Table Of Content

Quick Access Menu Analyzing and Composing d Adjectives 45 Comma Splices and Fused 53 Capital Letters 502 e Adverbs Sentences 448 a First word of sentence or line of f Prepositions a Identify poetry Writing Processes g Conjunctions b As two sentences b Proper nouns, adjectives Using The Everyday Writer 1 The Top Twenty: A Quick h Interjections c Linked with comma, c Titles of works Guide to Troubleshooting Your 37 Parts of Sentences 370 coordinating conjunction d Unnecessary capitalization Tables of Contents Use this Quick Writing p a Basic sentence grammar d Linked with semicolon 54 Abbreviations and Access Menu for an overview, and 2 Expectations for College Writing ag b Subjects e As an independent clause Numbers 507 consult the Table of Contents (on the 3 Rhetorical Situations es 1 cd PPrherdaisceastes fg ALisn ak edde pweinthd ean dt acslahuse ab TYietalerss banefdo rheo, uarfster names inside back cover) or the back of each 4 Exploring Ideas – 9 e Clauses 46 Sentence Fragments 455 c Business, government, science 5 Planning and Drafting 2 f Types of sentences a Identify terms tab for more detailed help. 6 Developing Paragraphs 38 Verbs and Verb Phrases 386 b Revise phrase fragments d Official company names 7 Reviewing, Revising, and Editing a Forms of verbs c Revise compound-predicate e Latin abbreviations Index and Directories Look in the 8 Reflecting b Verb phrases fragments f Symbols and unit abbreviations back of the book for an index that c Irregular verbs d Revise dependent-clause g Other abbreviations d Lie and lay, sit and set, rise and fragments h Numbers in one or two words points you toward specific topics and raise i Numbers that begin sentences defines key terms, and for directories Critical Thinking and e Verb tenses Punctuation and Mechanics j Figures to student writing models, content of Argument f Sequence of tenses 47 Commas 464 55 Italics 513 special interest to multilingual writers, 9 Critical Reading p gh AMcotoivde aanndd cpoansdsiivtieo nvaoli cseentences a To set off introductory words, ab TWitolreds so, fl elottnegrs w, nourkmsbers as terms 10 Analyzing Arguments a phrases, and clauses bsSyotmoxrebydob ltsoip.asr, d s tAorrytb oUasred ss,t oarnydb oreavrdissio n 11 Constructing Arguments ges 93 –15 34abc90 NSCDAuooerttubuiecnnjrletmes csa iatnn-ndeVdr ens rNobno cAuongu rPnethe nrmaosueennsst 440161 bcde WcWWTloaiii utttshhhes tecni tsoooe fnimnfnj rup sec nasoinrtcmret iiancpo ttsnohievuser entiti ehdecsaal estl m ejaonneitndne nt sces 5cabc6 HNWWUnyoiittnnphhe-h Ecpceoenrsemngsfislapixs roehy5us 1 whna5ydnopd rwhd sesou nrafdsnfisdxe pshrases in the green tabbed sections to see 4 a Subject-verb agreement transitional expressions writing as part of a process—and to b Separated subjects and verbs f To set off contrasting elements, MLA Documentation consider questions and goals that will cd CCoomllepcotiuvne dn osuubnjsects g iWntiethrj edcattieosn,s a, dddirreecsts easd,d tirtelsess, 57 The Basics of MLA Style 521 help you move your writing forward. e Indefinite pronouns numbers 58 MLA Style for In-Text f Who, which, and that h To set off most quotations Citations 528 (A directory appears at the back of Research g Linking verbs i To prevent confusion 59 MLA Style for a List of the book.) h Subjects ending in -s j Unnecessary commas Works Cited 535 12 Preparing for a Research i Subjects that follow verbs 48 Semicolons 477 60 A Student Research Essay, For more help, go to “How to Use Project pa j Titles and words used as words a To link independent clauses MLA Style 568 This Book.” 13 Doing Research ge 41 Pronouns 418 b To separate items in a series 14 ETavkailnuga tNinogt eSsources and s 15 ab AW hpor,o wnohouenv’esr ,r owlheom, and c cMoinstuasiendin sge motihceorl opnusnctuation 6A1P ATh Deo Bcausmicesn otfa AtiPoAn Style 581 What’s new? 15 Integrating Sources and 5 –2 c wCahsoem ienv ecrompound structures 49 End Punctuation 