Jenkins encourage others to do
the song on page 4 and the
personal writing?
poem on page 6.
5. How is Ella Jenkins’s personal
1. How would you describe the writing process similar to or
mood of Jenkins’s song “Come different from your own?
Dance by the Ocean”?
2. What effect does repetition
have in the song’s second
verse?
3. How does Jenkins establish the
setting for the poem “A Winter Vary sentence length to make
Plane Ride”? your writing more interesting.
4. What two sights does Jenkins To achieve variety in her writing,
celebrate in “A Winter Plane Ella Jenkins sometimes combines
Ride”? two related short sentences into
5. What effects does the repeti- one smooth longer sentence.
tion of consonant sounds have Early this morning when I
in the poem? looked out, / I saw some
dolphins playing about.
Analyzing a Writer’s Combine the choppy sentences
Process in each item into one sentence.
Discuss these questions about 1. The game was almost over. We
Ella Jenkins’s writing process. were losing.
1. What interests does Jenkins 2. Then Louise snagged the ball.
focus on in her personal She tied the score.
writing? 3. An opponent was passing the
2. How do Jenkins’s personal ball. She tripped.
notebooks help her in her 4. Inez rushed toward the ball. She
writing? kicked it to me.
3. While drafting “Come Dance 5. I received her pass. I scored the
by the Ocean,” Jenkins decided goal.
to use and repeat the words See Lesson 2.8, pages 74–77.
“come on.” Why did she think
Writing in the Real World 7

LESSON
1.1 Writing About What’s

Important to You
ersonal writing, writing that you do for yourself, can be
P like a conversation with your best friend. It allows you
Personal Writing
to explore the things that matter most to you.
Feeling My
good! family!
Time
with friends! Music!
Doing
my best!
Personal writing can include entries made in a private

journal, notes kept in a school journal, and letters or postcards
written to relatives or friends. Some personal writing is meant
for the writer alone. Often, private personal writing later
becomes a story, poem, or other form of writing that may
be shared.
To begin, ask yourself, “What is important to me?” Maybe
your answer is like that of a student in the picture; maybe it’s
different. Whatever you write, it’s about what matters to you.

