The Norton Field Guide To Writing 5th Edition Answer Key

The Norton Field Guide to Writing with Readings and Handbook

Richard Bullock, Maureen Daly Goggin, Francine Weinberg

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          FIFTH EDITIO N  The Norton Field Guide to Writing with readings and handbook  01_NFG5e_fm_pi-lvi.indd 1  9/24/18 11:43 AM  01_NFG5e_fm_pi-lvi.indd 2  9/24/18 11:43 AM  FIFTH EDITION  The Norton  with readings and handbook  ▲  ◆  Field Guide to Writing Richard Bullock WRIGHT STATE UNIVERSITY  Maureen Daly Goggin ARIZONA STATE UNIVERSITY  Francine Weinberg  B W. W. NORTON & COMPANY New York • London  01_NFG5e_fm_pi-lvi.indd 3  9/24/18 11:43 AM  W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People's Institute, the adult education division of New York City's Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By mid-century, the two major pillars of Norton's publishing program — trade books and college texts — were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today — with a staff of four hundred and a comparable number of trade, college, and professional titles published each year — W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2019, 2016, 2013, 2010, 2009, 2008, 2007, 2006 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Sarah Touborg Project Editor: Christine D'Antonio Associate Editor: Claire Wallace Assistant Editor: Madeline Rombes Manuscript Editor: Jude Grant Managing Editor, College: Marian Johnson Managing Editor, College Digital Media: Kim Yi Production Manager: Liz Marotta Media Editors: Erica Wnek, Samantha Held Media Project Editor: Cooper Wilhelm Media Assistant Editor: Ava Bramson  Ebook Production Manager: Danielle Lehman Marketing Manager, Composition: Lib Triplett Design Director: Hope Miller Goodell Book Designer: Anna Palchik Photo Editor: Catherine Abelman Photo Research: Dena Digilio Be; tz Permissions Manager: Megan Schindel Permissions Clearing: Bethany Salminen Composition: Graphic World Manufacturing: LSC Communications, ­Crawfordsville  Cover design by Pete Garceau Cover art: (seagull) nadyaillyustrator/iStock/Getty Images Plus; (waves) artvea/ Digital Vision/Getty Images Plus. Back cover image: (phone) breakstock/Shutterstock Permission to use copyrighted material is included in the Acknowledgments section of this book, which begins on page A-1. Library of Congress Cataloging-in-Publication Data Names: Bullock, Richard H. (Richard Harvey) author. | Goggin, Maureen Daly, author. | Weinberg, Francine, author. Title: The Norton Field Guide to writing with readings and handbook / Richard Bullock, Wright State University, Maureen Daly Goggin, Arizona State University, Francine Weinberg. Description: Fifth edition. | New York ; London : W. W. Norton & Company, [2019] | Includes bibliographical references and index. Identifiers: LCCN 2018007983 | ISBN 9780393655803 (paperback) Subjects: LCSH: English language—Rhetoric—Handbooks, manuals, etc. | English language—Grammar—Handbooks, manuals, etc. | Report writing—Handbooks, manuals, etc. | College readers. Classification: LCC PE1408 .B883825 2019 | DDC 808/.042—dc23 LC record available at https://lccn.loc.gov/2018007983 W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, NY 10110 wwnorton.com W. W. Norton & Company Ltd., 15 Carlisle St., London W1D 3BS 1 2 3 4 5 6 7 8 9 0  01_NFG5e_fm_pi-lvi.indd 4  10/5/18 2:26 PM  Preface The Norton Field Guide to Writing began as an attempt to offer the kind of writing guides found in the best rhetorics in a format as user-friendly as the best handbooks, and on top of that, to be as brief as could be. We wanted to create a handy guide to help college students with all their written work. Just as there are field guides for bird watchers, for gardeners, and for accountants, this would be one for writers. In its first four editions, the book has obviously touched a chord with many writing instructors, and it remains the best-selling college rhetoric — a success that leaves us humbled and grateful. Student success is now on everyone's mind. As teachers, we want our students to succeed, and first-year writing courses offer one of the best opportunities to help them develop the skills and habits of mind they need to succeed, whatever their goals may be. Success, though, doesn't end with first-year writing; students need to transfer their knowledge and skills to other courses and other writing tasks. To that end, we've added new chapters on reading and writing across fields of study and new guidance on writing literature reviews. We've also added "Taking Stock" questions to each Genre chapter to help students develop their metacognitive abilities by reflecting on their work. The Norton Field Guide still aims to offer both the guidance new teachers and first-year writers need and the flexibility many experienced teachers want. In our own teaching we've seen how well explicit guides to writing work for students and novice teachers. But too often, writing textbooks provide far more information than students need or instructors can assign and as a result are bigger and more expensive than they should be. So we've tried to provide enough structure without too much detail — to give the information college writers need to know while resisting the temptation to tell them everything there is to know. Most of all, we've tried to make the book easy to use, with menus, directories, a glossary / index, and color-coded links to help students find what they're looking for. The links are also the way we keep the book brief: chapters are short, but the links send students to pages elsewhere in the book if they need more detail.  v  01_NFG5e_fm_pi-lvi.indd 5  9/24/18 11:43 AM  vi  PREFACE  What's in the Book The Norton Field Guide covers 14 genres often assigned in college. Much of the book is in the form of guidelines, designed to help students consider the choices they have as writers. The book is organized into ten parts: 1.	ACADEMIC LITERACIES. Chapters 1–4 focus on writing and reading in academic contexts, summarizing and responding, and developing academic habits of mind. 2.	rhetorical situations. Chapters 5–9 focus on purpose, audience, genre, stance, and media and design. In addition, almost every chapter includes tips to help students focus on their rhetorical situations.   enres. Chapters 10–23 cover 14 genres, 4 of them — literacy narrative, 3. g textual analysis, report, and argument — treated in greater detail. 4.	fields. Chapters 24–26 cover the key features of major fields of study and give guidance on reading and writing in each of those fields. 5. processes. Chapters 27–34 offer advice for generating ideas and text, drafting, revising and rewriting, editing, proofreading, compiling a portfolio, collaborating with others, and writing as inquiry. 6.	strategies. Chapters 35–46 cover ways of developing and organizing text — writing effective beginnings and endings, titles and thesis statements, comparing, describing, taking essay exams, and so on. 7.	research / documentation. Chapters 47–55 offer advice on how to do academic research; work with sources; quote, paraphrase, and summarize source materials; and document sources using MLA and APA styles. Chapter 54 presents the "official MLA style" introduced in 2016. 8.	media / design. Chapters 56–60 give guidance on choosing the appropriate print, digital, or spoken medium; designing text; using images and sound; giving spoken presentations; and writing online. 9.	readings. Chapters 61–70 provide readings in 10 genres, plus one chapter of readings that mix genres. Discussion questions are color-coded to refer students to relevant details elsewhere in the book.   andbook. At the end of the book is a handbook to help students edit 10. h what they write, organized around the intuitive categories of sentences, language, and punctuation to make it easy to use.  01_NFG5e_fm_pi-lvi.indd 6  9/24/18 11:43 AM  Preface  vii  What's Online for Students Ebooks. All versions of The Norton Field Guide are available as ebooks and include all the readings and images found in the print books. Highlighted links are active in the ebook so students can quickly navigate to more detail as needed. The ebook is accessible from any computer, tablet, or mobile device and lets students highlight, annotate, or even listen to the text.  InQuizitive for Writers. With InQuizitive, students learn to edit sentences and practice working with sources to become better writers and researchers. InQuizitive is adaptive: students receive additional practice on the areas where they need more help. Links to The Little Seagull Handbook and explanatory feedback give students advice, right when they need it. And it's formative: by wagering points, students think about what they know and don't know. Visit inquizitive.wwnorton.com.  Norton/write. Just a click away with no passcode required, find a library of model student papers; more than 1,000 online exercises and quizzes; research and plagiarism tutorials; documentation guidelines for MLA, APA, Chicago, and CSE styles; MLA citation drills — and more. All MLA materials reflect 2016 style. Access the site at wwnorton.com/write.  What's Available for Instructors A Guide to Teaching with The Norton Field Guides. Written by Richard Bullock and several other teachers, this is a comprehensive guide to teaching first-year writing, from developing a syllabus to facilitating group work, teaching multimodal writing to assessing student writing. Free of charge. Coursepacks are available for free and in a variety of formats, including Blackboard, D2L, Moodle, Canvas, and Angel — and work within your existing learning management system, so there's no new system to learn, and access is free and easy. The Field Guide Coursepack includes model student papers; reading comprehension quizzes; reading strategy exercises; quizzes and exercises on grammar and research; documentation guidelines; and author biographies. Coursepacks are ready to use, right from the start — but are also easy to customize, using the system you already know and understand. Access the Coursepack at wwnorton.com/instructors.  01_NFG5e_fm_pi-lvi.indd 7  9/24/18 11:43 AM  viii  PREFACE  PowerPoints. Ready-made PowerPoints feature genre organization flowcharts and documentation maps from the book to help you show examples during class. Download the PowerPoints at wwnorton.com/instructors. Worksheets available in Word and PDF can be edited, downloaded, and printed with guidance on editing paragraphs, responding to a draft, and more. Download the worksheets at wwnorton.com/instructors.  Highlights It's easy to use. Menus, directories, and a glossary / index make it easy for students to find what they're looking for. Color-coded templates and documentation maps even make MLA and APA documentation easy. It has just enough detail, with short chapters that include color-coded links sending students to more detail if they need more. It's uniquely flexible for teachers. Short chapters can be assigned in any order — and color-coded links help draw from other chapters as need be.  A user-friendly handbook, with an intuitive organization around sentences, language, and punctuation to make it easy for students to find what they need. And we go easy on the grammatical terminology, with links to the glossary for students who need detailed definitions.  What's New A new part on fields of study with 3 new chapters on reading and writing in the disciplines (Part 4): •  A new chapter on the fields of study surveys the distinctions among the major discipline areas and includes an overview of why a general education matters. (Chapter 24)  01_NFG5e_fm_pi-lvi.indd 8  •  A new chapter on reading across fields of study includes short examples drawn from a variety of courses and genres, along with tips, techniques, and key terms specific to each. (Chapter 25)  •  A new chapter on writing in academic fields includes summaries of the key features of writing in the major disciplines, along with descriptions and short examples of typical writing assignments in each. (Chapter 26)  9/24/18 11:43 AM  Preface  ix  New advice on detecting "false news" and unreliable sources, including how to read sources with a critical eye and how to use the elements of a rhetorical situation to determine whether or not a potential source is genuine and reputable. (Chapter 49)  A new section on reviews of scholarly literature with advice on how to develop, organize, and write a literature review. This section also includes an overview of the key features of the genre, as well as a new student example. (Chapter 15)  New "Taking Stock of Your Work" questions: each Genre chapter now ends with a series of questions to help students develop their metacognitive abilities by thinking about their writing processes and products. New guidelines for peer review with detailed advice on how to read and respond to peers' drafts. (Chapter 32)  Expanded coverage of synthesizing ideas: a new sample essay that shows students how to synthesize multiple sources. (Chapter 50) New advice on arguing with a hostile audience, including how to use Rogerian argument techniques to engage with audiences who may not share students' perspectives or values. (Chapter 38) 12 new readings in the rhetoric: new essays in nearly every genre, including a literacy narrative on working in an auto repair shop, a report on popcorn, a rhetorical analysis of a speech by former president Barack Obama, a profile of the modern-day plastic straw, and many more. In addition, there is a new APA research paper on the benefits of nurseries in women's prisons.  