481 62 APA Style for In-Text Multilingual Advice Throughout on 16 AWvroitiidnign ga PRleasgeiaarricshm Project 12 de CWaes aen idn eulsl ibpetficoarel cao nnosturnuctions ab PQeureiostdiosn marks 63 CAPitAat iSotnysle 5fo85r a List of U.S. Academic English Look for f Agreement with antecedents c Exclamation points References 590 this icon, or check the directory at the g Clear antecedents d In informal writing 64 A Student Research Essay, back of the book. 4a2 AUdndjeecrsttivaneds aadnjedc tAivdevse arnbds 430 5a0 ATop sohsotwro ppohsesess si4o8n4 APA Style 615 Academic, Professional, and adverbs b In contractions Chicago Documentation “True Tales of The Everyday Public Writing b Adjectives with linking verbs c Avoid in most plural forms Writer ” A comic featuring advice c Adverbs with verbs, adjectives, 51 Quotation Marks 488 65 The Basics of Chicago 17 Academic Work in Any and adverbs a To identify direct quotations Style 629 from real student writers appears after Discipline d Comparative and superlative b Block quotations and poetry 66 Chicago Style for Notes the Preface. 18 Writing for the Humanities pa forms c For titles of short works and Bibliography 633 19 Writing for the Social Sciences ge e Nouns as modifiers d For definitions 67 A Student Research Essay, for The 20 Writing for the Natural and s f Adjectives ending in -ed and -ing e For irony, invented terms Chicago Style 650 Everyday Writer You’ll find plenty Applied Sciences 21 g Adjective order f Other punctuation with of online resources—video prompts, 2212 WMariktiinngg fDoer sBigunsi nDeescsis ions 3 – 2 4h3 MAvoodidifi oevre rPulsaecement 439 g qMuiosutasteiodn q muoatraktsion marks GGlolosssasrayr oief sU asangde I n6d5e9x awdriatipntgiv me oqduiezlzsi,n agn, dtu mtoorirael—s, astt udent 2234 CCroematminugn Picraetsinegn tiant iOonthser 92 abc MDDiaissnrpgullpainctiegvd em mmoododdifiiifiefieresrrss 5ab2 OPBartarheceknret hPtseusnesctuation Marks 494 ISDntidroeercyxtb/oGoraylo rosdsf AaSrrtytu dofe nTet rWmrsit in6g69 macmillanhighered.com/everyday6e. Media 44 Prepositions and c Dashes For Multilingual Writers 25 Writing to Make Something Prepositional Phrases 444 d Colons Considering Disabilities For more, see the Preface. Happen in the World a Prepositions e Slashes Talking the Talk b Two-word verbs f Ellipses Revision Symbols Lunsford_TEW6withExer_IFC_IBC.indd 1 10/14/15 10:25 AM Lunsford_TEW6withExer_IFC_IBC.indd 2 10/14/15 10:25 AM mech_Lunsford-EW6_wExercises-SE-032316 Usage and Style Resources Language MLA Documentation 26 Writing to the World 57 The Basics of MLA Style 27 Language That Builds pa 58 MLA Style for In-Text pa Common Ground g Citations g e e 2289 LWaonrgdu Cagheo icVea raientdy Spelling (cid:1)(cid:19)(cid:26)s 59 MCiLteAd Style for a List of Works (cid:1)(cid:22)(cid:18)s (cid:20) – 60 A Student Research Essay, (cid:26) – (cid:20) MLA Style 5 (cid:19) (cid:24) (cid:23) 8 Style APA Documentation 30 Coordination, 61 The Basics of APA Style Subordination, and p 62 APA Style for In-Text Citations p a a Emphasis g 63 APA Style for a List of g e e 31 Consistency and s References s Completeness (cid:1)(cid:20)(cid:19) 64 A Student Research Essay, (cid:1)(cid:22)(cid:24) 32 Parallelism (cid:24) – APA Style (cid:26) – 33 Shifts (cid:20) (cid:23) (cid:22) (cid:19) 34 Conciseness (cid:23) (cid:23) 35 Sentence Variety Sentence Grammar Chicago Documentation 36 Parts of Speech 65 The Basics of Chicago 37 Parts of Sentences Style 38 Verbs and Verb Phrases 66 Chicago Style for Notes 39 Nouns and Noun Phrases pa and Bibliographic Entries pa 40 Subject-Verb Agreement ge 67 An Excerpt from a Student ge 41 Pronouns (cid:1)(cid:20)s Research Essay, Chicago (cid:1)(cid:23)s 42 Adjectives and Adverbs (cid:22)(cid:24) Style (cid:19)(cid:24) 43 Modifier Placement (cid:21)– (cid:23)– 44 Prepositions and (cid:23)(cid:17) (cid:22)(cid:23) Prepositional Phrases 45 Comma Splices and Fused Sentences 46 Sentence