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Now was the time to slip into the castle easily. But the whole plan
had liked to have miscarried through a circumstance unforeseen by
the fairies who had contrived it. Christern was fully as much
delighted and astonished with the magical cocks, as the sentinels;
and was on the point of rushing off with the men, when the fairy,
fortunately, perceived his intention, and, darting out of the postern
door, which was open, he pulled Christern’s hair so vigorously that
the old man was reminded of his duty, and felt heartily ashamed that
he had, for a moment, forgotten his dear young master.
The fairy conducted Christern, at once, to Maghar’s room. He had
found out where the key of the door was kept, and Christern
unlocked it. Maghar was lying on a bed of straw in a corner of a
stone cell. He looked sick with despair. He did not move when the
door opened, but, as soon as he heard Christern’s voice, he sprang
up instantly. His pale face flushed, his dulled eyes brightened, and,
from that moment, he was filled again with life, hope, and vigor.
The method of escape planned by the fairies was a desperate
one. This was the reason the fairy had taken care to disappear
before Sybil could ask him what it was. He knew she would think it
impossible. But the fairies had full faith in its success, if only Maghar
would have the nerve and the courage to go through his part.
At certain hours sentinels went the rounds of the castle rooms to
see that all was right. The fairy knew this, and had planned this visit
just after the morning round. These sentinels had rather a
monotonous life, and were glad enough sometimes, especially of an
evening, to stop awhile and have a chat with a prisoner who could
tell them as much as Maghar; consequently he was to take occasion
at the next visit of the sentinels to invite conversation; to skilfully
introduce the subject of horseback riding; to boast of his own powers
in this line; and to declare that if he had a horse he knew of at his old
home, he could make the leap from the top of the tower across the
chasm, and land safely on the opposite side on the hill that he could
see from his window. The sentinels would not credit this, but would
talk of it in the court-yard, and, finally, it would reach the ears of the
governor of the castle and his officers. Their curiosity would be
aroused to see if he would really have the courage to make the
attempt. As for the successful accomplishment of such a leap, they
would consider it impossible. The young knight would be dashed to
pieces at the foot of the tower. But it would be a good way to get rid
of him. They could let it be known that he had perished through his
own fool-hardiness. They would give him permission to make the
leap, and ask where the horse was to be found. Maghar was to
direct them to the cave of the magician, taking care not to let them
know that he was anything more than a simple hermit. The magician
would have a horse ready—one that he had endowed with such
magical powers that it would make the leap with ease. And besides
myriads of fairies would be hovering around, invisible to all eyes
except Maghar’s, and these would help to keep up his courage. As
for getting the horse up the castle stairs that was easily managed.
Maghar had only to play an air on the flute, and the horse would
follow him up stairs or down.
This was the plan of the fairies. Christern was appalled when he
heard it. But Maghar embraced it at once. It was better, he told
Christern, to be dashed to pieces at the bottom of the abyss than to
suffer the slow torture of starvation.
The old man and the fairy, being in fear of discovery, made the
interview as short as possible. They returned to the postern door, the
fairy went outside through the loop-hole, gave his signal, and again
the wonderful cocks appeared on the hill. This time they sang a
merry song, and kept time to the music with their feet. Again the
sentinels were charmed into deserting their posts, and Christern and
the fairy got safely away.
Maghar had his talk with the guards, and, by the next afternoon,
everybody in the castle, from the governor to the stable boys, had
heard of his great boast about the leap. Everything turned out just as
the fairy had said. The governor, and his officers, glad to have some
sport, proposed to Maghar that he should make good his boast.
They felt certain he would be killed, and in that way they would
happily be rid of him. But they did not tell him this. He agreed to the
proposition, without manifesting any eagerness, but stipulated that
he should have food, and drink to strengthen him, and that his sword
and armor should be restored to him. These requests were granted.
It was no longer necessary to starve him as he was to be killed
another way.
The good magician had the horse ready for the messengers. The
animal knew exactly what was expected of him; and, when Maghar
was led down by his guards to the yard to see the steed, it rubbed its
head against his shoulders as if glad to see him, which action
convinced the spectators that the two were old acquaintances,
whereas they had never seen each other until that moment.
It was a powerfully-built horse, of a roan color, with bright,
intelligent eyes, and a flowing mane, and tail of pure white.
Everybody admired it, and the next day the battlements of the castle
were crowded with people to witness the daring feat of
horsemanship. The top of the northern tower was left clear for the
horse and rider. The top of the southern tower was reserved for the
governor, and his officers.
These remained below, at first, to witness the ascent of the stairs,
which, in itself, was a remarkable thing for a horse to do. Maghar
walked up the stairs playing an inspiriting air on the flute, and the
horse followed him readily but slowly up the long and winding
ascent, to the very top of the northern tower.
“THE HORSE STUMBLED ON THE NARROW BATTLEMENT.”
The great personages then took their places on the other tower,
and Maghar got upon the back of the horse.
Up to this moment he had been perfectly cool and self-possessed;
but now, as he looked across the yawning chasm, forty feet wide, at
the wall of the precipice opposite, a spasm of fear came over him.
He did not see the cloud of fairies about him. His hand trembled, and
he held the bridle so unsteadily that the horse stumbled on the
narrow battlement. The stones of the old tower were loose, and
several large ones went down into the abyss with a thundering
sound, frightful to hear. One of the hind feet of the horse slipped over
the edge of the wall, turning Maghar a little in the saddle, so that he
looked down into the awful abyss.
At this sight he made a superhuman exertion to right himself in the
saddle, and, by this violent impetus he threw the horse over so much
to the opposite side that it was able to regain its foothold on the
tower. Perhaps, too, the fairies helped it a little. Maghar saw these
friendly little people now, and the sight gave him new courage.
The horse stepped carefully to the unbroken side of the tower.
Maghar saw that the horse was standing firmly; and, then without
allowing a moment for reflection, he urged the noble beast to the
leap.
It sprang frantically into the air; or so it seemed to the spectators.
But really it was not frantic at all, but a steady, powerful impetus that
carried it clear across the great chasm.
Horse and rider landed safely on the opposite bank! Enemies and
infidels though they were, the spectators cheered and shouted in
admiration of this wonderful feat of horsemanship!
Maghar dismounted for a few moments, taking care to put the
cover of a thick copse between himself and any arrow shots that
might be sent after him. He wished to compose his own nerves, for
they had been terribly shaken. But he soon mounted again, and was
off like the wind.
He was not pursued. The infidels knew it to be useless, for he had
a level country before him, and they must toil over rough ground, and
high hills to reach his starting-place. And perhaps, too, they thought
he had shown such courage and skill that he deserved his freedom.
For they never knew anything about the magical powers of the
horse; and, though the infidels were long ago driven out of the
country, and the old castle is a heap of ruins, the story of the
wonderful leap of the knight Maghar is still related in the
neighborhood.
THE SEA-COW.
This is a queer name for a fish. But then you must admit, after a
glance at its portrait, that it is a very queer fish. It is not shaped much
like a cow, but it gives milk; and it gets the name of cow from that
circumstance.
It not only gives milk to its young, but it is warm-blooded, while
fishes are, you know, cold-blooded. It also breathes through lungs
instead of gills like fish. In all these things it resembles the whale.