21 new readings in the anthology: at least one new essay in every genre, including an illustrated literacy narrative, a text analysis about Disney princesses, a profile of a plastic cooler, a proposal for a playground, and many more.  Ways of Teaching with The Norton Field Guide to Writing The Norton Field Guide is designed to give you both support and flexibility. It has clear assignment sequences if you want them, or you can create your own. If, for example, you assign a position paper, there's a full c ­ hapter. If you want students to use sources, add the appropriate  01_NFG5e_fm_pi-lvi.indd 9  9/24/18 11:43 AM  x  PREFACE  research chapters. If you want them to submit a topic proposal, add that chapter.  If you're a new teacher, the Genre chapters offer explicit assignment sequences — and the color-coded links will remind you of detail you may want to bring in. The instructor's manual offers advice on creating a syllabus, responding to writing, and more. If you focus on genres, there are complete chapters on all the genres college students are often assigned. Color-coded links will help you bring ­ in details about research or other writing strategies as you wish.  If you organize your course thematically, a Thematic Guide will lead you to readings on 23 themes. Chapter 29 on generating ideas can help get students thinking about a theme. You can also assign them to do research on the theme, starting with Chapter 48 on finding sources, or perhaps with Chapter 27 on writing as inquiry. If they then write in a particular genre, there will be a chapter to guide them. If you want students to do research, there are 9 chapters on the research process, including guidelines and sample papers for MLA and APA styles. If you focus on modes, you'll find chapters on using narration, description, and so on as strategies for many writing purposes, and links that lead students through the process of writing an essay organized around a particular mode.  If you teach a stretch, ALP, IRW, or dual credit course, the academic literacies chapters offer explicit guidelines to help students write and read in academic contexts, summarize and respond to what they read, and develop academic habits of mind that will help them succeed in college. If you teach online, the book is available as an ebook — and a companion Coursepack includes exercises, quizzes, video tutorials, and more.  Acknowledgments As we've traveled around the country and met many of the students, teachers, and WPAs who are using The Norton Field Guide, we've been gratified to hear that so many find it helpful, to the point that some students  01_NFG5e_fm_pi-lvi.indd 10  9/24/18 11:43 AM  Preface  xi  tell us that they aren't going to sell it back to the bookstore when the term ends — the highest form of praise. As much as we like the positive response, though, we are especially grateful when we receive suggestions for ways the book might be improved. In this fifth edition, as we did in the fourth edition, we have tried to respond to the many good suggestions we've gotten from students, colleagues, reviewers, and editors. Thank you all, both for your kind words and for your good suggestions. Some people need to be singled out for thanks, especially Marilyn Moller, the guiding editorial spirit of the Field Guide through all five editions. When we presented Marilyn with the idea for this book, she encouraged us and helped us conceptualize it — and then taught us how to write a textbook. The quality of the Field Guide is due in large part to her knowledge of the field of composition, her formidable editing and writing skills, her sometimes uncanny ability to see the future of the teaching of writing — and her equally formidable, if not uncanny, stamina. Editor Sarah Touborg guided us through this new edition with good humor and better advice. Just as developmental editor John Elliott did with the third and fourth editions, Sarah shepherded this fifth edition through revisions and additions with a careful hand and a clear eye for appropriate content and language. Her painstaking editing shows throughout the book, and we're grateful for her ability to make us appear to be better writers than we are. Many others have contributed, too. Thanks to project editor Christine D'Antonio for her energy, patience, and great skill in coordinating the tightly scheduled production process for the book. Claire Wallace brought her astute eye and keen judgment to all of the readings, while Maddy Rombes managed the extensive reviewing process and took great care of the manuscript at every stage. The Norton Field Guide is more than just a print book, and we thank Erica Wnek, Samantha Held, Kim Yi, Ava Bramson, and ­Cooper Wilhelm for creating and producing the superb ebook and instructors' site. Anna Palchik designed the award-winning, user-friendly, and attractive interior, Pete Garceau created the beautiful new cover design, and Debra Morton Hoyt and Tiani Kennedy further enhanced the design and coordinated it all, inside and out. Liz Marotta transformed a scribbledover manuscript into a finished product with extraordinary speed and precision, while Jude Grant copyedited. Megan Schindel and Bethany Salminen cleared text permissions, coping efficiently with ongoing changes, and  01_NFG5e_fm_pi-lvi.indd 11  9/24/18 11:43 AM  xii  PREFACE  Catherine Abelman cleared permission for the images found by Dena Digilio Betz. Steve Dunn, Lib Triplett, Elizabeth Pieslor, and Doug Day helped us all keep our eyes on the market. Thanks to all, and to Roby Harrington, Drake McFeely, and Julia Reidhead for supporting this project in the first place. Rich has many, many people at Wright State University to thank for their support and assistance. Jane Blakelock taught Rich most of what he knows about electronic text and writing on and for the web and assembled an impressive list of useful links for the book's website. Adrienne Cassel (now at Sinclair Community College) and Catherine Crowley read and commented on many drafts. Peggy Lindsey (now at Georgia Southern University) shared her students' work and the idea of using charts to show how various genres might be organized. Brady Allen, Debbie Bertsch (now at Columbus State Community College), Vicki Burke, Melissa Carrion, Jimmy Chesire, Carol Cornett, Mary Doyle, Byron Crews, ­Deborah Crusan, Sally DeThomas, Stephanie Dickey, Scott Geisel, Karen Hayes, Chuck Holmes, Beth Klaisner (now at Colorado State University), Nancy Mack, Marty Maner, Cynthia Marshall, Sarah McGinley, Kristie ­McKiernan, Michelle Metzner, Kristie Rowe, Bobby Rubin, Cathy Sayer, David Seitz, Caroline Simmons, Tracy Smith, Rick Strader, Mary Van Loveren, and A. J. Williams responded to drafts, submitted good models of student writing, contributed to the instructor's manual, tested the Field Guide in their classes, provided support, and shared with Rich some of their best teaching ideas. Henry Limouze and then Carol Loranger, chairs of the English Department, gave him room to work on this project with patience and good humor. Sandy Trimboli, Becky Traxler, and Lynn Morgan, the secretaries to the writing programs, kept him anchored. And he thanks especially the more than 300 graduate teaching assistants and 10,000 first-year students who class-tested various editions of the Field Guide and whose experiences helped — and continue to help — to shape it. At Arizona State, Maureen wants to acknowledge the unwavering support of Neal A. Lester, Vice President of Humanities and Arts and former chair of the English Department, and the assistance of Jason Diller, her former graduate research assistant, and Judy Holiday, her former graduate mentee, for their reading suggestions. She thanks her colleagues, all exemplary teachers and mentors, for creating a supportive intellectual environment, especially Patricia Boyd, Peter Goggin, Mark Hannah, Kathleen Lamp, Elenore  01_NFG5e_fm_pi-lvi.indd 12  9/24/18 11:43 AM  Preface  xiii  Long, Paul Matsuda, Keith Miller, Ersula Ore, Alice Robison, Shirley Rose, and Doris Warriner. Thanks also go to ASU instructors and first-year students who have used the Field Guide and have offered good suggestions. Finally, Maureen wants to pay tribute to her students, who are themselves among her best teachers. Thanks to the teachers across the country who reviewed the fourth edition of the Field Guide and helped shape this fifth edition: Elizabeth Acosta, El Paso Community College; Thomas Barber, City College of New York; Keri Behre, Marylhurst University; David Bell, University of North Georgia; Dean Blumberg, Horry–Georgetown Technical College; Abdallah Boumarate, Valencia College; Tabitha Bozeman, Gadsden State Community College; Laurie E. Buchanan, Clark State Community College; Ashley Buzzard, Midlands Technical College; Emma Carlton, University of New Orleans; Danielle Carr, City College of New York; Toni I. Carter, Ivy Tech Community College of Indiana; Carla Chwat, University of North Georgia; Marie Coffey, Northeast Lakeview College; Stephanie Conner, College of Coastal Georgia; Robert Derr, Danville Community College; Cheryl Divine, Columbia College; Amber Duncan, Northwest Vista College; Gloria Estrada, El Paso Community College; Kevin Ferns, Woodland Community College; Dianne Flickinger, Cowley County Community College; Michael Flood, Horry–Georgetown Technical College; Dan Fuller, Hinds Community ­College–Utica; Robert Galin, University of New Mexico–Gallup; Jennifer P. Gray, College of Coastal Georgia; Julie Groesch, San Jacinto College; ­Elizabeth Hair, Trident Technical College; Mark Hankerson, Albany State University; Pamela Hardman, Cuyahoga Community College; Michael Hedges, Horry–Georgetown Technical College; Michael Hill, Henry Ford College; Lorraine M. Howland, New Hampshire Technical Institute, Concord's Community College; Alyssa Johnson, Horry–Georgetown Technical College; Luke Johnson, Mesabi Range College; Elaine M. Jolayemi, Ivy Tech Community College of Indiana; George Kanieski, Cuyahoga Community College; Elizabeth Kuehne, Wayland Baptist University; Matt Laferty, Cuyahoga Community College; Robin Latham, Nash Community College; Adam Lee, Concordia University Irvine; Bronwen Llewellyn, Daytona State College; Chelsea Lonsdale, Henry Ford College; Jeffery D. Mack, Albany State University; Devona Mallory, Albany State University; Katheryn ­McCoskey, Butler Community College; Jenny McHenry, Tallahassee Com-  01_NFG5e_fm_pi-lvi.indd 13  9/24/18 11:43 AM  xiv  PREFACE  munity College; James McWard, Johnson County Community College; Eileen E. Medeiros, Johnson & Wales University; Kristina Meehan, Spartanburg Community College; Cathryn Meyer, Tallahassee Community College; Josephine Mills, Arapahoe Community College; James Minor, South Piedmont Community College; Erin O'Keefe, Allen Community College– Burlingame; Jeff Owens, Lassen Community College; Anthony Guy Patricia, Concord University; Brenda Reid, Tallahassee Community College; Emily Riser, Mississippi Delta Community College; Emily Rosenblatt, City College of New York; Kent Ross, Northeastern Junior College; Jessica Schreyer, University of Dubuque; Sunita Sharma, Mississippi Delta Community College; Taten Sheridan, Kodiak College; Ann Spurlock, Mississippi State University; Derrick Stewart, Midlands Technical College; Pamela Stovall, University of New Mexico–Gallup; James D. Suderman, Northwest Florida State College; Harun K. Thomas, Daytona State College; Alison Van Nyhuis, Fayetteville State University; Anna Voisard; City College of New York; Elisabeth von Uhl, City College of New York; Ellen Wayland-Smith, University of Southern California; James Williams, Soka University; Michael Williams, Horry–Georgetown Technical College; Mark W. Wilson, Southwestern Oregon Community College; and Michelle Zollars, Patrick Henry Community College. Thanks