Fragments Punctuation and Mechanics Glossaries and Index 47 Commas Glossary of Usage 48 Semicolons p Index with Glossary of Terms p 49 End Punctuation ag ag 50 Apostrophes es es 51 Quotation Marks (cid:1)(cid:21) (cid:1)(cid:23) (cid:23) (cid:22) 52 Other Punctuation Marks (cid:18) (cid:24) – – 53 Capital Letters (cid:22) (cid:24) (cid:18) (cid:18) 54 Abbreviations and Numbers (cid:25) (cid:17) 55 Italics 56 Hyphens this page left intentionally blank 02_LUN-02704_pt02_093-154.indd 129 6/15/16 8:09 AM 6 TH EDITION The Everyday Writer with Exercises Andrea A. Lunsford STANFORD UNIVERSITY Coverage for multilingual writers with Paul Kei Matsuda ARIZONA STATE UNIVERSITY Christine M. Tardy UNIVERSITY OF ARIZONA Bedford/St. Martin’s A Macmillan Education Imprint BOSTON ◆ NEW YORK For Bedford/St. Martin’s Vice President, Editorial, Macmillan Higher Education Humanities: Edwin Hill Editorial Director, English and Music: Karen S. Henry Publisher for Composition, Business and Technical Writing, Developmental Writing: Leasa Burton Executive Editors: Carolyn Lengel and Brendan Baruth Editorial Assistant: Dmitriy Rapoport Senior Production Editor: Ryan Sullivan Production Manager: Joe Ford Marketing Manager: Emily Rowin Copy Editor: Wendy Polhemus-Annibell Indexer: Ellen Kuhl Repetto Director of Rights and Permissions: Hilary Newman Senior Art Director: Anna Palchik Text Design: Claire Seng-Niemoeller Illustrator: GB Tran Cover Design: Donna Lee Dennison and William Boardman Composition: Graphic World, Inc. Printing and Binding: RR Donnelley and Sons Copyright © 2016, 2013, 2010, 2009 by Bedford/St. Martin’s. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except as may be ex- pressly permitted by the applicable copyright statutes or in writing by the Publisher. Printed in China. 1 0 9 8 7 6 f e d c b a For information, write: Bedford/St. Martin’s, 75 Arlington Street, Boston, MA 02116 (617-399-4000) ISBN 978-1-319-08344-1 Acknowledgments Text acknowledgments and copyrights appear at the back of the book on page 711, which constitutes an extension of the copyright page. Art acknowledgments and copyrights appear on the same page as the art selections they cover. It is a violation of the law to reproduce these selections by any means whatsoever without the written permission of the copyright holder. How to Use This Book The Everyday Writer provides a writing reference you can use easily on your own — at work, in class, even on the run. Brief enough to tuck into a backpack or briefcase, this text has been designed to help you find information quickly, efficiently, and easily. I hope that this book will prove to be an everyday reference and that the follow- ing tips will lead you to any information you need. You’ll find additional resources — video prompts, tutorials, LearningCurve adaptive quizzing, model student writing with activities, and more — on LaunchPad Solo for The Everyday Writer at macmillanhighered .com/everyday6e. Finding help in the print book Quick Access Menu On the inside front cover you’ll find a brief overview of the book’s contents, divided into twelve color-coded sections that correspond to the book’s tabs. If you’re looking for a particular chapter or a general topic, this is the simplest place to start. Contents The inside back cover has a table of contents that includes chapter titles and most major headings. It gives a closer look inside each chapter. Tab Contents On the back of each tabbed divider, you’ll find the contents of that tab listed in depth, with page numbers. True Tales of The Everyday Writer This comic-style insert features seven real students sharing their own experiences of using the book successfully. The Top Twenty Chapter 1 provides guidelines for recognizing, understanding, and editing the most commonly identified issues in student writing today. This section includes brief explanations, hand- edited examples, and cross-references to other