The fact is that neither whales or sea-cows are really fishes, though
they are generally considered as such, as they live in the water and
swim about like fishes.
Sometimes a sea-cow is found that measures fifteen feet, but,
usually, they are much smaller. Perhaps you may have heard of this
creature by the name of manatee.
Its body is oblong; it has a flat tail, which is quite broad; its fins are
something like arms, and its head is small, with the most comical
face you ever saw. I am afraid you would be so impolite as to laugh
in its face if ever you saw one.
It has rather a stupid expression, in which respect it differs from its
cousins of the seal family. But it has ideas of its own, and very good
ones; and it is very playful when in its native element.
It is easy to capture these poor beasts, for they always swim in
crowds; and, if one is hurt with the harpoon, the others, instead of
taking themselves out of danger, stay by their wounded comrade,
and do everything in their power to assist him. They will try to pull out
the weapon, or bite at the rope attached to it, and in this way hunters
can often secure a whole troupe of manatees.
CAPTURE OF SEA COWS.
The sea-cow has a thick skin, and a layer of fat under it to keep it
warm. The arm-like fins are terminated by curious appendages like
fingers, except they are united by a sort of membrane, or skin. At the
ends of these are nails, similar to finger nails. The resemblance of
these fins to hands must be strongly marked, for it is from these it
gets its name of manatee, from the Latin manus, a hand.
It is said by some that the female manatee carries her young in
these arm-like fins, but this is not at all probable.
The sea-cow feeds upon plants, and is, therefore, generally found
near the shores of rivers and lakes. It prefers a warm climate.
It is hunted for its oil, of which it yields a good supply of very
excellent quality; and for its flesh, which is juicy and tender eating.
The female manatees are affectionate mothers. They take great
care of their children, and keep them by them a long time, to train
them in the way in which they should go.
TWO EXTREMES.
The ostrich is the largest bird known to exist in the world. Its body
is rather small in proportion to the length of its neck and its legs. The
latter are very large and strong. The wings and tail are short, and the
feathers are extremely beautiful.
For these feathers they are hunted; but their speed is so great that
it is impossible for the swiftest horse to overtake them. The
European hunters shoot them, and the native Africans have various
expedients for entrapping them. They can run from a hunter as fast
as the fleet-footed antelope.
It is said, that, on being pursued, the birds become very much
frightened, and hide their heads in the sand, thinking that no one can
see them, because they themselves cannot see, and that many are
run down and captured in this way. But this account has been
contradicted by travelers, and it is not at all probable that so
sprightly-looking a bird is so very stupid.
The wings of the ostrich are not intended for flight, but they assist
it in running. The bird cannot fly at all. If it could there would be no
use for such prodigious legs as it has.
But the ostrich can run! It is estimated that one of these giant birds
at full speed, travels at the rate of thirty miles an hour, which is as
fast as most locomotives go! But then the bird gets tired after awhile,
and the locomotive does not. The ostrich, however, can travel a very
long distance before it gives out from fatigue.
It is a magnificent-looking bird when it is traveling over its native
sands at full speed, with its head proudly erect; its bright eyes
gleaming, its wings outspread, and its feet twinkling over the sand so
fast you can scarcely see them.
OSTRICHES IN FLIGHT.
In a public garden in Paris there is a fine ostrich, which is very
gentle, and good-natured. He allows himself to be harnessed to a
carriage, in which little children ride about the grounds. He is not
permitted to go very fast, as he would not keep in the road in that
case; but a keeper walks by his side to regulate his gait; and one of
the children acts as driver, holding the reins, which are passed
around the lower part of the bird’s neck.
But, you may say, the ostrich is indeed very large, but it is not so
very much like a bird, because it cannot fly.
The ostrich is certainly a bird; but, if you insist upon it that a bird
must fly, we will take a look at the condor, and see how large he is.
He is intended for flight, you see, and has short legs, and long
powerful wings. He is swifter on the wing than the ostrich on his feet,
and will take a steady flight for miles without weariness. He has a
large body to carry through the air, but, though large, it is light, and
his wings are enormous.
A large full-grown condor, with its wings spread, measures from
twelve to fourteen feet from tip to tip of the wings; and nine feet is the
measure of very ordinary specimens.
It lives on the highest peaks of the Andes mountains in South
America; and builds its nests on crags that are inaccessible to man.
It cares nothing for snow and ice, nor for the great tempests of wind
that sweep over these lofty summits. Among these cold, desolate
rocks it makes its nest, and rears a hardy brood of young ones.
When it wants food for its family, it perches upon a jutting rock, and
sends its piercing glance far down into the cultivated valleys below.
When it has singled out an object it comes down with a swift, grand
swoop of its wings, and strikes its prey with unerring aim.
It has marvelously keen and long vision, and can see an object
several miles distant with ease.
CONDORS.
Seen thus upon the wing, the condor is a most majestic-looking
bird; but when you get a near view of him you find he is nothing but a
great vulture, and has all the disagreeable features and traits of a
vulture; being a cruel, greedy, and dirty creature, that is glad to feed
upon carrion; and having an ugly, hooded head, fierce eyes, and a
savage beak. His wings are his beauties.
The condor is fond of carrion, but it also feeds upon living animals,
or, I should say, kills animals, and feeds upon the fresh flesh. It is
very strong with its beak and talons; and two of them will sometimes
attack and kill a sheep, or even a cow.
Having seen such very large birds, let us turn to the other extreme,
and find out what we have in the way of small feathered creatures.
You have, no doubt, in the summer, watched the brilliantly-colored
humming-birds flying around the flowers, and dipping their long bills
into the blossoms to find the insects that may be there. They want
these insects for their dinner, and they run their bills so deftly into the
blossoms, and touch them so daintily that they do not injure them in
the least. On the contrary they help them by eating the insects that
would otherwise feed upon the flowers.
While doing this you will observe they make a little buzzing noise
with their wings. From this they get their name.
When hovering over a flower they move with such rapidity that you
can scarcely see any motion at all, and the birds look as if they were
painted on the air.
You think these humming-birds very small; but in South America,
the home of the condor, they have some humming-birds no larger
than bumble-bees! It would be a curious sight to see one of these by
the side of the condor! But, while the latter lives on the snowy
mountain tops, the humming-birds stay in the warm valleys, where
there are plenty of flowers and insects.
It is generally supposed that these birds live on the honey of the
flowers. They do often eat the honey, but they prefer insects.
SPARKLING-TAILED HUMMING-BIRDS.
There are a great many species of these tiny birds, and nearly all
are brilliantly colored. The most gorgeous specimens are found in
tropical countries. They are differently marked. Some have such
bright spots on their tails that they are called “sparkling-tailed.”
Humming-birds build their diminutive nests on vines and low trees.
Their eggs are the size of little peas, and white in color. The species
I mentioned as being no larger than bees build the dearest little
nests, no bigger than a walnut; and they put into them the
cunningest little eggs, and hatch out their very small young ones, just
as grandly as if they were great condors.
And they do not like confinement any better than the condors do.
Shut up in cages they generally pine, and die. They are made for
sunshine and flowers, free, out-door life and happiness.
A SNOW-STORM IN THE TROPICS.
“Father,” said George Moore, one stormy winter’s night, “won’t you
please tell me of some one of your adventures?”
SEAL FISHERMAN.
“You seem never to tire of my adventures,” said his father, smiling.