also to those instructors who reviewed the Field Guide resources, helping us improve them for the fifth edition: Jessica Adams, Clark State Community College; Megan Anderson, Limestone College; Jamee Atkinson, Texas State Technical College; David Bach, Northwest Vista College; Ryan Baechle, University of Toledo; Aaron Barrell, Everett Community College; Soky Barrenechea, Penn State Abington; Lauren Baugus, Pensacola State College; Kristina Baumli, University of the Arts; Kay Berry, Dixie High School; Marie Bischoff, Sierra Community College; Matt Bloom, Hawkeye Community College; Allison Brady, Toccoa Falls College; Hannah Bingham Brunner, Oklahoma Christian University; Sybil Canon, Northwest MS Community College; Marie Coffey, Northeast Lakeview College; Susan Cowart, Texas State Technical College; Kennette Crockett, Harold Washington College; Anthony D'Ariea, Regis College; Mary Rutledge-Davis, North Lake College; Courtney Doi, Alamance Community College; Zona Douthit, Roger Williams University; Amber Duncan, Northwest Vista College; Michelle Ellwood, Keuka College; Michael Esquivel, Tarrant County College; Julie  01_NFG5e_fm_pi-lvi.indd 14  9/24/18 11:43 AM  Preface  xv  Felux, Northwest Vista College; Monika Fleming, Edgecombe Community College; Dianne Flickinger, Cowley County Community College; Barbara Z. Flinn, Youngstown State University; P. Foster, Alabama State University; Darius Frasure, Mountain View College; Robert Galin, University of New Mexico; Chanda Gilmore, Immaculata University; William Godbey, Tarrant County College; Deborah Goodwyn, Virginia State University; Ben Graydon, Daytona State College; Lamarr Green, Northwest Vista College; Marie Green, Northern VA Community College; Ricardo Guzman, Northwest Vista College; Lori Hicks, Ivy Tech Community College; Lana Highfill, Ivy Tech Community College; Lorraine M. Howland, NHTI, Concord's Community College; N. Luanne J. Hurst, Pasco Hernando State College; Judith Isakson, Daytona State College; Jeanine Jewell, Southeast Community College; Lori Johnson, Rappahannock Community College; Randy ­Johnson, Capital Community College; Wesley Johnson, Pasco-Hernando State College; Kelsea Jones, Treasure Valley Community College; Lisa Jones, Pasco-Hernando State College; Erin Kalish, Bridgewater State University; Amber Kovach, Boise State University; Julie Kratt, Cowley College; Robin Latham, Nash Community College; Stephanie Legarreta, El Paso Community College; Amy Ludwig, College of the Canyons; Carol Luvert, Hawkeye Community College; Barbara Lyras, Youngstown State University; Crystal Manboard, Northwest Vista College; Margaret Marangione, Blue Ridge Community College; Kristen Marangoni, Tulsa Community College; Christina McCleanhan, Maysville Community and Technical College; Sara McDonald, Saint Cloud Technical and Community College and Saint Cloud State University; Kelly McDonough, Clarendon College; Shannon McGregor, Des Moines Area Community College; Lisa McHarry, West Hills College, Coalinga; Craig McLuckie, Okanagan College; James McWard, Johnson County Community College; Eileen Medeiros, Pasco-Hernando State College; Kristy Meehan, Spartanburg Community College; Jason Melton, Sacramento State University; John Miller, Ivy Tech Community College; Erik Moellering, Asheville Buncombe Technical Community College; Michael Murray, Columbus State Community College; Briana Murrell, Fayetteville State University; Anthony Nelson, El Paso Community College; Andrew Nye, Minnesota State University Mankato; Alison Van Nyhuis, Fayetteville State University; Oluwatosin Ogunnika, Virginia State University; Judith Oster, Valley Community College; Deb Paczynski, Central  01_NFG5e_fm_pi-lvi.indd 15  9/24/18 11:43 AM  xvi  PREFACE  New Mexico Community College; Susan Passmore, Colquitt County High School; Diane Paul, Southeast Community College; Patricia Penn, Cowley College; Mike Peterson, Dixie State University; Larissa L. Pierce, Eastfield College; David Pittard, Fossil Ridge High School; Robert Ramos, City College; Cynthia Fox Richardson, Clark State Community College; Alice WaitsRichardson, Southern State Community College; Maurisa Riley, Tarrant County College NW; Stephanie Roberts, Georgia Military College; Adrian Rosa, Jackson College; Erin Mahoney-Ross, Tarrant County College Northwest Campus; Jennifer Royal, Santa Rosa Junior College; Julia Ruengert, Pensacola State College; Shirley Rutter, Johnson & Wales University; Eli Ryder, Antelope Valley College; Jessica Schreyer, University of Dubuque; Jennifer Scowron, Youngstown State University; Claudia Skutar, University of Cincinnati Blue Ash College; Jennifer Smith, Pepperdine University; Michael Stewart, University of Alabama; Michelle Sufridge, Madison-Plains High School; Harun Karim Thomas, Daytona State College; Zainah Usman, Tarrant County College; Jennifer Vega, El Paso Community College; Ashley Waterman, Community College of Aurora; Ann Henson Webb, Moraine Valley Community College; Maggie M. Werner, Hobart and William Smith College; Kaci L. West, Abraham Baldwin Agricultural College; ­Cassandra Wettlaufer, Tarrant County College; Holly White, Cuyahoga County Community College; Casey Wiley, Penn State University; Karen Wilson, Hawkeye Community College; Sabine Winter, Eastfield College; Jonathan Wood, College of Western Idaho; and Marilyn S. Yamin, Pellissippi State Community College. The Norton Field Guide has also benefited from the good advice and conversations we've had with writing teachers across the country, including (among many others) Maureen Mathison, Susan Miller, Tom Huckin, Gae Lyn Henderson, and Sundy Watanabe at the University of Utah; Christa Albrecht-Crane, Doug Downs, and Brian Whaley at Utah Valley State College; Anne Dvorak and Anya Morrissey at Longview Community University; Jeff Andelora at Mesa Community College; Robin Calitri at Merced College; Lori Gallinger, Rose Hawkins, Jennifer Nelson, Georgia Standish, and John Ziebell at the Community College of Southern Nevada; Stuart Blythe at Indiana University–Purdue University Fort Wayne; Janice Kelly at Arizona State University; Jeanne McDonald at Waubonsee Community College; Web Newbold, Mary Clark-Upchurch, Megan Auffart, Matt  01_NFG5e_fm_pi-lvi.indd 16  9/24/18 11:43 AM  Preface  xvii  Balk, Edward James Chambers, Sarah Chavez, Desiree Dighton, Ashley Ellison, Theresa Evans, Keith Heller, Ellie Isenhart, Angela Jackson-Brown, Naoko Kato, Yuanyuan Liao, Claire Lutkewitte, Yeno Matuki, Casey ­McArdle, Tibor Munkacsi, Dani Nier-Weber, Karen Neubauer, Craig O'Hara, Martha Payne, Sarah Sandman, and Kellie Weiss at Ball State University; Patrick Tompkins at Tyler Community College; George Kanieski and Pamela Hardman at Cuyahoga Community College; Daniela Regusa, Jeff Partridge, and Lydia Vine at Capital Community College; Elizabeth ­Woodworth, Auburn University–Montgomery; Stephanie Eason at Enterprise Community College; Kate Geiselman at Sinclair Community College; Ronda Leathers Dively at Southern Illinois University; Debra Knutson at Shawnee State University; Guy Shebat and Amy Flick at Youngstown State University; Martha Tolleson, Toni McMillen, and Patricia Gerecci at Collin College; Sylva Miller at Pikes Peak Community College; Dharma Hernandez at Los Angeles Unified School District; Ann Spurlock at Mississippi State University; Luke Niiler at the University of Alabama; and Jeff Tix at­ Wharton County Junior College. We wouldn't have met most of these people without the help of the Norton travelers, the representatives who spend their days visiting faculty, showing and discussing the Field Guide and Norton's many other fine textbooks. Thanks to Kathy Carlsen, Scott Cook, Marilyn Rayner, Peter Wentz, Krista Azer, Sarah Wolf, Mary Helen Willett, Susyn Dietz, and all the other Norton travelers. Thanks also to regional sales managers Paul Ducham, ­Dennis Fernandes, Deirdre Hall, Dan Horton, Katie Incorvia, Jordan Mendez, Annie Stewart, Amber Watkins, and Natasha Zabohonski. And we'd especially like to thank Mike Wright and Doug Day for promoting this book so enthusiastically and professionally. It's customary to conclude by expressing gratitude to one's spouse and family, and for good reason. Writing and revising The Norton Field Guide over the past several years, we have enjoyed the loving and unconditional support of our spouses, Barb, Peter, and Larry, who provide the foundation for all we do. Thank you. We couldn't have done it without you.  01_NFG5e_fm_pi-lvi.indd 17  9/24/18 11:43 AM  01_NFG5e_fm_pi-lvi.indd 18  9/24/18 11:43 AM  How to Use This Book  There's no one way to do anything, and writing is no exception. Some people need to do a lot of planning on paper; others write entire drafts in their heads. Some writers compose quickly and loosely, going back later to revise; others work on one sentence until they're satisfied with it, then move on to the next. And writers' needs vary from task to task, too: sometimes you know what you're going to write about and why, but need to figure out how to do it; other times your first job is to come up with a topic. The Norton Field Guide is designed to allow you to chart your own course as a writer, offering guidelines that suit your writing needs. It is organized in ten parts: 1.	academic literacies : The chapters in this part will help you know what's expected in the reading and writing you do for academic purposes, and in summarizing and responding to what you read. One chapter even provides tips for developing habits of mind that will help you succeed in college, whatever your goals. 2.	rhetorical situations : No matter what you're writing, it will always have some purpose, audience, genre, stance, and medium and design. This part will help you consider each of these elements, as well as the particular kinds of rhetorical situations created by academic assignments. 3.	genres : Use these chapters for help with specific kinds of writing, from abstracts to lab reports to memoirs and more. You'll find more detailed guidance for four especially common assignments: literacy narratives, textual analyses, reports, and arguments. 4.	fields: The chapters in this part will help you apply what you're learning in this book to your other general education courses or courses in your major.  xix  01_NFG5e_fm_pi-lvi.indd 19  9/24/18 11:43 AM  xx  HOW TO USE THIS BOOK  5.	processes : These chapters offer general advice for all writing situations — from generating ideas and text to drafting, revising and rewriting, compiling a portfolio — and more. 6.	strategies : Use the advice in this part to develop and organize your writing — to write effective beginnings and endings, to guide readers through your text, and to use comparison, description, dialogue, and other strategies as appropriate. 7.	research / documentation : Use this section for advice on how to do research, work with sources, and compose and document researchbased texts using MLA and APA styles. 8.	media / design : This section offers guidance in designing your work and using visuals and sound, and in deciding whether and how to deliver what you write on paper, on screen, or in person. 9.	readings : This section includes readings in 10 genres, and one chapter of texts that mix genres — 42 readings in all that provide good examples of the kinds of writing you yourself may be assigned to do. 10. handbook : Look here for help with sentence-level editing.  Ways into the Book The Norton Field Guide gives you the writing advice you need, along with the flexibility to write in the way that works best for you. Here are some of the ways you can find what you need in the book.  Brief menus.   Inside the front cover you'll find a list of all the chapters; start here if you are looking for a chapter on a certain kind of writing or a general writing issue. Inside the back cover is a menu of all the topics covered in the handbook . Complete contents.   Pages xxiii–xlv contain a detailed table of contents. Look here if you need to find a reading or a specific section in a chapter.  Guides to writing.  If you know the kind of writing you need to do, you'll find guides to writing 14 common genres in Part 3. These guides are designed to help you through all the decisions you have to make — from coming up with a topic to editing and proofreading your final draft.  01_NFG5e_fm_pi-lvi.indd 20  9/24/18 11:43 AM  How to Use This Book  xxi  Color-coding.  The parts of this book are color-coded for easy reference: light blue for academic literacies , red for rhetorical situations , green for genres , pink for fields , lavender for processes , orange for ­strategies , blue for research / documentation , gold for media / design , apple green for the readings , and yellow for the handbook . You'll find a key to the colors on the front cover flap and also at the foot of each left-hand page. When you see a word highlighted in a color, that tells you where you can find additional detail on the topic.  