places in the book where you’ll find more detail on each topic. Documentation Tabs Each documentation section has its own color-coded tab — gold for MLA style, blue for APA style, and white for Chicago style. Look for directories within each section to find models for citing sources. Easy-to-follow source maps walk you step-by-step through the processes of selecting, evaluating, using, and citing sources. iii iv How to use this book Glossaries and Index The index lists everything covered in the book. You can look up a topic either by its formal name (ellipses, for example) or, if you’re not sure what the formal name is, by a familiar word you use to describe it (such as dots). The index includes definitions of important terms, so look there first for help with writing ter- minology you don’t understand. A glossary of usage, which helps with commonly confused words, appears in the glossary/index tab at the back of the book as well. Directories At the end of the book, you’ll find several directories to help you locate special categories of content quickly, including a directory of storyboard art and other online activities such as quizzing, tutorials, and LearningCurve; a list of the student writing models available online; a directory of content of particular interest to multilingual writers; and directories to the “Considering Disabili- ties” and “Talking the Talk” boxes. Revision Symbols The list of symbols at the back of the book can help you learn more about marks or comments that an instructor or reviewer may make on your draft. Page navigation help 1 Guides at the top of every page. Headings on left-hand pages tell you what chapter you’re in, while headings on the right identify the section. Tabs identify the chapter number and section letter, and the page number appears at the outside edge of each page. 2 “Multilingual” icons. Help for speakers of all kinds of English, and from all educational backgrounds, is integrated throughout the book. Content that may be of particular interest to international students and other English language learners is identified with a “Multilingual” icon. Boxed tips for multilingual writers set off additional help. A directory to all content for multilingual writers appears at the back of the book. 3 Hand-edited examples. Many examples are hand-edited, allowing you to see an error or unconventional usage and its revision at a glance. Pointers and boldface type make examples easy to spot on the page. 4 Cross-references to media content. Cross-references at the bottom of a page point you to video prompts, quizzing, student writing models, tutorials, and more in LaunchPad Solo for The Everyday Writer. 5 Boxed tips. Many chapters include “Quick Help” boxes that provide an overview of important information. Look under “Quick Help” in the index to find a list. “Talking the Talk” boxes offer help with academic language and concepts. “Considering Disabilities” boxes offer tips on making your work accessible to audiences with different abilities. How to use this book v Use verb tenses appropriately38e Grammar 361 1 lie ▶ The doctor asked the patient to lay on his side. ^ set ▶ She sat the vase on the table. ^ rose ▶ He raised up in bed and glared at us. ^ 3 38e Use verb tenses appropriately. Multilingual 2 Verb tenses show when the action takes place. The three simple tenses are the present tense, the past tense, and the future tense. PRESENT TENSE I ask, I write 306 Style 30aCoordination, subordination, aPFAUnSdTTU e RTmEE pNThSEaENsSisE II awsiklel da,s kI ,w I rwotiell write More complex aspects of time are expressed through progressive, perfect, and perfect progressive forms of the simple tenses. QUICK HELP Editing for Coordination, Subordination, and EPmREpSEhNaTs PisROGRESSIVE she is asking, she is writing Hneocwt sdmo oyootuhrl yi daenads cflloewar lfyr?o mA roen teh es emntoernec iem tpoo artnaontth iedrPFe?AUa STDsTU og RP itEvRhe OPenGRy ORmcEGooSRnrSeE-I SVSEIVE sshhee wwailsl absek aisnkgi,n sgh, es hweaE wsv wiollkr ebite ia nw gprliaticneg or community28b Language 287 (cid:116)(cid:1)(cid:45)em(cid:80)(cid:80)p(cid:76)h(cid:1)a(cid:71)(cid:80)s(cid:83)is(cid:1)(cid:84) t(cid:85)h(cid:83)a(cid:74)(cid:79)n(cid:72) l(cid:84)e(cid:1)s(cid:80)s(cid:71) (cid:1)im(cid:84)(cid:73)p(cid:80)o(cid:83)(cid:85)r(cid:1)ta(cid:84)n(cid:70)t(cid:79) o(cid:85)(cid:70)n(cid:79)e(cid:68)s(cid:70)?