“Did I ever tell you how nearly I was lost once, in a snow-storm, in
the tropics?”
“A snow-storm in the tropics! How could that be?”
“It happened when I was quite a young man, that, for several
months, in the course of business, I had to stay at a lonely place on
the coast of Peru. I was in a town, but it was a dull one, and only
showed signs of life when some trading vessel would lie there for a
day or two. My only amusement was seal fishing; but I soon tired of
that, for I was not very successful. It was a sport that required more
practice than I was able to give it. The boats are nothing but two
bags of skin, connected by a narrow deck, and I did not consider
them altogether safe, for me, at least.
“At last I thought I would vary the monotony of my life by a little trip
up the Andes mountains. I could not go alone, of course, but a small
sum was sufficient to hire a guide, and two men besides, and four
mules. There were no hostile Indians to fear, and the guide was all
that I needed, but I knew he would be better contented with some
companions, and I felt, myself, that it would be a lonely sort of
journey for two.
“It was my intention to make an early start, but it was quite late in
the morning before I could get the lazy natives on the road. The first
part of our march was across a sandy, stony desert, with the rays of
a hot sun beating on our heads. My broad-brimmed Panama did not
prevent my face from blistering, and the white cotton cape I wore did
not seem to be much of a protection.
“We halted twice to take some refreshments, and short rests; and,
before sunset, we arrived at a miserable sort of inn, where we
remained for three hours, and rested ourselves and the mules; and
both men and beasts ate hearty suppers. Then we continued our
journey, for it was more pleasant to travel at night than in the day. It
was evident that we were reaching higher ground, though the ascent
was so easy as scarcely to be perceptible. But the air gradually
became fresher and cooler, and, at last, a woolen cloak was
comfortable.
“When day came we found ourselves in a region almost as barren
as the desert we had left the day before. We were on a rocky plain,
high up on the hills, or, more properly, small mountains. No plants
grew on this plain except a few species of cactus, which flourish in
the poorest soils: there were no signs of life, but flocks of turtle-
doves.”
CACTUS PLANTS.