Glossary / index.  At the back of the book is a combined glossary and index, where you'll find full definitions of key terms and topics, along with a list of the pages where everything is covered in detail. Directories to MLA and APA documentation.   A brief directory inside the back cover will lead you to guidelines on citing sources and composing a list of references or works cited. The documentation models are colorcoded so you can easily see the key details.  Ways of Getting Started If you know your genre, simply turn to the appropriate genre chapter. There you'll find model readings, a description of the genre's Key Features, and a Guide to Writing that will help you come up with a topic, generate text, organize and write a draft, get response, revise, edit, and proofread. The genre chapters also point out places where you might need to do research, use certain writing strategies, design your text a certain way — and direct you to the exact pages in the book where you can find help doing so. If you know your topic, you might start with some of the activities in Chapter 29, Generating Ideas and Text. From there, you might turn to Chapter 48, for help Finding Sources on the topic. When it comes time to narrow your topic and come up with a thesis statement, Chapter 36 can help. If you get stuck at any point, you might turn to Chapter 27, Writing as Inquiry; it provides tips that can get you beyond what you already know about your topic. If your assignment or your thesis defines your genre, turn to that chapter; if not, consult Chapter 27 for help determining the appropriate genre, and then turn to that genre chapter.  01_NFG5e_fm_pi-lvi.indd 21  9/24/18 11:43 AM  xxii  01_NFG5e_fm_pi-lvi.indd 22  RHETORICAL SITUATIONS  9/24/18 11:43 AM  Contents 		Preface  v 		How to Use This Book  xix 		Thematic Guide to the Readings  xlvii  Part 1  Academic Literacies  1 1 Writing in Academic Contexts   3 What's expected of academic writing   3 What's expected of college writers: The WPA outcomes   7  2 Reading in Academic Contexts   10 Taking stock of your reading   10 Reading strategically   11 Thinking about what you want to learn   12 Previewing the text   12 Adjusting your reading speed to different texts   13 Looking for organizational cues   13 Thinking about your initial response   14 Dealing with difficult texts   15 Annotating  16 Coding  17 Summarizing  20 Reading critically   20 Believing and doubting   20 Thinking about how the text works: what it says, what it does   21 Identifying patterns   23 Reading rhetorically   25 Considering the rhetorical situation   25 Analyzing the argument   26  xxiii  01_NFG5e_fm_pi-lvi.indd 23  9/24/18 11:43 AM  xxiv  CONTENTS  Considering the larger context   27 Reading visual texts   28 Reading onscreen   31  3	Summarizing and Responding: Where Reading Meets Writing   33 Summarizing  33 Responding  36 Writing a summary / response essay   40 Jacob MacLeod, Guns and Cars Are Different   40 KEY FEATURES  42  learly identified author and title / Concise summary / Explicit C response / Support  4 Developing Academic Habits of Mind   45 Engage  45 Be curious  47 Be open to new ideas   48 Be flexible  48 Be creative  49 Persist  50 Reflect  51 Take responsibility  52  Part 2   Rhetorical Situations  53 5 Purpose  55 Identifying your purpose  56 Thinking about purpose  56  6 Audience  57 Identifying your audience  58 Thinking about audience  59  01_NFG5e_fm_pi-lvi.indd 24  9/24/18 11:43 AM  Contents  xxv  7 Genre  61 Choosing the appropriate genre   62 Dealing with ambiguous assignments  64 Thinking about genre  65  8 Stance  66 Identifying your stance  67 Thinking about stance  68  9 Media / Design  69 Identifying your media and design needs  70 Thinking about media  70 Thinking about design  71  Part 3  Genres  73 10 Writing a Literacy Narrative  75 Emily Vallowe, Write or Wrong Identity   75 Daniel Felsenfeld, Rebel Music   81 Ana-Jamileh Kassfy, Automotive Literacy   84 KEY FEATURES  87 A well-told story / Vivid detail / Clear significance  A GUIDE TO WRITING  88 Choosing a topic  88 Considering the rhetorical situation  89 Generating ideas and text  89 Organizing  91 Writing out a draft  93 Considering matters of design  94 Getting response and revising  95 Editing and proofreading  96 Taking stock of your work  96  01_NFG5e_fm_pi-lvi.indd 25  10/4/18 2:22 PM  xxvi  CONTENTS  11 Analyzing Texts  98 Hannah Berry, The Fashion Industry: Free to Be an Individual   99 Danielle Allen, Our Declaration   102 Roy Peter Clark, Why It Worked: A Rhetorical Analysis of Obama's Speech on Race   107 KEY FEATURES  114 A summary of the text / Attention to the context / A clear interpretation / Support for your conclusions  A GUIDE TO WRITING  115 Choosing a text to analyze  115 Considering the rhetorical situation  115 Generating ideas and text  116 Coming up with a thesis  125 Organizing  125 Writing out a draft  127 Considering matters of design  128 Getting response and revising  129 Editing and proofreading  129 Taking stock of your work  130  12 Reporting Information  131 Michaela Cullington, Does Texting Affect Writing?   131 Frankie Schembri, Edible Magic   139 Jon Marcus, The Reason College Costs More than You Think  143 KEY FEATURES  146 A tightly focused topic / Well-researched information / Synthesis of ideas / Various writing strategies / Clear definitions / Appropriate design  A GUIDE TO WRITING  148 Choosing a topic  148 Considering the rhetorical situation  149  01_NFG5e_fm_pi-lvi.indd 26  9/24/18 11:43 AM  Contents  xxvii  Generating ideas and text  149 Organizing  151 Writing out a draft  152 Considering matters of design  154 Getting response and revising  154 Editing and proofreading  155 Taking stock of your work  156  13 Arguing a Position  157 Joanna MacKay, Organ Sales Will Save Lives   157 Nicholas Kristof, Our Blind Spot about Guns   162 Molly Worthen, U Can't Talk to Ur Professor Like This   165 KEY FEATURES  170 A clear and arguable position / Background information / Good reasons / Convincing evidence / Appeals to readers / A trustworthy tone / Consideration of other positions  A GUIDE TO WRITING  172 Choosing a topic  172 Considering the rhetorical situation  174 Generating ideas and text  174 Organizing  178 Writing out a draft  180 Considering matters of design  182 Getting response and revising  182 Editing and proofreading  183 Taking stock of your work  184  14 Abstracts  185 INFORMATIVE ABSTRACTS  185 PROPOSAL ABSTRACTS  186  01_NFG5e_fm_pi-lvi.indd 27  9/24/18 11:43 AM  xxviii  CONTENTS  KEY FEATURES  187 A summary of basic information / Objective description / Brevity  A BRIEF GUIDE TO WRITING  187 Considering the rhetorical situation  187 Generating ideas and text  188 Organizing  188 Taking stock of your work  189  15	Annotated Bibliographies and Reviews of Scholarly Literature  190 ANNOTATED BIBLIOGRAPHIES  190 Michael Benton, Mark Dolan, Rebecca Zisch, Teen Film$   190 Kelly Green, Researching Hunger and Poverty   192 KEY FEATURES OF ANNOTATED BIBLIOGRAPHIES  193 A clear scope / Complete bibliographic information / A concise description of the work / Relevant commentary / Consistent presentation  A BRIEF GUIDE TO WRITING ANNOTATED BIBLIOGRAPHIES  194 Considering the rhetorical situation  194 Generating ideas and text  195 Organizing  197 Taking stock of your work  198 REVIEWS OF SCHOLARLY LITERATURE  198 Cameron Carroll, Zombie Film Scholarship: A Review of the ­Literature  198 KEY FEATURES OF REVIEWS OF SCHOLARLY LITERATURE  200  Thorough research / Objective summaries of the literature / Critical evaluation / Synthesis / A clear focus  Taking stock of your work  201  01_NFG5e_fm_pi-lvi.indd 28  9/24/18 11:43 AM  Contents  xxix  16 Evaluations  202 William Thorne, Movie Review: The Circle    203 KEY FEATURES  205 A concise description of the subject / Clearly defined criteria / A knowledgeable discussion / A balanced and fair assessment / Well-supported reasons  A BRIEF GUIDE TO WRITING  207 Choosing something to evaluate  207 Considering the rhetorical situation  207 Generating ideas and text  207 Organizing  209 Taking stock of your work  210  17 Literary Analyses  211 Robert Frost, The Road Not Taken   211 Matthew Miller, Frost's Broken Roads   212 KEY FEATURES  216 An arguable thesis / Careful attention to the language of the text / Attention to patterns or themes / A clear interpretation / MLA style  A BRIEF GUIDE TO WRITING  217 Considering the rhetorical situation  217 Generating ideas and text  218 Organizing  222 Taking stock of your work  223  18 Memoirs  224 Rick Bragg, All Over but the Shoutin'   224 KEY FEATURES  228 A good story / Vivid details / Clear significance  01_NFG5e_fm_pi-lvi.indd 29  9/24/18 11:43 AM  xxx  CONTENTS  A BRIEF GUIDE TO WRITING  229 Choosing an event to write about  229 Considering the rhetorical situation  229 Generating ideas and text  230 Organizing  231 Taking stock of your work  231  19 Profiles  233 Ernie Smith, A Brief History of the Modern-Day Straw, the World's Most Wasteful Commodity   233 KEY FEATURES  239 An interesting subject / Background information / An interesting angle / A firsthand account / Engaging details  A BRIEF GUIDE TO WRITING  241 Choosing a suitable subject  241 Considering the rhetorical situation  241 Generating ideas and text  243 Organizing  244 Taking stock of your work  244  20 Proposals  246 Michael Granof, Course Requirement: Extortion   246 KEY FEATURES  249 A well-defined problem / A recommended solution / A convincing argument for your solution / Possible questions / A call to action / An appropriate tone  A BRIEF GUIDE TO WRITING  251 Deciding on a topic  251 Considering the rhetorical situation  251 Generating ideas and text  251 Organizing  252 Taking stock of your work  253  01_NFG5e_fm_pi-lvi.indd 30  9/24/18 11:43 AM  Contents  xxxi  TOPIC PROPOSALS  253 Catherine Thoms, Social Media and Data Privacy   254 KEY FEATURES  255 A concise discussion of the subject / A statement of your intended focus / A rationale for the topic / Mention of resources  21 Reflections  256 Edan Lepucki, Our Mothers as We Never Saw Them   256 KEY FEATURES  259 A topic that intrigues you / Some kind of structure / Specific details / A questioning, speculative tone  A BRIEF GUIDE TO WRITING  261 Deciding on a topic  261 Considering the rhetorical situation  261 Generating ideas and text   262 Organizing  262 Taking stock of your work  263  22 Résumés and Job Letters  264 Understanding your audiences  264 Social media and job hunting  266 RÉSUMÉS  266 KEY FEATURES  268 Structure that suits your goals and experience / Succinct / A design that highlights key information  A BRIEF GUIDE TO WRITING RÉSUMÉS  269 Considering the rhetorical situation  269 Generating ideas and text  269 Organizing  272  01_NFG5e_fm_pi-lvi.indd 31  9/24/18 11:43 AM  xxxii  CONTENTS  APPLICATION AND THANK-YOU LETTERS  273 KEY FEATURES  276 A succinct indication of your qualifications / A reasonable and pleasing tone / A conventional, businesslike format  A BRIEF GUIDE TO WRITING JOB LETTERS  276 Generating ideas and text  276 Organizing  278 Taking stock of your work  278  23 Mixing Genres  280 Anna Quindlen, Write for Your Life   280 KEY FEATURES  282 One primary genre / A clear focus / Careful organization / Clear transitions  Some typical ways of mixing genres  283 A BRIEF GUIDE TO WRITING  284 Considering the rhetorical situation  284 Generating ideas and text  285 Multigenre projects  286 Taking stock of your work  287  Part 4  Fields  289 24 Fields of Study  291 Academic fields and general education  291 Studying, reading, and writing in academic fields  292 Thinking about reading and writing in the fields  293  01_NFG5e_fm_pi-lvi.indd 32  9/24/18 11:43 AM  Contents  xxxiii  25 Reading across Fields of Study   294 Considering the rhetorical situation  294 Advice for reading across fields of study  295 Tips for reading in various fields of study  300 Humanities / Social sciences / Sciences / A note on career-focused fields  26 Writing in Academic Fields of Study  305 Considering the rhetorical situation  305 Writing in academic fields of study  307 Arts and humanities / Science and mathematics / Social sciences / Business / Education / Engineering and technology / Health sciences and nursing  Part 5  Processes  321 27 Writing as Inquiry  323 Starting with questions  323 Keeping a journal  326 Keeping a blog  326  28 Collaborating  327 Some ground rules for face-to-face group work  327 Online collaboration  328 Writing conferences  328 Group