(cid:84)(cid:1)(cid:85)(cid:73)(cid:66)(cid:85)(cid:1)(cid:78)(cid:74)(cid:72)(cid:73)(cid:85)(cid:1)(cid:67)(cid:70)(cid:1)(cid:68)(cid:80)P(cid:78)RE(cid:67)S(cid:74)(cid:79)E(cid:70)N(cid:69)T(cid:1) P(cid:85)(cid:80)E(cid:1)R(cid:75)(cid:80)F(cid:74)E(cid:79)C(cid:1)T she has asked, she has written related ideas. (30a) PAST PERFECT she hOadn aes kveda,r siehtey h aodf wErnitgtelnish, often referred to as the “standard” or ▶ Tmhined r.eport was short/., ^bItu tw iats persuasive/.; ^iItt chFPPaURRnTEOgUSGeRERdNEE TSPm SPEyIERV RFEEFECCTT “sanssehhsnonteedma twh neiwadcidsl l ra biphirnetaodet vnewt eh ana aecis ssrkaak. id naendAnegd,,m ds sss h himpteceh o, wo”ehk saiielstllsa n b hont eathewgvhnaeuei twdwra t rgertaiileettuyitx neg utngbbh syote odptkh rsieon,s s cuebrs iuwepdstiii envilneed slitysnh geian nns dsoac tchimioaonloo aslasltn ,m dpre ueepdbcriloeaic--, (cid:116)(cid:1)(cid:42)im(cid:71)(cid:1)(cid:90)p(cid:80)o(cid:86)r(cid:1)t(cid:86)an(cid:84)(cid:70)t.(cid:1) aIfn tdh eeyx caerses nivoetl ye, qdueacl,id eed wit htoe thsuebr oarlld tinhaet eid PPethARaeSOs T Gla ePRrsEeEsR S eFSimqEIVuCpEaTol lry- ipsnhlseett ihetaluydt ibfoeaenmns a,i sl“iksaintrag nw, sdihtaehr dh. a”“d S Ebtenaengnld wisarhridt iin”s g a E vnagrliiesthy, yhoouw wevilelr w, iasn ot ntoly b eo nceo mof- tant ones. (30b) FUTURE PERFECT mshaen wyi lel fhfaevcet biveeen v aaskriinegti, essh eo fw Eilln hgalvise hb eaenn d itself varies according to pur- (cid:116)(cid:1)(cid:46)(cid:66)(cid:76)(cid:70)(cid:1)(cid:84)(cid:86)(cid:83)(cid:70)(cid:1)(cid:85)(cid:73)(cid:66)(cid:85)(cid:1)(cid:85)(cid:73)(cid:70)(cid:1)(cid:78)(cid:80)(cid:84)(cid:85)(cid:1)(cid:74)(cid:78)(cid:81)(cid:80)(cid:83)(cid:85)(cid:66)(cid:79)(cid:85)(cid:1)(cid:74)(cid:69)(cid:70)(cid:66)(cid:84)(cid:1)(cid:66)(cid:81)(cid:81)(cid:70)(cid:66)(cid:83)(cid:1)P(cid:74)(cid:79)R(cid:1)O(cid:74)(cid:79)G(cid:69)R(cid:70)E(cid:81)S(cid:70)S(cid:79)IV(cid:69)E(cid:70)(cid:79)(cid:85)(cid:1) pworistein gand audience, from the more formal style used in academic clauses that can stand alone as complete sentenTchees . s(3im0bp)le tenses locate awn raitcitniogn t oo tnhley iwnfiothrmina tlh sety tlher cehea braacstice rtiismtice of casual conversation. Even though the frames of present, past, and future. Progressive forms express con- (cid:116)(cid:1)(cid:42)▶tt(cid:69)ho (cid:70)o c(cid:79)sh^(cid:85)eTa(cid:74)(cid:71) wh(cid:90)n(cid:1)geo(cid:85) e(cid:73)rrd (cid:70)ets(cid:1)hp(cid:88) eoai(cid:80)rrret (cid:83)p (cid:69) wbo(cid:1)u(cid:80)asr(cid:83)siti(cid:1)e i(cid:88)sodhn(cid:80) io.(cid:83)n (cid:69)1Tr t(cid:84)t6h,h(cid:1) 6ee(cid:90)e (cid:80)v eme(cid:86)nn(cid:1)idd(cid:88) R tda(cid:66)heln(cid:79)eosd(cid:85) uo(cid:1)e (cid:85)gtfa(cid:80)h har(cid:1)e (cid:83)c is(cid:70)tbhe (cid:68)ecn(cid:70)ght(cid:74)(cid:87)eian(cid:70)nnn(cid:1)ctaseg1(cid:84)iineinne(cid:81)nvg,d4to (cid:70)uee , (cid:68)at dmiphf(cid:74)rnc(cid:66)ieotaeyg(cid:77) r(cid:1)ts gr(cid:70)m hm te(cid:78)ae,ani Escn oc(cid:81)se vtdtree(cid:73)riai ao.xn(cid:66)oflulunpt(cid:84)lnyea(cid:74) tr(cid:84) sntoutei(cid:15);hcnr(cid:1) sr(cid:42)eeg es(cid:71)tp(cid:1) i.saemocrutfeier ocicnent s st fhat o2nherd a8mp ttr bascek osinneegxntUai ptnn, ro suppeteeesal ssas u vtcp,a ao ectrrot i i ofoesunorttms uic erecoes op;m mpooeimfpnr lftEee uitcnnent d gtpih tlreyibo s.epg hfrroee rsste--o evoke most emphatic. (30c) “Ever’body says words different,” said Ivy. “Arkansas folks says ’em (cid:116)(cid:1)(cid:42)ct(cid:71)hl(cid:1)ae(cid:66)u (cid:1)m(cid:84)s(cid:70)eo(cid:79)ss,(cid:85)t (cid:70) ti(cid:79)rmy(cid:68) p(cid:70)too(cid:1)(cid:74) r(cid:79)at(cid:68)arr(cid:77)n(cid:86)atn(cid:69) ig(cid:70)tee(cid:84)m(cid:1) t(cid:66)h (cid:1)lea(cid:84) s(cid:70)itt(cid:83).e(cid:74) (cid:70)m(3(cid:84)(cid:1)0s(cid:80) ci(cid:71)n)(cid:1)AD(cid:85) (cid:73)tNiha(cid:83)N(cid:70)emO(cid:70) os(cid:1)Ten(cid:80)Adr(cid:83)Ti(cid:1),eE(cid:78) sED d(cid:80) iBnw(cid:83)(cid:70)I iBcn(cid:1)(cid:88)Ll,i mI(cid:80)Oan(cid:83)aG(cid:69)dcR(cid:84) tAS(cid:13)ic(cid:1)tP(cid:81) eHo(cid:73)pYrh(cid:83)d (cid:66)eEe(cid:84)nNr(cid:70), T B(cid:84)wR(cid:13)a(cid:1)Yit(cid:80)teh(cid:83)s(cid:1) . The Spot : Thedfm rRioaifsfmkeee r oMe ofn uaPt tsof srlwiaotchimchaa utlO sskehtletas hw, oaamns’ ys sa hfyoeil nks’as.” isda y’ e–sm J’oe dhminf fd eSirftefeenirtneenbsett. c oAkf n,a Tdllh .w eC Geo ursaelpdeenns ’ ao h fl aaWrddryal yth Advertising on Television. 3rd ed. Cambridge, MA: MIT Press, 1992. Diamond and Bates illustrate the impactUa o fsc ithnealger vtaihscietoe nlra onongr pu opalgiltaeicc aeol.f aA luotchaol rc oamndm uranditiyo ish aonst eGffeacrtriivseo nw aKye itlolo erv, ofkoer 30a Use coordination to relasttraete geyq aunda dli sicdouersae.s T.he two argue theaxt aLmynpdolen, Jpoehpnspoenr’ss “hDaisis yta les of his native Minnesota with the home- Girl” ad succeeded by exploiting the advsapntuange Es nprgolviisdhe ds pboy ktheen there: “I once was a tall dark heartbreaker who, WmfTohreh,e nen ftnoo tr lhu,l oasowetr ,dl iisn nwogFk, e oysslr eeltm,tnh )ca teooet onripd rcradeien aisstns e ba,am nyutdi isoNc udno.ia l gSrolielctnyaloa,l tatmttee Mcsxao tkssooe emarpsnwJdp aoaaotpihrshndrracdnoeaaetssp teyn opi“r tn nibnra a’tgeusultel ecc tldcliule yeisoevrsaeeqniers cu jr2 itubcoe aooncnllam2oo cmitnrdbtitdieo”ceord oinatnnilouss ao hm.(s tavTiwi,nepo haurd n yesct,D ,i hl tnbeebeehgulau ese ptr v-ti,.ragi ooundldeuinectntwcmY icooiomehounu’2etsa l ho 4gdnsefee1u m stIrgrh o aeseeitns li tmooad nad umsas, co .bkt ehuEhie ngeme sdhd poasfe ha umiaratnnn hsec tdiohotoz rhitfu snh ai gcnye k rogolu,e or.a’ms n”. , dY w onuoom wsue nrte h jueayrme poane ddly au ysp-mb arinilged h atanesndke ersd af yoif,r t‘hhMeeryy. the relationship between independent clailulussetrsa dtei ftfheer sc riunc ieaal crhol es etnhete andc ep:layed in porWtraeyainvgi nGgo ldtwoagteetrh aesr a regionalisms and more formal English can ▶ They acquired horses, and their ancienwta nrmoomnagderi.c spirit was suddenly also be effective in creating a sense of place. Here, an anthropologist 4 ▶ a TfrnhesWTcadeeprmh or ahtoeehcwof i eei tupt sd ehen aope lertrskde t goprs,, nfr ftaewoo hewcucgfeht an e habfitd lr iiape(tev.dne eaet gde sgoepsogeorpma aaaomc ntcrieien duv s.a cectttCSpiThhhr t toeooysee uhcem io pmbensoan a eetntfo pls aol ci utaea trmhime.tnnfgnlte)tneae ia ia z kosnil woneetestavus oedhit,neurt e ibc lbttdrs ueiec(ieo t,t beb e onir silmttpebaip oobflll a ailgeeeeoycnlxcmreg odtbaa rn p mloampsgatpnihsnyidan h .tkyki eoeitT ees amthrss hrue ieacesnsaa r eecke gnafaap iu raglngacllbleoshngeo)d ee,bmu s pewstleya o httforohhioatnkeroeM-d dual tsia lipL,n gsieaukuavrelmt aioclGFtmuuhOalelaoRatrr ebr wyM atp oohUlrr fleLodV Tt jcahleIarLrceneIit Nged,m uGtiabaiaUnegiiAldnse-Ls o, WEf nREgInTlisgEhRli iSssh used in many countries, so it has ma(cid:1)c(cid:52)m(cid:85)(cid:90)(cid:77)i(cid:70)ll(cid:1)Cgssva(cid:31)pprin(cid:1)o(cid:45)dahaa(cid:70)lpiecc(cid:66)go(cid:83)oeehh(cid:79)r ,(cid:74)e (cid:79) balor(cid:72)eeer(cid:36)rdvot (cid:86)w.aeu(cid:83)c(cid:87) lo(cid:70)nle i(cid:27)m((cid:1)eds(cid:36)t/tnh (cid:80)e, (cid:80) pevts(cid:83)e o(cid:69)aesr(cid:74) r(cid:79)ynpmt(cid:66)dita(cid:85)a(cid:74)cea(cid:80)cyun(cid:79)ke6(cid:1)lc(cid:66) eeab(cid:79)e r(cid:69)iesmnrbatt (cid:1)i)(cid:84)et neceos.