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Composition Grade 7 Mcgraw-Hill

Grammar and Composition

Acknowledgments continued on page 830.

The Standardized Test Practice pages in this book were written by

PRINTED IN THE UNITED STATES OF AMERICA

Student Advisory Board

Part 2 Grammar, Usage, and Mechanics

Part 3 Resources and Skills

Writing and Language Glossary . . . 797 Index . . . . . . . . . . . . . 817

2 The Writing Process

Linking Writing and Literature Analyzing Minfong Ho’s approach to storytelling . . . . . . . . . 95

Facing the Blank Page . . . . . . . . . . . . . . . . 97

3 Descriptive Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

4 Narrative Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

5 Expository Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

6 Persuasive Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Instruction and Practice 6.1 Using Persuasive Writing . . . . . . . . . . . . . . . . 262

Kathy Jakobsen, Circus Parade, 1979

Business and Technical Writing . . . . . . . . . . . . . 328

8 Subjects, Predicates, and Sentences. . . . . . . . . . . . . . . . 356

Writing Application Sentence Types in Writing; Techniques with Sentence Types;

Writing Application Nouns in Writing; Techniques with Nouns; Practice . . . . . . . 397

Writing Application Verbs in Writing; Techniques with Verbs; Practice . . . . . . . . 427

Writing Application Pronouns in Writing; Techniques with Pronouns; Practice . . . 449

12 Adjectives and Adverbs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

Writing Application Adjectives in Writing; Techniques with Adjectives; Practice . . 477

13 Prepositions, Conjunctions, and Interjections . . . . . 478

Writing Application Prepositions in Writing; Techniques with Prepositions;

14 Clauses and Complex Sentences . . . . . . . . . . . . . . . . . . . 500

Writing Application Sentence Variety in Writing; Techniques in Sentence

Writing Application Phrases in Writing; Techniques with Phrases; Practice . . . . . 533

16 Subject-Verb Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . 534

Writing Application Subject-Verb Agreement in Writing; Techniques with

17 Glossary of Special Usage Problems . . . . . . . . . . . . . . . 552

Writing Application Usage in Writing; Techniques with Usage; Practice . . . . . . . . 561

18 Diagraming Sentences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562

Writing Application Capitalization in Writing; Techniques with

Writing Application Quotation Marks in Writing; Techniques with

21 Grammar Through Sentence Combining . . . . . . . . . . 618

22 Library and Reference Resources . . . . . . . . . . . . . . . . . 630

23 Vocabulary and Spelling . . . . . . . . . . . . . . . . . . . . . . . . . . 653

24 Study Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684

25 Taking Tests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 705

26 Listening and Speaking . . . . . . . . . . . . . . . . . . . . . . . . . . . 742

27 Viewing and Representing. . . . . . . . . . . . . . . . . . . . . . . . . 764

28 Electronic Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 781

Writing and Language Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797

Composition Models Skill Models

Pierre-Auguste Renoir, The Umbrellas 191 Helen Oji, H.P. 497

i ii iii iv v vi vii viii ix x

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TIME Facing the Blank Page

Lesson 1.1 Writing About What’s Important

Lesson 1.2 Collecting Information 12