writing projects  329  29 Generating Ideas and Text  331 Freewriting  331 Looping  332 Listing  332 Clustering or mapping ideas  333  01_NFG5e_fm_pi-lvi.indd 33  9/24/18 11:43 AM  xxxiv  CONTENTS  Cubing  334 Questioning  334 Using genre features   335 Outlining  335 Letter writing  337 Keeping a journal  337 Discovery drafting  338  30 Drafting  340 Establishing a schedule with deadlines  340 Getting comfortable  340 Starting to write  341 Dealing with writer's block  342  31 Assessing Your Own Writing  343 Considering the rhetorical situation  343 Examining the text itself  344 For focus / Argument / Organization / Clarity Thinking about your process  347 Assessing a body of your work   347  32 Getting Response and Revising  348 Giving and getting peer response  348 Getting effective response  349 Revising  350 Rewriting  353  33 Editing and Proofreading  356 Editing  356 Proofreading  359  01_NFG5e_fm_pi-lvi.indd 34  9/24/18 11:43 AM  Contents  xxxv  34 Compiling a Portfolio  361 Considering the rhetorical situation  361 A WRITING PORTFOLIO  362 What to include  362 Organizing  363 Paper portfolios / Electronic portfolios Assessing your portfolio  365 A LITERACY PORTFOLIO  369 What to include  369 Organizing  370 Reflecting on your portfolio  370  Part 6  Strategies  371 35 Beginning and Ending  373 Beginning  373 Ending  380 Considering the rhetorical situation  384  36 Guiding Your Reader  386 Titles  386 Thesis statements  387 Topic sentences  389 Transitions  391  37 Analyzing Causes and Effects  392 Determining plausible causes and effects  392 Arguing for causes or effects  393 Organizing  394 Considering the rhetorical situation  395  01_NFG5e_fm_pi-lvi.indd 35  9/24/18 11:43 AM  xxxvi  CONTENTS  38 Arguing  397 Reasons for arguing  397 Arguing logically  398 Claims / Reasons / Evidence Arguing with a hostile audience  409 Convincing readers you're trustworthy  410 Appealing to readers' emotions  413 Checking for fallacies  415 Considering the rhetorical situation  416  39 Classifying and Dividing  418 Classifying  418 Dividing  419 Creating clear and distinct categories  420 Considering the rhetorical situation  422  40 Comparing and Contrasting  424 Two ways of comparing and contrasting  425 The block method / The point-by-point method Using graphs and images  427 Using figurative language  429 Considering the rhetorical situation  431  41 Defining  432 Formal definitions  432 Extended definitions  434 Stipulative definitions  440 Considering the rhetorical situation  442  01_NFG5e_fm_pi-lvi.indd 36  9/24/18 11:43 AM  Contents  xxxvii  42 Describing  443 Detail  443 Objectivity and subjectivity  446 Vantage point  447 Dominant impression  448 Organizing  450 Considering the rhetorical situation  450  43 Dialogue  452 Why add dialogue?  452 Integrating dialogue into your writing  453 Interviews  454 Considering the rhetorical situation  455  44 Explaining Processes  457 Explaining clearly  457 Explaining how something is done  457 Explaining how to do something  458 Explaining visually  459 Considering the rhetorical situation  461  45 Narrating  462 Sequencing  462 Including pertinent detail  466 Opening and closing with narratives  468 Considering the rhetorical situation  470  46 Taking Essay Exams  471 Considering the rhetorical situation  471 Analyzing essay questions  472 Some guidelines for taking essay exams  474  01_NFG5e_fm_pi-lvi.indd 37  9/24/18 11:43 AM  xxxviii  CONTENTS  Part 7   Doing Research  477 47 Getting a Start on Research  479 Establishing a schedule and getting started  479 Considering the rhetorical situation  480 Coming up with a topic  481 Consulting with librarians and doing preliminary research  482 Coming up with a research question  483 Drafting a tentative thesis  484 Creating a rough outline  485 Keeping a working bibliography  485 Keeping track of your sources  487  48 Finding Sources  489 Kinds of sources  489 Searching in academic libraries   493 Searching effectively using keywords  495 Reference works  498 Books / searching the library catalog  500 Ebooks / finding books online  501 Periodicals / searching indexes and databases  502 Images, sound, and more  504 Searching the web  505 Doing field research  506 Interviews / Observation / Questionnaires and surveys  49 Evaluating Sources  511 Considering whether a source might be useful  511 Reading sources with a critical eye  513 Comparing sources  514 A note of caution: false news   515  01_NFG5e_fm_pi-lvi.indd 38  9/24/18 11:43 AM  Contents  xxxix  50 Synthesizing Ideas  519 Reading for patterns and connections  519 Synthesizing ideas using notes  523 Synthesizing information to support your own ideas  525 Entering the conversation  525  51 Quoting, Paraphrasing, and Summarizing  526 Taking notes  526 Deciding whether to quote, paraphrase, or summarize  528 Quoting  528 Paraphrasing  531 Summarizing  534 Introducing source materials using signal phrases  535  52 Acknowledging Sources, Avoiding Plagiarism  539 Acknowledging sources  539 Avoiding plagiarism  542  53 Documentation  544 Understanding documentation styles  544 MLA style  546 APA style  546  54 MLA Style  548 A DIRECTORY TO MLA STYLE  548 MLA in-text documentation  551 Notes  557 MLA list of works cited  558 Documentation Maps Article in a print journal 564 / Article in an online magazine 567 / Article accessed through a database 568 / Print book 572 / Work on a website 578  Formatting a research paper  586 Sample research paper, MLA style  587  01_NFG5e_fm_pi-lvi.indd 39  9/24/18 11:43 AM  xl  CONTENTS  55 APA Style  597 A DIRECTORY TO APA STYLE  597 APA in-text documentation  600 Notes  605 APA reference list  605 Documentation Maps Print book 607 / Work from a website 615 / Article in a journal with DOI 617 / Article accessed through a database with DOI 618  Formatting a paper  624 Sample research paper, APA style  626  Part 8   Media / Design  637 56 Choosing Media  639 Print  640 Digital  640 Spoken  640 Multimedia  641 Considering the rhetorical situation   642  57 Designing Text  644 Considering the rhetorical situation   644 Some basic principles of design   645 Consistency / Simplicity / Balance / Color and contrast / Templates Some elements of design   648 Font / Layout / Headings / White space Evaluating a design  652  58 Using Visuals, Incorporating Sound  653 Considering the rhetorical situation   654 Using visuals   654 Incorporating sound   660  01_NFG5e_fm_pi-lvi.indd 40  9/24/18 11:43 AM  Contents  xli  Adding links   661 Editing carefully — and ethically   662  59 Writing Online  664 Online genres   664 Email / Texts / Social media / Websites / Blogs / Wikis Managing online course work  669 Finding basic course information  670 Using learning management systems  670  60 Giving Presentations  673 Abraham Lincoln, Gettysburg Address   673 Judy Davis, Ours Was a Dad . . .  674 KEY FEATURES  676 A clear structure / Signpost language / A suitable tone / Repetition and parallel structure / Slides and other media  Considering the rhetorical situation  677 A BRIEF GUIDE TO WRITING  678 Delivering a presentation  683  Part 9  Readings  685 61 Literacy Narratives  687 Matt de la PeÑa, Sometimes the "Tough Teen" Is Quietly Writing ­Stories  688 Tanya Maria Barrientos, Se Habla Español   693 Amy Tan, Mother Tongue  697 Nicole Miles, Formation of a Caribbean Illustrator   704  01_NFG5e_fm_pi-lvi.indd 41  9/24/18 11:43 AM  xlii  CONTENTS  62 Textual Analyses  714 Laurel Thatcher Ulrich, Well-Behaved Women Seldom Make History  715 Diana George, Changing the Face of Poverty  726 Isabelle Gill, Representation of Disney Princesses in the Media  738 William Safire, A Spirit Reborn   753  63 Reports  756 Jason Hasler, An Ancient Remedy Reexamined   757 Eleanor J. Bader, Homeless on Campus   764 Jonathan Kozol, Fremont High School  770 Alina Tugend, Multitasking Can Make You Lose . . . Um . . . Focus  779  64 Arguments  784 Alex Weiss, Should Gamers Be Prosecuted for Virtual Stealing?  785 Nicholas Carr, Is Google Making Us Stupid?  789 Eva Derzic, In Defense of Writing Letters  804 Sarah Dzubay, An Outbreak of the Irrational  808  65 Evaluations  815 danah boyd, Wikipedia as a Site of Knowledge Production   816 Adrienne Green, The Boldness of Roxane Gay's Hunger  823 Natalie Standiford, The Tenacity of Hope   828 Ashley Foster, Polyvore.com: An Evaluation of How Fashion Is Consumed Online  832  66 Literary Analyses   837 Bailey Basinger, Tension, Contradiction, and Ambiguity: Gender Roles in "A Rose for Emily"   838 Liz Moore, Abuse of an Unnamed Wife: Is She Familiar?  845  01_NFG5e_fm_pi-lvi.indd 42  9/24/18 11:43 AM  Contents  xliii  An Album of Literature William Faulkner, A Rose for Emily   851 Rita Dove, The First Book   861 Charlotte Perkins Gilman, The Yellow Wallpaper   862 Langston Hughes, Theme for English B   879 Emily Dickinson, A word is dead   881  67 Memoirs  882 David Sedaris, Us and Them   883 Andre Dubus III, My Father Was a Writer   891 Malala Yousafzai, Who Is Malala?   900 Judith Ortiz Cofer, The Myth of the Latin Woman  906  68 Profiles  914 James Hamblin, Living Simply in a Dumpster   915 Ana Pacheco, Street Vendors: Harvest of Dreams   923 Steven Kurutz, Can a $300 Cooler Unite America?   928 Tatiana Schlossberg, At This Academy, the Curriculum Is Garbage   933  69 Proposals  939 Michael Chabon, Kids' Stuff  940 Dennis Baron, Don't Make English Official — Ban It Instead  949 Johnna S. Keller, The Politics of Stairs   953 Andreas Ghabrial, Alana hardy, and Playground Committee, ­Proposal for Ogden Playground Project  959  70 Reflections  969 Dave Barry, Guys vs. Men  970 Geeta Kothari, If You Are What You Eat, Then What Am I?  977 Vann R. Newkirk II, When Picture-Day Combs Don't Actually Comb  983 Beth Nguyen, American Stories Are Refugee Stories  987  01_NFG5e_fm_pi-lvi.indd 43  9/24/18 11:43 AM  xliv  CONTENTS  71 Texts That Mix Genres  991 Lynda Barry, Lost and Found  992 Anu Partanen, Finland's School Success: What Americans Keep Ignoring  999 Jeremy Dowsett, What My Bike Has Taught Me about   White Privilege  1007 Sneha Saha, The Wedding Carriage  1013  Part 10  Handbook  HB-1 Sentences  HB-3 S-1 S-2 S-3 S-4 S-5 S-6 S-7 S-8 S-9  Elements of a Sentence  HB-4 Sentence Fragments  HB-7 Comma Splices, Fused Sentences  HB-10 Verbs  HB-12 Subject-Verb Agreement  HB-24 Pronouns  HB-29 Parallelism  HB-35 Coordination, Subordination  HB-37 Shifts  HB-39  Language  HB-41 L-1   Appropriate Words  HB-42 L-2   Precise Words  HB-44 L-3   Idioms  HB-46 L-4   Words Often Confused  HB-51 L-5   Prepositions  HB-56 L-6   Unnecessary Words  HB-58 L-7   Adjectives and Adverbs  HB-60 L-8   Articles  HB-63 L-9    Words for Building Common Ground  HB-66 L-10  Englishes  HB-68  01_NFG5e_fm_pi-lvi.indd 44  9/24/18 11:43 AM  Contents  xlv  Punctuation / Mechanics  HB-77 P-1   Commas  HB-78 P-2   Semicolons  HB-84 P-3   End Punctuation  HB-85 P-4   Quotation Marks  HB-87 P-5   Apostrophes  HB-91 P-6   Other Punctuation  HB-95 P-7   Hyphens  HB-98 P-8   Capitalization  HB-100 P-9   Italics  HB-103 P-10  Abbreviations  HB-105 P-11  Numbers  HB-107  		Acknowledgments  A-1 		Glossary / Index  G / I-1 		Revision Symbols 		Directory to MLA Style   		Directory to APA Style   		Menu of Readings 		Handbook Menu    01_NFG5e_fm_pi-lvi.indd 45  9/24/18 11:43 AM  01_NFG5e_fm_pi-lvi.indd 46  9/24/18 11:43 AM  Thematic Guide to the Readings  Advertising Hannah Berry, The Fashion Industry: Free to Be an Individual  99 Ashley Foster, Polyvore.com: An Evaluation of How Fashion Is Consumed   Online ​ 832 Steven Kurutz, Can a $300 Cooler Unite America? ​  928 Business and Economics Eleanor J. Bader, Homeless on Campus  764 Michael Chabon, Kids' Stuff  940 Ashley Foster, Polyvore.com: An Evaluation of How Fashion Is Consumed   Online ​ 832 Diana George, Changing the Face of Poverty  726 James Hamblin, Living Simply in a Dumpster  915 Jonathan Kozol, Fremont High School  770 Steven Kurutz, Can a $300 Cooler Unite America? ​  928 Vann R. Newkirk II, When Picture-Day Combs Don't Actually Comb ​  983 Ana Pacheco, Street Vendors: Harvest of Dreams ​ 923 Anu Partanen, Finland's School Success: What Americans Keep Ignoring  999 Tatiana Schlossberg, At This Academy, the Curriculum Is Garbage ​  933 Ernie Smith, A Brief History of the Modern-Day Straw, the World's Most   Wasteful Commodity ​ 233 Childhood Memories Tanya Maria Barrientos, Se Habla Español  693 Lynda Barry, Lost and Found  992 Rick Bragg, All Over but the Shoutin'  224 Judith Ortiz Cofer, The Myth of the Latin Woman  906 Andre Dubus III, My Father Was a Writer  891  xlvii  01_NFG5e_fm_pi-lvi.indd 47  9/24/18 11:43 AM  xlviii  THEMATIC GUIDE TO THE READINGS  Daniel Felsenfeld, Rebel Music  81 Ana-Jamileh Kassfy, Automotive Literacy  84 Geeta Kothari, If You Are What You Eat, Then What Am I?  977 Edan Lepucki, Our Mothers as We Never Saw Them ​  256 Nicole Miles, Formation of a Caribbean Illustrator ​  704 Matt de la Peña, Sometimes the "Tough Teen" Is Quietly Writing Stories ​  688 David Sedaris, Us and Them  883 Amy Tan, Mother Tongue  697 Emily Vallowe, Write or Wrong Identity  75 Malala Yousafzai, Who Is Malala?  