(cid:86)wflo oywd(cid:67)tnWare(cid:80)eno se(cid:83) ncte(cid:69)n tvi.htwed(cid:74) nt(cid:79)idoheWvn(cid:66) ic iop(cid:85)iletr(cid:74)sanl(cid:80)r,u a u (cid:79)bipb arttstmuei.launhna lgmmnecacgrh ero apoay tpiprsaa anriathtgseo enuy ssefdda )eso, ,c nes uyapasbf rounonoii bmulro td helf vi aMonceosegarltegrpia nenayarr , latlo kyla ep auq olrnnhsMueruco ysoae eec ttn uBamhalanesrteiscivnebotsohh eektinwga ld p tsnac(dhe rrstmfdoiehikrttdj oeeeisebcmn ciahbttl ..ill(cid:71)t(cid:80)(cid:78)c(cid:88) tsi(cid:83)yaWhe(cid:71)oA(cid:80) (cid:73)x(cid:66)(cid:1) ne(cid:78)(cid:38)gs(cid:74) a(cid:79)nh(cid:68)t (t(cid:79)rte(cid:90)bs(cid:1)(cid:73)unao(cid:54)a(cid:72)(cid:1)roo(cid:1)td(cid:10) o(cid:72)(cid:74)p(cid:77)(cid:15)(cid:13)(cid:85)uh (cid:74)u(cid:52)(cid:1)(cid:84)(cid:1)(cid:77)kteh(cid:66)(cid:80)o(cid:69)ra(cid:73)t(cid:15)ni(cid:79)(cid:67)(cid:1)sc(cid:74)y t(cid:13)n(cid:71)(cid:38)(cid:69)(cid:1)pty(cid:71)ei(cid:66)?(cid:70)(cid:90)s(cid:79)do(cid:1) i(cid:77)ot(cid:1)(cid:80)(cid:83)(cid:81) a(cid:72)na (cid:84)(cid:87)ut(cid:86)(cid:83)os(cid:77)l(cid:1)s(cid:74)(cid:66)o(cid:80) (cid:84)(cid:71)(cid:1) rfr (cid:83)(cid:83)(cid:88)(cid:79)p (cid:73) a(cid:80)(cid:74)a(cid:70)t(cid:86)is(cid:1)ta(cid:74)(cid:78)hn(cid:74)(cid:77)h(cid:85)no(cid:79)(cid:79)(cid:77)r(cid:74)(cid:1)a(cid:70)ec(cid:1)(cid:68)u(cid:1)nt(cid:88)(cid:85)(cid:68)(cid:84)rl t(cid:74)(cid:73)r(cid:66) ouo (cid:66)(cid:70)(cid:15)t(cid:70)c(cid:1)(cid:85)ht(cid:79)(cid:83)fgd(cid:74)(cid:39)(cid:1)e(cid:85)a(cid:80) (cid:87)a(cid:85)(cid:66)oae(cid:80)s(cid:1)-(cid:79)(cid:66)n(cid:74)(cid:85) (cid:83)(cid:79)(cid:80)(cid:15)(cid:83) (cid:1)(cid:1)(cid:74)t(cid:1)(cid:70)(cid:1)(cid:42)(cid:70)(cid:87)o(cid:71)(cid:83)(cid:89)(cid:85)(cid:1)(cid:80)(cid:70) (cid:90)(cid:90)t(cid:66)(cid:68)(cid:68)(cid:80)h(cid:1)(cid:78)(cid:88)(cid:80)(cid:66)e(cid:86)(cid:67)(cid:72)(cid:74) (cid:81)(cid:1)(cid:69)h(cid:73)(cid:86)(cid:79)(cid:77)(cid:70)(cid:70)o(cid:66)(cid:77)(cid:74)(cid:66)(cid:91)(cid:77)(cid:13)(cid:87)s(cid:90)(cid:1)(cid:70)(cid:83)(cid:70)p(cid:1)(cid:35)(cid:90)(cid:13)(cid:86)(cid:1)(cid:1)i(cid:1)(cid:83)t(cid:77)(cid:84)(cid:9)(cid:66)(cid:70)a(cid:74)b(cid:85)(cid:70)(cid:79)(cid:66)l(cid:74)o (cid:84)(cid:69))(cid:69)(cid:83),n(cid:73)(cid:79) (cid:1)(cid:1)s(cid:74)n(cid:1)(cid:85)(cid:70)(cid:79)p(cid:80)(cid:38)e(cid:69)(cid:1)(cid:54)(cid:1)e(cid:79)t(cid:1)(cid:66) (cid:66)l(cid:72)(cid:15)fl(cid:81)(cid:52)io(cid:1)n(cid:77)(cid:79)(cid:74)(cid:81)r(cid:15)(cid:84)g(cid:1) (cid:80)(cid:83)(cid:73)(cid:66)h (cid:70)(cid:79)((cid:1)(cid:68)oc(cid:68)(cid:14)(cid:69)(cid:66)oe(cid:34)(cid:74)(cid:66)(cid:74)(cid:69)d(cid:71)n(cid:78)(cid:71)(cid:85)(cid:70)(cid:70) t(cid:70)or(cid:78)(cid:70)(cid:83)(cid:13)e(cid:84)(cid:1)f(cid:83) (cid:85) (cid:74)(cid:1)(cid:74)a(cid:68)(cid:73)r(cid:68)(cid:84)a (cid:1)(cid:70)(cid:66)c(cid:80)(cid:84)t(cid:1)(cid:79)ha(cid:70)(cid:78)(cid:88)(cid:1)er(cid:85)(cid:87)(cid:85))(cid:70)(cid:66)r,(cid:74)(cid:66) (cid:79) (cid:88)(cid:90)ts(cid:83)(cid:72)h(cid:84)(cid:74)y(cid:73)(cid:70)(cid:1)(cid:84)an(cid:66)(cid:85)(cid:74)(cid:15)n(cid:79)(cid:90)-(cid:85) (cid:1)(cid:1)(cid:1) As you design your documents, keep in mind that some colors can etarhevlpaeod hkmaaebbe psleesot iawacgn, eedbr yf uiuontl uv ur ieatsisrinnpeg gos. necnsoedlsoi,nRT rsAg eo“spL. s WaKtCoeayIohoN?kaar”lGerlto y’cW srcT h ahHwcc reaaEwrenonn Ti tn yt AheghoaLna ul wKastl i sointvtth ha emO ernlto pc aroteokeekslxenioen t argsMasr ct fiyothhneroian dxsutgt o a uausr resetcoee emp mmsic a ta,hil ntkeaceslmthy esba pcaL amcanknigl luouaanppghe ewi ng> h hVmaeidrtinee Iodd w.P:c riaoonnmmvtep/ etts:ov -C eorryrdecatyn6eess in context (cid:114)(cid:1)Use color to draw attentitoigna tteo e evleermy iemnptosr tyaonut s wouarncet ,t oev eemn ipf hyoaus itzhein: k you won’t agree with 5 (cid:114)(cid:1)hByoeea ucdro insnusgibss,ht teeenaxtdt isbn,o fyxooersu e, rxo aur msgidbaetr.foip gtaoeiIln fperpf