900 Class Issues Eleanor J. Bader, Homeless on Campus  764 Bailey Basinger, Tension, Contradiction, and Ambiguity: Gender Roles in "A   Rose for Emily" ​ 838 Roy Peter Clark, Why It Worked: A Rhetorical Analysis of Obama's Speech   on Race ​ 107 Diana George, Changing the Face of Poverty  726 Kelly Green, Researching Hunger and Poverty ​  192 Analisa Johnson, The Benefits of Prison Nursery Programs ​  627 Jonathan Kozol, Fremont High School  770 Ana Pacheco, Street Vendors: Harvest of Dreams ​ 923 Creative Play and Gaming Lynda Barry, Lost and Found  992 Michael Chabon, Kids' Stuff  940 Daniel Felsenfeld, Rebel Music  81 Anu Partanen, Finland's School Success: What Americans Keep Ignoring  999 Alex Weiss, Should Gamers Be Prosecuted for Stealing Virtual Objects?  785 Crime and Justice Analisa Johnson, The Benefits of Prison Nursery Programs ​  627 Nicholas Kristof, Our Blind Spot about Guns  162 Alex Weiss, Should Gamers Be Prosecuted for Stealing Virtual Objects?  785  01_NFG5e_fm_pi-lvi.indd 48  9/24/18 11:43 AM  Thematic Guide to the Readings  xlix  Death and Dying Rick Bragg, All Over but the Shoutin'  224 Judy Davis, Ours Was a Dad . . .  674 Sneha Saha, The Wedding Carriage ​  1013 Natalie Standiford, The Tenacity of Hope  828 Digital and Social Media danah boyd, Wikipedia as a Site of Knowledge Production  816 Nicholas Carr, Is Google Making Us Stupid?  789 Michaela Cullington, Does Texting Affect Writing?  131 Eva Derzic, In Defense of Writing Letters ​  804 Ashley Foster, Polyvore.com: An Evaluation of How Fashion Is Consumed   Online ​ 832 Alina Tugend, Multitasking Can Make You Lose . . . Um . . . Focus  779 Alex Weiss, Should Gamers Be Prosecuted for Stealing Virtual Objects?  785 Molly Worthen, U Can't Talk to Ur Professor Like This  165 Education and Schooling Lynda Barry, Lost and Found  992 danah boyd, Wikipedia as a Site of Knowledge Production  816 Michaela Cullington, Does Texting Affect Writing?  131 Daniel Felsenfeld, Rebel Music  81 Andreas Ghabrial, Alana Hardy, and Playground Committee, Proposal   for Ogden Playground Project ​ 959 Michael Granof, Course Requirement: Extortion   246 Jonathan Kozol, Fremont High School  770 Anu Partanen, Finland's School Success: What Americans Keep Ignoring  999 Matt de la Peña, Sometimes the "Tough Teen" Is Quietly Writing Stories ​  688 Anna Quindlen, Write for Your Life    280 Tatiana Schlossberg, At This Academy, the Curriculum Is Garbage  933 Emily Vallowe, Write or Wrong Identity  75 Molly Worthen, U Can't Talk to Ur Professor Like This  165  01_NFG5e_fm_pi-lvi.indd 49  9/24/18 11:43 AM  l  THEMATIC GUIDE TO THE READINGS  Entertainment and the Arts Lynda Barry, Lost and Found  992 Bailey Basinger, Tension, Contradiction, and Ambiguity: Gender Roles in "A   Rose for Emily" ​ 838 Michael Benton, Mark Dolan, Rebecca Zisch, Teen Film$  190 Cameron Carroll, Zombie Film Scholarship: A Review of the Literature  198 Michael Chabon, Kids' Stuff  940 Andre Dubus III, My Father Was a Writer  891 Daniel Felsenfeld, Rebel Music  81 Diana George, Changing the Face of Poverty  726 Isabelle Gill, Representation of Disney Princesses in the Media ​  738 Michael Granof, Course Requirement: Extortion  246 Matthew Miller, Frost's Broken Roads ​  212 Liz Moore, Abuse of an Unnamed Wife: Is She Familiar? ​  845 Anu Partanen, Finland's School Success: What Americans Keep Ignoring  999 Anna Quindlen, Write for Your Life   280 Natalie Standiford, The Tenacity of Hope   828 William Thorne, Movie Review: The Circle   203 Alex Weiss, Should Gamers Be Prosecuted for Stealing Virtual Objects?  785 Ethics Judith Ortiz Cofer, The Myth of the Latin Woman  906 Jeremy Dowsett, What My Bike Has Taught Me about White Privilege  1007 Sarah Dzubay, An Outbreak of the Irrational  808 Diana George, Changing the Face of Poverty  726 James Hamblin, Living Simply in a Dumpster  915 Johnna S. Keller, The Politics of Stairs   953 Jonathan Kozol, Fremont High School  770 Nicholas Kristof, Our Blind Spot about Guns 162 Joanna MacKay, Organ Sales Will Save Lives  157 Liz Moore, Abuse of an Unnamed Wife: Is She Familiar? ​  845 David Sedaris, Us and Them  883 Alex Weiss, Should Gamers Be Prosecuted for Stealing Virtual Objects?  785 Molly Worthen, U Can't Talk to Ur Professor Like This  165  01_NFG5e_fm_pi-lvi.indd 50  9/24/18 11:43 AM  Thematic Guide to the Readings  li  Food Geeta Kothari, If You Are What You Eat, Then What Am I?   977 Frankie Schembri, Edible Magic ​ 139 Ernie Smith, A Brief History of the Modern-Day Straw, the World's Most   Wasteful Commodity ​ 233 Gender Dave Barry, Guys vs. Men  970 Bailey Basinger, Tension, Contradiction, and Ambiguity: Gender Roles in "A   Rose for Emily" ​ 838 Judith Ortiz Cofer, The Myth of the Latin Woman  906 Andre Dubus III, My Father Was a Writer   891 Isabelle Gill, Representation of Disney Princesses in the Media ​  738 Edan Lepucki, Our Mothers as We Never Saw Them ​  256 Matt de la Peña, Sometimes the "Tough Teen" Is Quietly Writing Stories ​  688 Laurel Thatcher Ulrich, Well-Behaved Women Seldom Make History  715 Malala Yousafzai, Who Is Malala?  900 Government and Politics Danielle Allen, Our Declaration  102 Roy Peter Clark, Why It Worked: A Rhetorical Analysis of Obama's Speech   on Race ​ 107 Sarah Dzubay, An Outbreak of the Irrational ​  808 Andreas Ghabrial, Alana Hardy, and Playground Committee, Proposal   for Ogden Playground Project ​ 959 Jonathan Kozol, Fremont High School  770 Beth Nguyen, American Stories Are Refugee Stories ​  987 William Safire, A Spirit Reborn   753 Tatiana Schlossberg, At This Academy, the Curriculum Is Garbage   933 History Danielle Allen, Our Declaration  102 Michael Chabon, Kids' Stuff  940 Roy Peter Clark, Why It Worked: A Rhetorical Analysis of Obama's Speech   on Race ​ 107  01_NFG5e_fm_pi-lvi.indd 51  9/24/18 11:43 AM  lii  THEMATIC GUIDE TO THE READINGS  Andre Dubus III, My Father Was a Writer   891 Daniel Felsenfeld, Rebel Music  81 William Safire, A Spirit Reborn   753 Laurel Thatcher Ulrich, Well-Behaved Women Seldom Make History  715 Home and Family Tanya Maria Barrientos, Se Habla Español  693 Lynda Barry, Lost and Found ​  992 Rick Bragg, All Over but the Shoutin' ​  224 Judith Ortiz Cofer, The Myth of the Latin Woman ​  906 Andre Dubus III, My Father Was a Writer  891 James Hamblin, Living Simply in a Dumpster   915 Ana-Jamileh Kassfy, Automotive Literacy  84 Geeta Kothari, If You Are What You Eat, Then What Am I?  977 Edan Lepucki, Our Mothers as We Never Saw Them ​  256 Matt de la Peña, Sometimes the "Tough Teen" Is Quietly Writing Stories ​  688 Sneha Saha, The Wedding Carriage ​  1013 David Sedaris, Us and Them  883 Amy Tan, Mother Tongue  697 Malala Yousafzai, Who Is Malala? ​  900 Humor and Satire Dennis Baron, Don't Make English Official — Ban It Instead  949 Dave Barry, Guys vs. Men  970 Lynda Barry, Lost and Found   992 Michael Chabon, Kids' Stuff  940 William Safire, A Spirit Reborn   753 David Sedaris, Us and Them  883 Identity Tanya Maria Barrientos, Se Habla Español  693 Dave Barry, Guys vs. Men  970 Lynda Barry, Lost and Found   992 Bailey Basinger, Tension, Contradiction, and Ambiguity: Gender Roles in "A   Rose for Emily" ​ 838  01_NFG5e_fm_pi-lvi.indd 52  9/24/18 11:43 AM  Thematic Guide to the Readings  liii  Judith Ortiz Cofer, The Myth of the Latin Woman  906 Jeremy Dowsett, What My Bike Has Taught Me about White Privilege   1007 Andre Dubus III, My Father Was a Writer   891 Daniel Felsenfeld, Rebel Music  81 Ana-Jamileh Kassfy, Automotive Literacy  84 Geeta Kothari, If You Are What You Eat, Then What Am I?  977 Edan Lepucki, Our Mothers as We Never Saw Them ​  256 Nicole Miles, Formation of a Caribbean Illustrator ​  704 Vann R. Newkirk II, When Picture-Day Combs Don't Actually Comb ​  983 Beth Nguyen, American Stories Are Refugee Stories ​  987 Ana Pacheco, Street Vendors: Harvest of Dreams ​ 923 Matt de la Peña, Sometimes the "Tough Teen" Is Quietly Writing Stories ​  688 Tatiana Schlossberg, At This Academy, the Curriculum Is Garbage ​  933 Amy Tan, Mother Tongue  697 Laurel Thatcher Ulrich, Well-Behaved Women Seldom Make History  715 Emily Vallowe, Write or Wrong Identity  75 Malala Yousafzai, Who Is Malala? ​  900 Immigration Tanya Maria Barrientos, Se Habla Español ​  693 Judith Ortiz Cofer, The Myth of the Latin Woman ​  906 Geeta Kothari, If You Are What You Eat, Then What Am I? ​  977 Beth Nguyen, American Stories Are Refugee Stories ​  987 Ana Pacheco, Street Vendors: Harvest of Dreams ​ 923 Amy Tan, Mother Tongue ​ 697 Language and Literacy Dennis Baron, Don't Make English Official — Ban It Instead  949 Tanya Maria Barrientos, Se Habla Español  693 Lynda Barry, Lost and Found   992 Rick Bragg, All Over but the Shoutin'  224 Nicholas Carr, Is Google Making Us Stupid?  789 Roy Peter Clark, Why It Worked: A Rhetorical Analysis of Obama's Speech   on Race ​ 107 Michaela Cullington, Does Texting Affect Writing?  131  01_NFG5e_fm_pi-lvi.indd 53  9/24/18 11:43 AM  liv  THEMATIC GUIDE TO THE READINGS  Eva Derzic, In Defense of Writing Letters ​  804 Andre Dubus III, My Father Was a Writer   891 Ana-Jamileh Kassfy, Automotive Literacy ​ 84 Johnna S. Keller, The Politics of Stairs ​  953 Nicole Miles, Formation of a Caribbean Illustrator ​  704 Matt de la Peña, Sometimes the "Tough Teen" Is Quietly Writing Stories ​  688 Anna Quindlen, Write for Your Life  280 William Safire, A Spirit Reborn  753 Natalie Standiford, The Tenacity of Hope   828 Amy Tan, Mother Tongue  697 Emily Vallowe, Write or Wrong Identity  75 Molly Worthen, U Can't Talk to Ur Professor Like This ​  165 Nature and the Environment James Hamblin, Living Simply in a Dumpster   915 Jason Hasler, An Ancient Remedy Reexamined ​  757 Ernie Smith, A Brief History of the Modern-Day Straw, the World's Most   Wasteful Commodity ​ 233 Race and Ethnicity Tanya Maria Barrientos, Se Habla Español  693 Roy Peter Clark, Why It Worked: A Rhetorical Analysis of Obama's Speech   on Race ​ 107 Judith Ortiz Cofer, The Myth of the Latin Woman  906 Jeremy Dowsett, What My Bike Has Taught Me about White Privilege   1007 Geeta Kothari, If You Are What You Eat, Then What Am I?  977 Jonathan Kozol, Fremont High School  770 Nicole Miles, Formation of a Caribbean Illustrator ​  704 Vann R. Newkirk II, When Picture-Day Combs Don't Actually Comb ​  983 Beth Nguyen, American Stories Are Refugee Stories ​  987 Ana Pacheco, Street Vendors: Harvest of Dreams ​  923 Amy Tan, Mother Tongue  697 Malala Yousafzai, Who Is Malala? ​  900 Molly Worthen, U Can't Talk to Ur Professor Like This ​  165  01_NFG5e_fm_pi-lvi.indd 54  9/24/18 11:43 AM  Thematic Guide to the Readings  lv  Science and Technology Nicholas Carr, Is Google Making Us Stupid?  789 Michaela Cullington, Does Texting Affect Writing?  131 Sarah Dzubay, An Outbreak of the Irrational ​  808 Jason Hasler, An Ancient Remedy Reexamined ​  757 Johnna S. Keller, The Politics of Stairs ​  953 Joanna MacKay, Organ Sales Will Save Lives  157 Frankie Schembri, Edible Magic  139 Alina Tugend, Multitasking Can Make You Lose . . . Um . . . Focus  779 Alex Weiss, Should Gamers Be Prosecuted for Stealing Virtual Objects?  785 Work Andre Dubus III, My Father Was a Writer   891 Ana-Jamileh Kassfy, Automotive Literacy ​ 84 Anu Partanen, Finland's School Success: What Americans Keep Ignoring  999 Sneha Saha, The Wedding Carriage ​  1013 Tatiana Schlossberg, At This Academy, the Curriculum Is Garbage   933 Molly Worthen, U Can't Talk to Ur Professor Like This ​  165 World Cultures and Global Issues Geeta Kothari, If You Are What You Eat, Then What Am I?  977 Joanna MacKay, Organ Sales Will Save Lives  157 Ana Pacheco, Street Vendors: Harvest of Dreams ​  923 Anu Partanen, Finland's School Success: What Americans Keep Ignoring  999 Malala Yousafzai, Who Is Malala? ​  900  01_NFG5e_fm_pi-lvi.indd 55  9/24/18 11:43 AM  01_NFG5e_fm_pi-lvi.indd 56  9/24/18 11:43 AM  part 1  Academic Literacies Whenever we enter a new community — start a new job, move to a new town, join a new club — there are certain things we need to learn. The same is true upon entering the academic world. We need to be able to READ and WRITE in certain ways. We're routinely called on to SUMMARIZE something we've heard or read and to RESPOND in some way. And to succeed, we need to develop certain HABITS OF MIND — everyday things such as asking questions and being persistent. The following chapters provide guidelines to help you develop these fundamental academic literacies — and know what's expected of you in academic communities.  