g a h,lace lorssloa t,oyr rl ofnm ootofiurhn ert;rg eh epus emxsros eaapueotmmitr rcycteth ee pusase rlebb ee ltose.a.a auccWkmttke ihvt gheetohre ocse kteo unosaolpnaorwicdmcrhs. e f?icEno ovpgYrleo o— onasur li ait lfmif n ooyodnaorf y uyy ocodhuuoa nmtna’tgak, eyeig ,yb nyoeoou rumrin pigmso scasionyit ugiobn nae- all of your PowerPoint sltiedraersg.uments and other points of view harms your credibility, sug- (cid:114)(cid:1)Keep the color palette fagiersltyin sgm thaaltl yfoour hmavoesnt’ tp droonjee cytosu; rt ohoom mewanoryk . colors can create a jumbled or confused look. (cid:114)(cid:1)Choose color combinations that are easy to read. Ask a few peers or colleagues whether your text is legible against the back- ground before presen1t4incg, suEbvmaitltuinagt,e o ra p ossotiunrgc yeo’usr uwsoerkf ufolrn ess a wider audience. and credibility. (cid:114)(cid:1)Make sure all color visuals and text are legible in the format where they will be rSeinadce. Cyooulo wrsa cnat nth bee i nshfoarrmpeart ioonn aan cdo midpeaust eyro u glean from sources to monitor than in a prbinet rdeolicaubmle eanntd, a pnedr ssuliadseisv em, ayyo ulo moku dstr aemvaaltui-ate each potential source cally different when you project them. CONSIDERING DISABILITIES Color for Contrast Remember when you are using color that not everyone will see it as you do. Some individuals do not perceive color at all; others perceive color in a variety of ways, especially colors like blue and green, which are close together on the color spectrum. When putting colors next to one another, then, use those on opposite sides of the color spectrum, such as purple and gold, in order to achieve high contrast. Doing so will allow readers to see the contrast, if not the nuances, of color. vi How to use this book A tutorial on using The Everyday Writer, Sixth Edition For this book to serve you well, you need to know what’s inside and how to find it. This tutorial will help you familiarize yourself with The Everyday Writer. Getting Started with The Everyday Writer 1. Where will you find advice on identifying the top twenty issues that instruc- tors are most likely to consider problems in student writing? 2. Where will you find advice on revising a rough draft? 3. Where can you find out what a comma splice is and how to fix one? 4. Where will you find guidelines on how to include quotations in your project without plagiarizing? Planning and Drafting 5. Where can you find advice on brainstorming to explore a topic? 6. Where can you find general guidelines for developing effective paragraphs? 7. Your instructor wants you to adapt your print essay into a multimodal presentation. Where would you find an example of this kind of presentation? Doing Research 8. You have a topic for your research project, but your instructor asks you to narrow it down. What help can you find in your handbook? 9. What advice does your handbook give for keeping track of your research? 10. Your instructor has reviewed your bibliography and has asked you to replace some popular sources with scholarly sources, but you’re not sure how to identify the differences. Where can you find help in distinguishing them? 11. You are unsure whether you need to cite a paraphrase from a magazine article. Where can you find the answer in your handbook? 12. Your instructor has asked you to use APA style. Where can you find guidelines for documenting information from an article on a website? Reviewing, Revising, and Editing 13. Your writing instructor asks your class to work in small groups to review each others’ drafts. You aren’t sure where to begin or what kinds of issues to comment on. Where can you find guidelines for peer review? 14. You need advice on using appropriate prepositions in academic writing. Where can you look? 15. Your instructor has written wrdy next to this sentence: The person who wrote the article is a scientist who makes the argument that it seems as