1  02_NFG5e_part01_ch01_001-009.indd 1  9/7/18 9:48 AM  Academic Literacies  1  WRITING IN ACADEMIC CONTEXTS   3  2  READING IN ACADEMIC CONTEXTS   10  3  SUMMARIZING AND RESPONDING  33  4  DEVELOPING ACADEMIC HABITS OF MIND   45  02_NFG5e_part01_ch01_001-009.indd 2  9/7/18 9:48 AM  1  Writing in Academic Contexts  Write an essay arguing whether genes or environment do more to determine people's intelligence. Research and write a report on the environmental effects of electricity-generating windmills. Work with a team to write a proposal and create a multimedia presentation for a sales campaign. Whatever you're studying, you're surely going to be doing a lot of writing, in classes from various disciplines — the above assignments, for example, are from psychology, environmental science, and marketing. Academic writing can serve a number of different purposes — to argue for what you think about a topic and why, to report on what's known about an issue, to propose a solution for some problem, and so on. Whatever your topics or purposes, all academic writing follows certain conventions, ones you'll need to master in order to join the conversations going on across campus. This chapter describes what's expected of academic writing — and of academic writers.  ▲ 157–84 131–56 246–55  What's Expected of Academic Writing Evidence that you've considered the subject thoughtfully. Whether you're composing a report, an argument, or some other kind of writing, you need to demonstrate that you've thought seriously about the topic and done any necessary research. You can use various ways to show that you've considered the subject carefully, from citing authoritative sources to incorporating information you learned in class to pointing out connections among ideas.  3  02_NFG5e_part01_ch01_001-009.indd 3  handbook  readings  media / design  research / apa mla  strategies  processes  fields  genres  rhetorical situations  academic literacies  ▲  9/7/18 9:48 AM  4  ACADEMIC LITERACIES  An indication of why your topic matters. You need to help your readers understand why your topic is worth exploring and why your writing is worth reading. Even if you are writing in response to an assigned topic, you can better make your point and achieve your purpose by showing your readers why your topic is important and why they should care about it. For example, in the prologue to Our Declaration, political philosopher Danielle Allen explains why her topic, the Declaration of Independence, is worth writing about: The Declaration of Independence matters because it helps us see that we cannot have freedom without equality. It is out of an egalitarian commitment that a people grows — a people that is capable of protecting us all collectively, and each of us individually, from domination. If the Declaration can stake a claim to freedom, it is only because it is so cleareyed about the fact that the people's strength resides in its equality. The Declaration also conveys another lesson of paramount importance. It is this: language is one of the most potent resources each of us has for achieving our own political empowerment. The men who wrote the Declaration of Independence grasped the power of words. This reveals itself in the laborious processes by which they brought the Declaration, and their revolution, into being. It shows itself forcefully, of course, in the text's own eloquence.  By explaining that the topic matters because freedom and equality matter — and language gives us the means for empowering ourselves — Allen gives readers reason to read her careful analysis.  A response to what others have said. Whatever your topic, it's unlikely that you'll be the first one to write about it. And if, as this chapter assumes, all academic writing is part of a larger conversation, you are in a way adding your own voice to that conversation. One good way of doing that is to present your ideas as a response to what others have said about your topic — to begin by quoting, paraphrasing, or summarizing what others have said and then to agree, disagree, or both. For example, in an essay arguing that organ sales will save lives, MIT student Joanna MacKay says, "Some agree with Pope John Paul II that the selling of organs is morally wrong and violates 'the dignity of the human  02_NFG5e_part01_ch01_001-009.indd 4  handbook  readings  media / design  research / apa mla  strategies  processes  fields  genres  rhetorical situations  academic literacies  ▲  9/7/18 9:48 AM  5  1 / Writing in Academic Contexts  person.' " But she then responds — and disagrees, arguing that "the morals we hold are not absolute truths" and that "peasants of third-world countries" might not agree with the pope.  A clear, appropriately qualified thesis. When you write in an academic context, you're expected to state your main point explicitly, often in a  t ­ hesis statement. Joanna MacKay states her thesis clearly in her essay "Organ Sales Will Save Lives": "Governments should not ban the sale of human organs; they should regulate it." Often you'll need to qualify your thesis statement to acknowledge that the subject is complicated and there may be more than one way of seeing it or exceptions to the generalization you're making about it. Here, for example, is a qualified thesis, from an essay evaluating the movie Juno by Ali Heinekamp, a student at Wright State University: "Although the situations Juno's characters find themselves in and their dialogue may be criticized as unrealistic, the film, written by ­Diablo Cody and directed by Jason Reitman, successfully portrays the emotions of a teen being shoved into maturity way too fast." Heinekamp makes a claim that Juno achieves its main goal, while acknowledging at the beginning of the sentence that the film may be flawed.  387–89  388–89  Good reasons supported by evidence. You need to provide good reasons for your thesis and evidence to support those reasons. For example, Joanna MacKay offers several reasons why sales of human kidneys should be legalized: there is a surplus of kidneys, the risk to the donor is not great, and legalization would allow the trade in kidneys to be regulated. Evidence to support your reasons sometimes comes from your own experience but more often from published research and scholarship, research you do yourself, or firsthand accounts by others. Compared with other kinds of writing, academic writing is generally expected to be more objective and less emotional. You may find Romeo and Juliet deeply moving or cry when you watch The Fault in Our Stars — but when you write about the play or the film for a class, you must do so using evidence from the text to support your thesis. You may find someone's ideas deeply offensive, but you should respond to them with reason rather than with emotional appeals or personal attacks.  02_NFG5e_part01_ch01_001-009.indd 5  9/7/18 9:48 AM  6  ACADEMIC LITERACIES  Acknowledgment of multiple perspectives. Debates and arguments in popular media are often framed in "pro/con" terms, as if there were only two sides to any given issue. Once you begin seriously studying a topic, though, you're likely to find that there are several sides and that each of them deserves serious consideration. In your academic writing, you need to represent fairly the range of perspectives on your topic — to explore three, four, or more positions on it as you research and write. In her report, "Does Texting Affect Writing?," Marywood University student Michaela Cullington, for example, examines texting from several points of view: teachers' impressions of the influence of texting on student writing, the results of several research studies, and her own survey research. A confident, authoritative stance. If one goal of academic writing is to contribute to a larger conversation, your tone should convey confidence and establish your authority to write about your subject. Ways to achieve such a tone include using active verbs ("X claims" rather than "it seems"), avoiding such phrases as "in my opinion" and "I think," and writing in a straightforward, direct style. Your writing should send the message that you've done the research, analysis, and thinking and know what you're talking about. For example, here is the final paragraph of Michaela Cullington's essay on texting and writing: On the basis of my own research, expert research, and personal observations, I can confidently state that texting is not interfering with students' use of standard written English and has no effect on their writing abilities in general. It is interesting to look at the dynamics of the arguments over these issues. Teachers and parents who claim that they are seeing a decline in the writing abilities of their students and children mainly support the negative-impact argument. Other teachers and researchers suggest that texting provides a way for teens to practice writing in a casual setting and thus helps prepare them to write formally. Experts and students themselves, however, report that they see no effect, positive or negative. Anecdotal experiences should not overshadow the actual evidence.  Cullington's use of simple, declarative sentences ("Other teachers and researchers suggest . . ."; "Anecdotal experiences should not overshadow . . .")  02_NFG5e_part01_ch01_001-009.indd 6  handbook  readings  media / design  research / apa mla  strategies  processes  fields  genres  rhetorical situations  academic literacies  ▲  9/7/18 9:48 AM  1 / Writing in Academic Contexts  7  and her straightforward summary of the arguments surrounding texting, along with her strong, unequivocal ending ("texting is not interfering with students' use of standard written English"), lend her writing a confident tone. Her stance sends the message that she's done the research and knows what she's talking about.  Carefully documented sources. Clearly acknowledging sources and documenting them carefully and correctly is a basic requirement of academic writing. When you use the words or ideas of others — including visuals, video, or audio — those sources must be documented in the text and in a works-cited or references list at the end. (If you're writing something that will appear online, you may also refer readers to your sources by using hyperlinks in the text; ask your instructor if you need to include a list of references or works cited as well.) Careful attention to correctness. Whether you're writing something formal or informal, in an essay or an email, you should always write in complete sentences, use appropriate capitalization and punctuation, and check that your spelling is correct. In general, academic writing is no place for colloquial language, slang, or texting abbreviations. If you're quoting someone, you can reproduce that person's writing or speech exactly, but in your own writing you try hard to be correct — and always proofread carefully.  What's Expected of College Writers: The WPA Outcomes Writing is not a multiple-choice test; it doesn't have right and wrong answers that are easily graded. Instead, your readers, whether they're teachers or anyone else, are likely to read your writing with various questions in mind: does it make sense, does it meet the demands of the assignment, is the grammar correct, to name just a few of the things readers may look for. Different readers may notice different things, so sometimes it may seem to you that their response — and your grade — is unpredictable. It should be good to know, then, that writing teachers across the nation have come to some agreement on certain "outcomes," what college stu-  02_NFG5e_part01_ch01_001-009.indd 7  9/7/18 9:48 AM  8  ACADEMIC LITERACIES  dents should know and be able to do by the time they finish a first-year writing course. These outcomes have been defined by the National Council of Writing Program Administrators (WPA). Here's a brief summary of these outcomes and how The Norton Field Guide can help you meet them:  Knowledge of Rhetoric •	Understand the rhetorical situation of texts that you read and write. See Chapters 5–9 and the many prompts for Considering the Rhetorical Situation throughout the book. •	Read and write texts in a number of different genres, and understand how your purpose may influence your writing. See Chapters 10–22 for guidelines on writing in thirteen genres and Chapter 23 on mixing genres. •	Adjust your voice, tone, level of formality, design, and medium as is necessary and appropriate. See Chapter 8 on stance and tone and Chapter 9 for help thinking about medium and design. •	Choose the media that will best suit your audience, purpose, and the rest of your rhetorical situation. See Chapters 9 and 56.  Critical Thinking, Reading, and Composing •   ead and write to inquire, learn, think critically, and communicate. See R Chapters 1 and 2 on academic writing and reading, and Chapter 27 on writing as inquiry. Chapters 10–23 provide genre-specific prompts to help you think critically about a draft.  •   ead for content, argumentative strategies, and rhetorical effectiveness. R Chapter 7 provides guidance on reading texts with a critical eye, Chapter 11 teaches how to analyze a text, and Chapter 49 shows how to evaluate sources.  •   ind and evaluate popular and scholarly sources. Chapter 48 teaches how F to use databases and other methods to find sources, and Chapter 49 shows how to evaluate the sources you find.  02_NFG5e_part01_ch01_001-009.indd 8  handbook  readings  media / design  research / apa mla  strategies  processes  fields  genres  rhetorical situations  academic literacies  ▲  9/7/18 9:48 AM  1 / Writing in Academic Contexts  9  •	Use sources in various ways to support your ideas. Chapter 38 suggests strategies for supporting your ideas, and Chapter 51 shows how to incorporate ideas from sources into your writing to support your ideas.  Processes •   se writing processes to compose texts and explore ideas in various media. U Part 5 covers all stages of the processes writers use, from generating ideas and text to drafting, getting response and revising, and editing and proofreading. Each of the thirteen genre chapters (10–22) includes a guide that leads you through the process of writing in that genre.  •   ollaborate with others on your own writing and on group tasks. Chapter 28 C offers guidelines for working with others, Chapter 32 provides general prompts for getting and giving response , and Chapters 10–23 provide genre-specific prompts for reading a draft with a critical eye.  •  Reflect on your own writing processes. Chapters 10–23 provide genrespecific questions to help you take stock of your work, and Chapter 31 offers guidance in thinking about your own writing process. Chapter 34 provides prompts to help you reflect on a writing portfolio.  Knowledge of Conventions •   se correct grammar, punctuation, and spelling. Chapter 33 provides tips U to help you edit and proofread for your writing. Chapters 10–23 offer genre-specific advice for editing and proofreading.  •   nderstand and use genre conventions and formats in your writing. ChapU ter 7 provides an overview of genres and how to think about them. Part 3 covers thirteen genres, describing the key features and conventions of each one.  •   nderstand intellectual property and document sources appropriately. U Chapter 52 offers guidance on the ethical use of sources, Chapter 53 provides an overview of documentation styles, and Chapters 54 and 55 provide templates for documenting in MLA and APA styles.  02_NFG5e_part01_ch01_001-009.indd 9  9/7/18 9:48 AM  2  Reading in Academic Contexts  We read newspapers to know about the events of the day. We read textbooks to learn about history, chemistry, and other academic topics — and other academic sources to do research and develop arguments. We read tweets and blogs to follow (and participate in) conversations about issues that interest us. And as writers, we read our own writing to make sure it says what we mean it to say and proofread our final drafts to make sure they say it correctly. In other words, we read many kinds of texts for many different purposes. This chapter offers a number of strategies for various kinds of reading you do in academic contexts.  TAKING STOCK OF YOUR READING One way to become a better reader is to understand your reading process; if you know what you do when you read, you're in a position to decide what you need to change or improve. Consider the answers to the following questions: •	What do you read for pleasure? for work? for school? Consider all the sorts of reading you do: books, magazines, and newspapers, websites, Facebook, texts, blogs, product instructions. •	When you're facing a reading assignment, what do you do? Do you do certain things to get comfortable? Do you play music or seek quiet? Do you plan your reading time or set reading goals for yourself? Do you flip through or skim the text before settling down to read it, or do you start at the beginning and work through it? •	When you begin to read something for an assignment, do you make sure you understand the purpose of the assignment — why you must  10  03_NFG5e_part01_ch02_010-032.indd 10  handbook  readings  media / design  research / apa mla  strategies  processes  fields  genres  rhetorical situations  academic literacies  ▲  9/13/18 10:25 AM  2 / Reading in Academic Contexts  11  read this text? Do you ever ask your instructor (or whoever else assigned the reading) what its purpose is? •	How do you motivate yourself to read material you don't have any interest in? How do you deal with boredom while reading? •	Does your mind wander? If you realize that you haven't been paying attention and don't know what you just read, what do you do? •	Do you ever highlight, underline, or annotate text as you read? Do you take notes? If so, what do you mark or write down? Why? •	When you read text you don't understand, what do you do? •	As you anticipate and read an assigned text, what attitudes or feelings do you typically have? If they differ from reading to reading, why do they? •	What do you do when you've finished reading an assigned text? Write out notes? Think about what you've just read? Move on to the next task? Something else? •	 How well do your reading processes work for you, both in school and otherwise? What would you like to change? What can you do to change? The rest of this chapter offers advice and strategies that you may find helpful as you work to improve your reading skills.  READING STRATEGICALLY Academic reading is challenging because it makes several demands on you at once. Textbooks present new vocabulary and new concepts, and picking out the main ideas can be difficult. Scholarly articles present content and arguments you need to understand, but they often assume that readers already know key concepts and vocabulary and so don't generally provide background information. As you read more texts in an academic field and begin to participate in its conversations, the reading will become easier, but in the meantime you can develop strategies that will help you read effectively.  03_NFG5e_part01_ch02_010-032.indd 11  9/13/18 10:25 AM  12  ACADEMIC LITERACIES  Thinking about What You Want to Learn To learn anything, we need to place new information into the context of what we already know. For example, to understand photosynthesis, we need to already know something about plants, energy, and oxygen, among other things. To learn a new language, we draw on similarities and differences between it and any other languages we know. A method of bringing to conscious attention our current knowledge on a topic and of helping us articulate our purposes for reading is a list-making process called KWL+. To use it, create a table with three columns: K: What I Know  W: What I Want to Know  L: What I Learned  Before you begin reading a text, list in the "K" column what you already know about the topic. Brainstorm ideas, and list terms or phrases that come to mind. Then group them into categories. Also before reading, or after reading the first few paragraphs, list in the "W" column questions you have that you expect, want, or hope to be answered as you read. Number or reorder the questions by their importance to you. Then, as you read the text or afterward, list in the "L" column what you learned from the text. Compare your "L" list with your "W" list to see what you still want or need to know (the "+") — and what you learned that you didn't expect.  Previewing the Text It's usually a good idea to start by skimming a text — read the title and subtitle, any headings, the first and last paragraphs, the first sentences  03_NFG5e_part01_ch02_010-032.indd 12  handbook  readings  media / design  research / apa mla  strategies  processes  fields  genres  rhetorical situations  academic literacies  ▲  9/13/18 10:25 AM  2 / Reading in Academic Contexts  13  of all the other paragraphs. Study any illustrations and other visuals. Your goal is to get a sense of where the text is heading. At this point, don't stop to look up unfamiliar words; just mark them in some way to look up later.  Adjusting Your Reading Speed to Different Texts Different texts require different kinds of effort. Some that are simple and straightforward can be skimmed fairly quickly. With academic texts, though, you usually need to read more slowly and carefully, matching the pace of your reading to the difficulty of the text. You'll likely need to skim the text for an overview of the basic ideas and then go back to read it closely. And then you may need to read it yet again. (But do try always to read quickly enough to focus on the meanings of sentences and paragraphs, not just individual words.) With visual texts, too, you'll often need to look at them several times, moving from gaining an overall impression to closely examining the structure, layout, and other visual features — and exploring how those features relate to any accompanying verbal text.  Looking for Organizational Cues As you read, look for cues that signal the way the text's ideas are organized and how each part relates to the ones around it.  The introductory paragraph and thesis often offer a preview of the topics to be discussed and the order in which they will be addressed. Here, for example, is a typical thesis statement for a report: Types of prisons in the United States include minimum and medium security, close security, maximum security, and supermax. The report that follows should explain each type of prison in the order stated in the thesis.  03_NFG5e_part01_ch02_010-032.indd 13  9/13/18 10:25 AM  14  ACADEMIC LITERACIES  391  Transitions help guide readers in following the direction of the writer's thinking from idea to idea. For example, "however" indicates an idea that contradicts or limits what has just been said, while "furthermore" indicates one that adds to or supports it. Headings identify a text's major and minor sections, by means of both the headings' content and their design.  Thinking about Your Initial Response Some readers find it helps to make brief notes about their first response to a text, noting their reaction and thinking a little about why they reacted as they did.  What are your initial reactions? Describe both your intellectual reaction and any emotional reaction, and identify places in the text that caused you to react as you did. An intellectual reaction might consist of an evaluation ("I disagree with this position because . . ."), a connection ("This idea reminds me of . . ."), or an elaboration ("Another example of this point is . . ."). An emotional reaction could include approval or disapproval ("YES! This is exactly right!" "NO! This is so wrong!"), an expression of feeling ("This passage makes me so sad"), or one of appreciation ("This is said so beautifully"). If you had no particular reaction, note that, too.  What accounts for your reactions? Are they rooted in personal experiences? aspects of your personality? positions you hold on an issue? As much as possible, you want to keep your opinions from interfering with your understanding of what you're reading, so it's important to try to identify those opinions up front.  03_NFG5e_part01_ch02_010-032.indd 14  handbook  readings  media / design  research / apa mla  strategies  processes  fields  genres  rhetorical situations  academic literacies  ▲  9/13/18 10:25 AM  2 / Reading in Academic Contexts  15  Dealing with Difficult Texts Let's face it: some texts are difficult. You may have no interest in the subject matter, or lack background knowledge or vocabulary necessary for understanding the text, or simply not have a clear sense of why you have to read the text at all. Whatever the reason, reading such texts can be a challenge. Here are some tips for dealing with them:  Look for something familiar. Texts often seem difficult or boring because we don't know enough about the topic or about the larger conversation surrounding it to read them effectively. By skimming the headings, the abstract or introduction, and the conclusion, you may find something that relates to something you already know or are at least interested in — and being aware of that prior knowledge can help you see how this new material relates to it. Look for "landmarks." Reading a c

The Norton Field Guide To Writing 5th Edition Answer Key

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